Sara Águeda - The Harp's Theatre (2017)

Tracklist
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01. Canción alemana (El secreto)
02. Zarambeques (El juego)
03. iAy de mi ganadito! (La criada)
04. Pasacalles de segundillo a compasillo (La magia)
05. Españoletas (La poesía)
06. Quién es amor (La dama)
07. Prolatio (El portugués)
08. Pabanas (Madre y Padre)
09. No queráis dormir, mis ojos (La anciana)
10. Monsiúr dela boleta (El Francés)
11. Tarantela (El hechizo)
12. Minuet de primer tono (El mercader)
13. Tened, parad, suspended (Los elementos)
14. Suit segunda (La fiesta en palacio): I. Minue I [Bufón]
15. Suit segunda (La fiesta en palacio): II. Corrienta primero tono [La carta]
16. Suit segunda (La fiesta en palacio): III. Sarabanda [La promesa]
17. Suit segunda (La fiesta en palacio): IV. Minue II [El engaño]
18. Suit segunda (La fiesta en palacio): V. Corrienta por el re [El baile]
19. Suit segunda (La fiesta en palacio): VI. Minue con su glosa [La persecución]
20. Valgate amor por niña (El enamorado)
21. Gaitas (La mirada)
22. Achas (El viaje)
23. Aura, tierna amorosa (La pradera)
24. Fortune (El inglés)
25. Canarios (El criado)
26. El agua del llanto (La iglesia)
27. Folías (The End)

In the middle of the XVI century appears in Spain the “cross-strung harp”. For two centuries (1650-1750), the harp in the Iberian Peninsula becomes a king’s instrument. Its appearance in chapels, accompanying church services is more than documented. But the cross-strung harp is not set aside only to the sacred music. Its intervention both in the palace theatre and the “corral de comedias” (comedy theatre), was privileged.

Facing this repertoire solo, I was not a moment able to dissociate myself from that role so theatrical that the harp had in the Golden Century, and here is where my game begins: THE HARP´S THEATRE. I am able to imagine the scenes and profile of each character through this music, and as a result, this is my goal: for the listeners to imagine, believe and compose their own characters, situations, scenes, in short, his own story.