Tientos Y Glosas (Iberian Music for Organ & Choir) Martin Neu

• Diego Xaraba (1652–1715): Tiento Lleno Segundo Tono
• 1Tiento Lleno Segundo Tono04:34
• Manuel Rodrigues Coelho (1555-1635): 5 Versos de Kyrie do 1. Tom
• 25 Versos de Kyrie do 1. Tom08:46
• Francisco Correa de Arauxo (1584-1654): Tiento y Discurso de Medio Registro de Dos Baxones de Octavo Tono
• 3Tiento y Discurso de Medio Registro de Dos Baxones de Octavo Tono06:58
• Manuel Rodrigues Coelho: Ave Maris Stella
• 4Ave Maris Stella09:23
• Francisco Correa de Arauxo: Tiento de Medio Registro de Tiple de Octavo Tono
• 5Tiento de Medio Registro de Tiple de Octavo Tono06:54
• Siguense Tres Glosas Sobre el Canto Llano de la Immaculada Concepción
• 6Siguense Tres Glosas Sobre el Canto Llano de la Immaculada Concepción06:21
• Tercero Tiento de Quarto Tono
• 7Tercero Tiento de Quarto Tono03:33
• Tiento Tercero de Sexto Tono Sobre la Primera Parte de la Batalla de Morales
• 8Tiento Tercero de Sexto Tono Sobre la Primera Parte de la Batalla de Morales08:13
• Total Runtime54:42

Info for Tientos Y Glosas (Iberian Music for Organ & Choir)

Martin Neu brings works by Correa de Arauxo, Coelho and Xaraba to life in their Spanish homeland at the organ of San Hipólito in Córdoba. The sound of the organ unfolds transparently within the church interior; noble, warm prinicipals and flute stops as well as a variety of characteristic reed stops lend great sonic dignity to the instrument. Together with the antiphonal choral sound of the ensemble officium, the recording reveals the multi-facetted elegance of this musical epoch.

The Golden Age (Siglo de oro) of Spain began during the rule of Emperor Charles V (1516-1556). Spain's political and economic power also led to an artistic and cultural heyday. The most important musicians of this period included Francisco Correa de Arauxo and Manuel Rodrigues Coelho. During this period, the most important genre in keyboard music was the Tiento. Originally an imitative form, it became a symbol of baroque freedom in the hands of Correa de Arauxo, thanks to his creativity in the use of harmony, rhythm and the art of ornamentation. The art of diminution of a work (Glosas) - the dissolution of the composition in smaller note values - is impressively shown by Correa, too.

The organ of San Hipólito Church in Córdoba was built by Joseph Corchado in 1735. Over the course of the centuries, the organ was subjected to various alterations, but no fundamental changes were made in its structure and disposition. In 2006 the entire instrument was subjected to a complete restoration. The main concern of this careful restoration was to preserve the character and aesthetic of this unique instrument and to restore its originally tuning and temperament. The works recorded here are thus played on an organ that comes as close as possible to the sound aesthetics of the period during which they were composed. The alternating choral singing is interwoven with the sound of the organ, revealing aspects of the vocal writing style of the epoch.

Martin Neu, organ (of San Hipólito Church, Córdoba)
Ensemble officium
Wilfried Rombach, conductor

Martin Neu
completed his studies at the Stuttgart University of Music, at Concordia University in Montreal (Canada) and at the Johannes Gutenberg University in Mainz.

His organ teachers included Werner Jacob, Bernard Lagacé, Bernhard Haas and Gerhard Gnann. During his two years of study in Canada, he also attended music theory courses with Bengt Hambraeus at Mc. Gill University in Montreal.

As an organist, Martin Neu has received numerous scholarships and prizes (including the Rotary Club, DAAD, Ansbach Bach Week, Podium for Young Artists Foundation, and the 2000 Leipzig Bach Competition). In 1993, he was accepted into the German National Academic Foundation. In 2002, the University of Mainz awarded him the Johannes Gutenberg Prize "for outstanding artistic achievements".

Since 2001, Martin Neu has been cantor at St. Peter and Paul with St. Elisabeth in Reutlingen and deanery church musician for the deanery of Reutlingen/Zwiefalten.

Invitations to concerts and jury work have taken him to Germany and abroad (including the Treviso Organ Festival, Rapallo Musica, Academia de órgano Cuenca, Città di Vicenza, Rhineland-Palatinate Cultural Summer, Max Reger Days Wiesbaden, Krummhörner Orgelfrühling, Festival Suisse de l'Orgue). This has resulted in projects with the Kunsthalle Munich, the Goethe Institute Genoa, SWR and ZDF, among others.

In recent years he has also devoted himself more to playing the clavichord.

His interest in playing music on historical instruments led to radio recordings and CD recordings that received international recognition (longlist for the German Record Prize, Early Music Review, American Record Guide, Gramophone...).

This album contains no booklet.