Spain On Fire
- Yo soy la locura Henry de Bailly (1590-1637) & Fahmi Alqhai (b. 1976)
- Tarantela & Canarios Carles Blanch (b. 1993) & Fahmi Alqhai
- Ay, amor loco Luis de Briceño (fl. 1610-1630)
- Glosa en canon sobre el Passa Galli de Vitali Fahmi Alqhai on Giovanni Battista Vitali (1632-1692)
- Diferencias sobre el canto llano del cavallero Antonio de Cabezón (1510-1566) & Fahmi Alqhai
- Folías gallegas Santiago de Murcia (1673-1739), Carles Blanch & Fahmi Alqhai
- Folías de España Fahmi Alqhai
- La bella Çelia que adora Luis de Briceño & Fahmi Alqhai
- Glosa e improvisación sobre Conde Claros Fahmi Alqhai on Alonso de Mudarra (c. 1510-1580)
- Niña, como en tus mudanzas José Marín (1618-1699)
- Bayle del Gran Duque Antonio Martín y Coll (1671?-c. 1734)
- Pasacalles Antonio Martín y Coll, de Flores de música, 1706
- Florida estava la rosa Mateo Flecha the Elder (1481-1553), de La Negrina
- San Sabeya, gugurumbé Mateo Flecha the Elder (1481-1553), de La Negrina
- Himno Pange Lingua ‘More Hispano’ y su glosa Plainchant hymn (anonymous), Antonio de Cabezón & Fahmi Alqhai
Arrangements: Fahmi Alqhai
Fahmi Alqhai — viola da gamba & musical direction
Quiteria Muñoz — soprano
ACCADEMIA DEL PIACERE
Johanna Rose — viola da gamba
Rami Alqhai — viola da gamba & violone
Javier Núñez — harpsichord
Carles Blanch — baroque guitar
Agustín Diassera — percussion
The rise and splendour of the Spanish Empire in the 16th and 17th centuries spread Spain’s cultural wealth and diversity far and wide, embracing musical traditions whose roots mixed Christian, Muslim, Jewish and American influences. This transformed cultural and musical fashions throughout Europe. The original scores were basic skeletons, to which the musicians added a plethora of personal interpretation: arrangements, glosses and a world of ornamentation. Accademia del Piacere and Fahmi Alqhai have spent years working on this Spanish approach in order to revive this spirit through improvisation, bringing this music back to life.
The rise and splendour of the Spanish Empire in the 16th and 17th centuries spread Spain’s cultural wealth and diversity far and wide, embracing musical traditions whose roots mixed Christian, Muslim, Jewish and American influences. This transformed cultural and musical fashions throughout Europe. The original scores were basic skeletons, to which the musicians added a plethora of personal interpretation: arrangements, glosses and a world of ornamentation. Accademia del Piacere and Fahmi Alqhai have spent years working on this Spanish approach in order to revive this spirit through improvisation, bringing this music back to life.