Home » Jazz Articles » Live Review » La Fontegara at Americas Society, April 16, 2010
La Fontegara at Americas Society, April 16, 2010
Americas Society
April 16, 2010
New York, NY
According to the program notes at Americas Society, music was an important part of colonial-era Mexico, where Spanish-born composers traveled to during the 17th and 18th Centuries to write music for recitals, religious services and other events.
Sadly, few musical documents survive from that era, but those that do give testament of how composers (some unknown) blended folk and classical elements into their compositions, which made for great creative opportunities. Selections from some of these were presented by Mexico-based La Fontegara trio (Maria Diez-Canedo: recorder and baroque flute; Eunice Padilla: harpsichord; Eloy Cruz: baroque guitar), who specialize on performing music from historical archives.
The program began with a selection of anonymous sonatas attributed to Leonardo Leo. Starting off with a downtempo movement centered on the flute, the piece quickly evolved into a very touching sequence of notes with a clear devotional feel. The piece was followed by "Quaderno de Dona Guadalupe Mayner," a short piece composed for solo harpsichord. Ms. Padilla approached the tune with utmost grace even when there was a flurry of notes halfway through the piece.
One of the highlights of the first part of the program came with "Four Dances," whose movements resembled Andina music. The second movement featured Cruz's first solo part, which gave the audience the opportunity to hear the instrument, which had been mostly obscured by the harpsichord (it was a completely acoustic performance with no individual microphones)
After the intermission, the trio presented more work attributed to Leonardo Leo, which had more of a classical feel. The program closed with "Sonata in a minor for flute and continuo," a highly dramatic piece in three movements.
Americas Society's Music of The Americas has been instrumental in bringing awareness to music that is not usually performed Stateside. Their programspresented free of chargeare great opportunities for audiences to discover music that they might not have the chance to hear elsewhere.
Tags
PREVIOUS / NEXT
Become a Sustaining Member
Since 1995, All About Jazz has championed jazz as an art form and supported the musicians who create it. Over three decades, it has grown into one of the world's leading jazz resources, serving hundreds of thousands of readers, musicians, presenters and industry professionals each month.
Help Build the Future of All About Jazz
Your support helps us continue building All About Jazz for the next generation—expanding our editorial coverage, preserving jazz history, developing new community features and creating better ways to discover the music and the people behind it.
Become a sustaining member for as little as $20 per year and you'll immediately enjoy an ad-free experience along with access to subscriber features and future articles for a full year.
Together, we're not simply sustaining All About Jazz—we're building its future. Thank you for being part of the journey.





