The Secrets Of Andalusia Lux Musicae London

• Traditional: Durme, durme ijiko de madre (‘Sleep, sleep mother’s little son’):
• 1 Traditional: Durme, durme ijiko de madre (‘Sleep, sleep mother’s little son’) 04:07
• Pierre-Francisque Caroubel (1556 - c. 1611): Spagnolette:
• 2 Caroubel: Spagnolette 01:14
• Lucas Ruiz de Ribayaz y Fonesca (1626 - 1677): Españoletas:
• 3 Fonesca: Españoletas 02:04
• Anonymous: Tres morillas m’enamoran en Jaén (‘I fell in love with three Moorish girls in Jaén’):
• 4 Anonymous: Tres morillas m’enamoran en Jaén (‘I fell in love with three Moorish girls in Jaén’) 04:32
• Traditional: A la una yo nací (‘At one o’clock I was born’):
• 5 Traditional: A la una yo nací (‘At one o’clock I was born’) 04:16
• Yo m’enamorí d’un aire (‘I fell in love with an illusion’):
• 6 Traditional: Yo m’enamorí d’un aire (‘I fell in love with an illusion’) 05:37
• Hernando de Cabezón (1541 - 1602), Orlando de Lassus (1530 - 1594): Glossada sobre Susana un jur (‘Divisions over our Susanne one day’):
• 7 Cabezón, Lassus: Glossada sobre Susana un jur (‘Divisions over our Susanne one day’) 04:03
• Traditional: A la una nací yo (‘At (one o’clock) I was born’):
• 8 Traditional: A la una nací yo (‘At (one o’clock) I was born’) 03:21
• Francisco Guerau (1649 - 1722): Passacaglia:
• 9 Guerau: Passacaglia 05:16
• José Marín (1619 - 1699): Ojos, pues me desdeñáis (‘Eyes, since you scorn me’):
• 10 Marín: Ojos, pues me desdeñáis (‘Eyes, since you scorn me’) 04:44
• Anonymous: Dindirin, dindirin:
• 11 Anonymous: Dindirin, dindirin 02:35
• Traditional: Nani Nani:
• 12 Traditional: Nani Nani 04:12
• Juan Vasques (1500 - 1560): Con qué la lavaré la tez de la mi cara? (‘With what shall I wash the skin of my face?’):
• 13 Vasques: Con qué la lavaré la tez de la mi cara? (‘With what shall I wash the skin of my face?’) 03:00
• Diego Ortiz (1510 - 1576): Trattado de Glosas, Recercada segunda:
• 14 Ortiz: Trattado de Glosas, Recercada segunda 01:24
• Traditional: Samai Andalus:
• 15 Traditional: Samai Andalus 03:11
• Roberta Diamond: Tears have betrayed my secrets in a valley:
• 16 Diamond: Tears have betrayed my secrets in a valley 01:44
• Bartolomé de Selma y Salaverde (1580/90 - 1640): Canzoni fantasie et correnti da suonar, Vestiva i colli:
• 17 Salaverde: Canzoni fantasie et correnti da suonar, Vestiva i colli 03:58
• Ignacio Lusardi Monteverde (b. 1983): Pueblo blanco:
• 18 Monteverde: Pueblo blanco 04:06
• Anonymous: Qué me queréis, caballero? (‘What do you want from me, sir?’):
• 19 Anonymous: Qué me queréis, caballero? (‘What do you want from me, sir?’) 01:16
• Juan Bonet de Paredes: Cuándo, cuándo podré lograrte, idolo de beldad? (‘When, when will I be able to attain you, idol of beauty?’):
• 20 Paredes: Cuándo, cuándo podré lograrte, idolo de beldad? (‘When, when will I be able to attain you, idol of beauty?’) 03:02
• Juan Arañes: Un sarao de la chacona, ‘A la vida bona’ (‘Chaconne to the Good Life’):
• 21 Arañes: Un sarao de la chacona, ‘A la vida bona’ (‘Chaconne to the Good Life’) 03:23
• Total Runtime 01:11:05

Info for The Secrets Of Andalusia

We know that key influences on Flamenco date back to Islamic Iberia or the Al- Andalusian era of Spain between the 8th–15th centuries. Yet the first mention of Flamenco by name is not until 1774, where it appears in an epistolary novel, Cartas Marruecas, by the playwright and soldier, José de Cadalso y Vázquez.

What happened in these intervening centuries?

In collaboration with soprano Victoria Couper, kanun player, Konstantinos Glynos, and oud/Flamenco guitarist, Ignacio Lusardi Monteverde, this album seeks to explore this question by tracing the influences on Flamenco through Arabic music alongside Sephardic song and the Spanish composers of the late-16th to 18th centuries.

"An enjoyable excursion through Southern Spain across three hundred years – The singers are perfect for this repertoire… The instrumental work is neat and full of character." (MusicWeb International)

Lux Musicae London
Sophie Creaner, recorder
Mirjam-Luise Münzel, recorder
Roberta Diamond, soprano
Daniel Thomson, tenor
Aileen Henry, baroque harp
Toby Carr, baroque guitar, lute
Harry Buckoke, viola da gamba
Additional musicians:
Victoria Couper, soprano
Konstantinos Glynos, kanun
Ignacio Lusardi Monteverde, flamenco guitar, oud

Lux Musicae London
Formed in 2014, Lux Musicae London is dedicated to exploring and recreating the performance practices that were developing across Europe in the 16th and early 17th centuries. With their diverse instrumentation and rhetorically-driven approach to performance, Lux Musicae London’s programmes seek to recreate music from this time while tracing the patterns of musical influences from different sources. Their unique programmes have ranged from Irish influences in John Dowland’s Denmark to the emergence of Flamenco from Moorish and Spanish music.

In 2016 Lux Musicae London were selected as finalists in the Concours International de Journées de Musiques Anciennes in Paris and have since participated in various ensemble schemes including BREMF Live! 2016/17, the AMUZ International Young Artist’s Presentation 2017 and Stroud Green Festival Ensemble Scheme 2019.

They have performed in festivals across Europe and the UK including the London Festival of Baroque, Brighton Early Music Festival, Beverley Early Music Festival, Liverpool Early Music Festival, Stroud Green Early Music Festival, MA Festival Brugge, the Utrecht’s Oude Musiek Festival Fabulous Fringe and AMUZ Laus Polyphoniae.

This album contains no booklet.