Eduardo Paniagua CD Collection 1
paniagua was also a part of francisca, a record label created by the flutist and composer pedro berruezo in 1982. this was a record label devoted to early music, mainly miniatures, a work that berruezo also took on himself. in the late 1980s, berruezo and paniagua created amadís de gaula, a record label devoted to the songs of the character of amadís de gaula.
they released a total of 11 records, the first three of which were sung by berruezo and paniagua. he was also present in two other records of sufism, one in 1988 and one in 1996, along with the egyptian singer midhat el-sayeb. these were followed by another four albums with paniagua and midhat el-sayeb in 2008 and 2009.
a number of friends and colleagues have also contributed to the productions of amadís de gaula. these include the flutist and conductor pablo núñez; the baroque lutenist hilario bernedo; the cellist rafael poveda; the guitarist humberto vilar; the violist héctor vilar; the violinist and composer pedro berruezo; and the clarinetist and flautist juan luis arroyo, a friend of paniagua.
the collection of musica antigua started with cantigas del pobre don jesus, whose opening movement represents a clear influence from catalonia in the cantigas made for sony. musica antigua was also the first group to feature a group of cantigas from the cantigas de santa maria, the first-ever recording of this important work, and the only one made on this collection. a third cantigas cd appeared in 1996, featuring a re-mix of cantigas de santa maria.
in 1998 paniagua and his musica antigua were joined by ibn baya for the release of cantigas, a collection of cantigas from the malik of maluf, an andalusi jewish poet and musician. paniagua himself provided a flamenco-influenced composition, conjugal cantiga, and he also made flamenco-influenced arrangements for the taajuud. the 1999 release from paniagua and musica antigua, cantigas españolas, included cantigas from jofre de foixà (the supposed author of the cantigas de santa maria) and a cantigas de ricardo de conchillas.
Other honors Paniagua received from international organizations include the Royal Philharmonic Society's Planet Music Prize, and the Perugia International Music Festival's award for conducting. He is also an active conductor, and in 2007 he began a new series of events called El Festival de la Pneuma, in honor of his record label. At that time he launched a new series called Cantigas de España, featuring singers from that area. Paniagua's Cantigas de España include singers from Andalusia, Asturias, Cantabria, Extremadura, Galicia, and the Basque Country. Paniagua and the Almaviva group have collaborated in various ways. This compilation brings together four CDs they recorded together with guitarist Paco Peña. See their performance of J.M. Jaén's Traidor de Bertos, the story of the villain Lucero. In this recording Eduardo plays a variety of instruments with great mastery: voice, flute, clavicord, harpsichord, guitar, and percussion. All the outstanding elements of this group are present: the variety of music from the 15th to the 18th Century, brilliantly informed in the Renaissance-Renaissance instrumental voice, the sound of erudition, the musicality of virtuosity, and, perhaps most important, the rare alto wind literature in Spain, the most beautiful they call La Pamiña. Two more great collaborations are available here: Paniagua and flautist Fernando Romero in the II. Festival of Alicante in 1999, and Paniagua and harpsichordist Maria Muldaur in an ondemand performed in 1999 and recorded by this very label. Two new collaborations with Fondo de Caja de Ahorros del Mediterráneo. This time the two players, who always find something to match in each other's playing, will take you to the land of Andalusia and beyond. The duet recorded in Barcelona in the Auditorium Salvat, on April the 9th of 2001, is pure and subtle music, a breath of peace and contemplation that invites you to follow it. The piece is a capella and develops with remarkable brilliance, so much so that both the voices and the instruments become part of a harmonic perfection. Then to Andalusia, with the Guitarra Andaluza, a great, bold exploration of the heart of that land. After a Sesioneta for two guitars, followed by the subtle touch of Paniagua and Romero in an Andalusian tango, the singer ends with a triumphal Segreto, which reminds us all of the lands, its peoples, and women where flautist and bass player are united for eternity. A real adagio, and the final benediction of the soul's journey. 5ec8ef588b
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