Cristina Bayón Álvarez – Music for Soprano & Guitar by Female Composers (2023) [FLAC 24 bit, 96 kHz]

Cristina Bayón Álvarez - Music for Soprano & Guitar by Female Composers (2023) [FLAC 24 bit, 96 kHz] Download

Artist: Cristina Bayón Álvarez
Album: Music for Soprano & Guitar by Female Composers
Genre: Classical
Release Date: 2023
Audio Format:: FLAC (tracks) 24 bit, 96 kHz
Duration: 49:11
Total Tracks: 19
Total Size: 733 MB


1-1. Cristina Bayón Álvarez – 6 Mélodies et une havanaise: IV. Hai Luli! VWV 1106 (03:58)
1-2. Cristina Bayón Álvarez – 6 chansons du XVe siècle: I. Aimez-moi ma mignonne, VWV 1121 (03:03)
1-3. Cristina Bayón Álvarez – 10 Mélodies: III. L’Absence-Caña Española, VWV 1046 (02:11)
1-4. Cristina Bayón Álvarez – 6 Mélodies: V. Madrid, VWV 1136 (02:53)
1-5. Cristina Bayón Álvarez – Lamento- La chanson du pêcheur, VWV 1139 (03:23)
1-6. Cristina Bayón Álvarez – 6 Mélodies: VI. Les filles de Cadix, VWV 1135 (03:04)
1-7. Cristina Bayón Álvarez – Le retour de la Tyrolienne in B-Flat Major (01:43)
1-8. Cristina Bayón Álvarez – La voix qui dit: je t’aime in A Major (02:47)
1-9. Cristina Bayón Álvarez – La bayadère (02:15)
1-10. Cristina Bayón Álvarez – 6 Petits airs italiens: XIV. Quel cor che mi prometti (01:44)
1-11. Cristina Bayón Álvarez – 6 Petits airs italiens: XII. Mi lagnerò tacendo (02:04)
1-12. Cristina Bayón Álvarez – 6 Petits airs italiens: III. Benchè ti sia crudel (01:52)
1-13. Cristina Bayón Álvarez – Celle qui voudrait m’aimer (03:34)
1-14. Cristina Bayón Álvarez – Guitare (02:14)
1-15. Cristina Bayón Álvarez – Le bouquet de bal (02:06)
1-16. Cristina Bayón Álvarez – 12 Lieder, Op. 9: I. Die None (02:48)
1-17. Cristina Bayón Álvarez – 6 Lieder, Op. 1: I. Schwanenlied (02:47)
1-18. Cristina Bayón Álvarez – 12 Lieder, Op. 35: I. Warum willst (02:24)
1-19. Cristina Bayón Álvarez – 12 Lieder, Op. 35: II. Liebst du um Schönheit (02:11)


The salon of the 19th century was an important instrument for the dissemination of culture and the transmission of new artistic and literary trends in Europe, and a space clearly dominated by women. In order to recreate the musical atmosphere of a 19th century salon, this recording has two basic goals. First, music will be performed by women who were absolute cornerstones of these venues as composers, performers, and hosts. Second, the songs originally accompanied by piano are performed with newly created guitar arrangements. The arrangements on this album were created after a careful transcription of the piano parts, preserving the harmonic essence and capturing all the polyphonic interplay. In addition, various guitar effects (tambora, harmonics, strumming, etc.) have been incorporated, adding a new touch to the original versions. All this contributes not only to the expansion of the guitar repertoire, but also to the discovery of unknown works.Pauline Viardot (1821-1910) was born in Paris to a highly musical Spanish family and went on to have a brilliant career as a singer. When she returned to Paris in 1870, she founded one of the most important music salons of the time. Viardot’s songs have palpable Spanish roots, and her later pieces, such as “Caña española,” were probably influenced by her father’s compositions. María Malibrán (1808-1836), Viardot’s older sister, is best known as a famous Spanish opera diva. Isabel Colbrán (1784 / 5-1845) was a Spanish opera singer and the first wife of composer Gioachino Rossini. In the early years of her career, she composed 24 short Italian arias that bear a certain Rossini stamp. However, since these arias were written before she met Rossini, the question arises as to who influenced whom. Pauline Duchambge (1778-1858) is perhaps the least known of these composers, and this album presents a number of her songs that have never before been recorded.

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