Composer: John Dowland, Juan de Dios Filiberto, Abel Fleury, Osvaldo Fresedo, Vicente Greco, Luys Milán, Luys de Narvaez, Ernesto Tagliaferri, Anibal Troilo, Atahualpa Yupanqui
Performer: Alejo de los Reyes
Format: FLAC (tracks)
Label: Passacaille
Catalogue: PAS1113
Release: 2022
Size: 1.14 GB
Recovery: +3%
Scan: yes
01. Yupanqui: Huayra
02. anon.: La siete de Abril (Zamba from Argentina) [Arr. for Solo Guitar by Alejo de los Reyes]
03. Filiberto: Caminito (Arr. for Solo Guitar by Alejo de los Reyes)
04. Tagliaferri: Passione (Arr. for Solo Guitar by Alejo de los Reyes)
05. Fleury: Ausencia (Milonga)
06. Narvaez: Los seys libros del delphín, Libro 6: No. 43. Cuatro diferencias sobre “Guárdame las vacas”. Primer tono
07. anon.: Zamba da Vargas (Folksong from Argentina) [Arr. for Solo Guitar by Alejo de los Reyes]
08. Fernández: El pollo Ricardo (Arr. for Solo Guitar by Alejo de los Reyes)
09. Yupanqui: Paisano errante
10. Fleury: Trinos y alas
11. Narvaez: Los seys libros del delphín, Libro 3: No. 20. Canción I del Emperador (“Mille regretz” de Josquin). Cuarto tono
12. Fleury: Estilo pampeano
13. Troilo: María (Arr. for Solo Guitar by Alejo de los Reyes)
14. Greco: Ojos negros (Arr. for Solo Guitar by Alejo de los Reyes)
15. Fleury: Tonada
16. Ponzio: Don Juan, “El taita del barrio” (Arr. for Solo Guitar by Alejo de los Reyes)
17. Castellanos: Ausencia (Arr. for Solo Guitar by Alejo de los Reyes)
18. Yupanqui: Lloran las ramas del viento (Vidala)
19. Milán: Libro de Música de Vihuela de mano, “El Maestro”: Pavana I
20. Mora: Margarita Gauthier (Arr. for Solo Guitar by Alejo de los Reyes)
21. Fresedo: Vida mía (Arr. for Solo Guitar by Alejo de los Reyes)
22. Dowland: Melancholy Galliard
Alejo de los Reyes had his first experience of playing the guitar in Argentina with his parents, who were classical guitar players and teachers. In his parents home, Argentine folk music was part of every celebration and every gathering, and the tango was his grandfathers favourite music.
During his studies, De los Reyes played alternately in classical concert halls and tango salons.
After touring in Europe as tango player, he began playing on period instruments and combining his academic knowledge with traditional music:
It was and still is amazing for me to realise that certain concepts of articulation, rhythm or rubato were as important in early European musical practice as they were in Argentine tango.
The vast and diverse musical culture of the South American continent was indeed shaped by Jesuit missions in the early colonial period. Not surprisingly, European Renaissance and Baroque music is a key element in understanding much of the traditional music of the Americas (and vice versa).
This album reflects the ongoing journey De los Reyes has been on since his childhood, studying the music of his country and, more recently, the music of the European Renaissance.