Brunetti & Lidón
La Tempestad – Silvia Márquez
Chamber music is traditionally associated with music for a small group of instruments. However, in the past the Royal Chamber welcomed a wide variety of both vocal and instrumental repertoires, as well as devotional music. In the palaces of the Spanish royal family the rooms of the kings and infants had ample dimensions, which made possible the attendance of a large group of musicians and listeners. This album brings together pieces linked to the musical activity of the Spanish court and specifically reflects the variety of repertoire that could be heard in the Royal Chamber during the times of Charles IV and Ferdinand VII. The pieces chosen for this album are vocal and instrumental works that sounded in the chamber of the kings and were composed by Gaetano Brunetti, Francisco Brunetti and José Lidón, renowned composers in the service of the court who had great acknowledgement at that time, and who deserve to be listened to and enjoyed by all fans who will be captivated by their exceptional quality.
Lead by Silvia Márquez, La Tempestad, founded in 2000, has become a force to reckon with in the Spanish early music world. “The precision, finesse and insight of its musicians catch the listener from the first note”. Dependent on the repertoire covered in any given program, the ensemble can fluctuate between a small and a medium-sized format, with recognized musicians educated at the finest Spanish and European music conservatories and trained in the most prestigious ensembles dedicated to this repertoire. The “expressivity and fascination” attributed by music critics to La Tempestad’s interpretations have resulted in invitations to the principal halls and festivals for early music, including the National Auditorium and the Royal Theatre in Madrid, the Fundación Juan March, the International Music Festival in Santander, the Festival Musika-Música del Palacio Euskalduna in Bilbao, the San Sebastián Musical Fortnight, the Early Music Festival in Aranjuez, International Festivals in Daroca, Cádiz, Seville, Marbella, and Santillana del Mar, II Sacred Music Series in Almería, VII International Festival of Music Interpretation in Jaca, Musical May in Bolea (Huesca), Festival Pau Casals in El Vendrell, the Early Music Series in the Royal Chapel of Santa Isabel (Zaragoza), and the Cantata Series of Madrid City Hall, among others. La Tempestad gradually expands its presence in international festivals (Italy, The Netherlands, Austria, Croatia, Panamá, Andorra). Noteworthy is their participation in both the 7th and the 8th International Festival of Renaissance and Baroque Music “Misiones de Chiquitos” in Bolivia, the Euro-Bolivian Encounter in La Paz or the Haydn Festival in Eisenstadt (Austria). With an unmistakable predilection for chamber music, the instrumental focal point of the ensemble is reflected in its regular programming of quintets by Boccherini, Bach’s Musical Offering, Pièces en concert from J. Ph. Rameau, C.P.E. Bach’s later trios, or J. Haydn’s London Symphonies, without neglecting Spanish composers such as A. Soler, J. Oliver y Astorga or M. Cavasza and always paying attention to their musical heritage. Thus, in 2014 they played the integral of the Concertos for 2, 3 and 4 harpsichords of J. S. Bach and in 2015 they prepared a program with the examination sonatas to the Royal Chapel of Madrid in the last third of the eighteenth century. The program, premiered at the National Auditorium of Madrid, included the first Spanish harpsichord concerto, by Manuel Narro, and the concerto for two harpsichords by G. B. Pergolesi (broadcasted by RTVE). In addition to all of this, La Tempestad seeks interaction with other artistic disciplines and has worked with actors Antonio M. M. and Núria Espert. After the excellent reviews they received for Caro Dardo: Sopranos y castrati en el Londres de Farinelli (MAA 006, 2007) and Carl Philipp Emanuel Bach: Música a tres (Arsis 4204, 2009), the publication of their recording of the 12 London Symphonies of Joseph Haydn, arranged by J.P. Salomon now deserves mention. This is, worldwide, the first complete recording ever of Salomon’s arrangements, and was sponsored by the Ministry of Culture for the Region of Murcia and Címbalo Productions (Música Antigua Aranjuez, 2012). Following this train of thought, they presented Mozart infrecuente (Arsis 2013) with their own arrangement of Jupiter Symphony KV 551. In 2017 a new and fruitful collaboration with IBS Classical began, with the CD Iberian Harpsichord Concertos: the first ever Iberian keyboard concertos (by Manuel Narro and José Palomino) together with the Neapolitan heritage (Pergolesi’s Concerto for two harpsichords).