Música de Vihuela I. Luís de Milán: El Maestro

Recorded between 1986 and 1989.

About theese works:
The “Vihuela de mano” is a somewhat mysterious instrument. It evolved in Spain alongside the lute which it replaced at the begining of the 16th century and from which it differed in its auitar-like flat back and waisted shape. “El Maestro”, printed in 1536, opened up a flourishing series of publications that wre to continue for the rest of the century.
It was in Valencia that Luís de Milán published in 1536 a work entitled “Libro de Música de Vihuela, El Maestro”. In the same year there appeared in Venice, Milan and Nuremberg important lute tablatures by Francesco de Milano, Castelonio and Hans Neusidler. Lu´çis de Milán was certainly influenced by his predecesor Castiglione. By 1535 he had already published a book of parlour games entitled “El Juego del Mandar”, but his most important work remains “El Maestro” which was one of the first of the instrumental tablatures printed in the Iberian peninsula. With this work, Luís de Milán appears as both a composer and pedagogue: this was the first collection of music for vihuela and at the same time a source of technical and theoretical information. The vihuela rivals the lute in its ability to move the listener even without the support of words.

The performer:
Hopkinson Smith: vihuela de mano (Joël van Lemp, Boston)

Track List:
01. Tonos 1 & 2- Fantasía XIII (1:53)
02. Tonos 1 & 2- Pavana I (1:18)
03. Tonos 1 & 2- Tento I (7:39)
04. Tonos 1 & 2- Fantasía XI (3:17)
05. Tonos 1 & 2- Fantasía X (2:18)
06. Tonos 3 & 4- Fantasía XII (2:35)
07. Tonos 3 & 4- Fantasía VIII (2:09)
08. Tonos 3 & 4- Tento II (5:39)
09. Tonos 5 & 6- Fantasía XVI (2:52)
10. Tonos 5 & 6- Pavana III (2:05)
11. Tonos 5 & 6- Fantasía XV (3:37)
12. Tonos 7 & 8- Fantasía XVIII (3:11)
13. Tonos 7 & 8- Pavana IV (1:53)
14. Tonos 7 & 8- Pavana V (1:21)
15. Tonos 7 & 8- Fantasía XXII (2:51)
16. Tonos 7 & 8- Tento IV (5:57)

Stereo, AAD, mp3 (320 kbps CBR), 122.41 Mb, 50:35 minutes. Info & covers included.
Part1 — Part2