Jonathan Woods (harpsichord) Battle Imperial, Spanish harpsichord music by Soler, Cabanille, Bassa, Cabezón & others.
Released 1976 by Pavane, Ace of Diamonds Records, The decca Record Company, SDD 530.
Mr. Woods plays an instrument built for him in 1964 by Rutkowski and Robinette in New York. It has two keyboards and seven pedals. Lower keyboard:16′, 8′,4′, buff, manual coupler; upper keyboard: 8′, lute.

SIDE ONE
00:00 Band l-Batalla Imperial (Cabanilles)(6’02” )
05:57 Band 2-Alta (de la Torre)(2’25”)
08:23 Band 3-Pavana con su Glosa (Cabezón)(2’42”)
11:05 Diferencias Sobre La Gallarda Milanesa (Cabezón)(2’13”)
13:19 Band 4-Diferencias Sobre EI Canto llano Del Caballero (Cabezón)(4’35”)
17:52 Band 5-Xacara (Olague)(1’49”)
19:44 Band 6-Minué (Bassa)(l’48”)
21:35 Band 7-Minué (Anon.)(1’28”)
23:09 Band 8-Xacara (Anon.)(2’37”)

SIDE TWO
25:49 Band l-Sonata in B Minor (Soler)(4′:22″)
30:11 Band 2-Sonata in D Minor (Soler)(4’43”)
34:54 Band 3-Fandango (Soler)(11’45”)

The greatest Spanish music from its beginnings on into the 20th
century is imbued with a unique quality of expression, powerful and
mystical. I believe-and here I reveal myself more the romantic than the
dispassionate scholar- that it is a spiritu al essence, something far more’
intangible and profound than the so-called “Spanish idiom” which
supposedly was not fully developed until relatively recent times.
It is vividly evidenced in much of the music on this recording: Caballero
Variations of Cabez6n, Soler’s Sonata in D Minor, the two Xacaras
even Dr. Bssa’s Minue. And where can it be sensed more strongly than
in the cantus firmus La Spagna upon which de la Torre’s Alta is
based?
There are feelings in the human heart that only Spanish music can
express-certain darkly glowing passions that, otherwise, would never be
awakened.
As you listen to this recording, bear in mind the charming and practi.
cal suggestion made by Domenico Scarlatti in the preface of his first published
collection of harpsichord sonatas:
Show yourself more human than critical, and thereby
increase your own Delight.
SIDE ONE
Batalla Imperial. . _ . JUAN BAUTISTA JOSE CABANILLES
(1644-1712)
Cabanilles was the greatest of the Spanish organist-composers after
Cabez6n. Little is known of his life other than a few facts- he was born
in Algemesf, studied with jeronimo de la Torre and Urban de Vargas,
became a priest in 1668, and was organist at the Cathedral of Valencia
from 1665 until his death. His music proves him to be One of the most
important links in the succession of great Spanish keyboard composers.
The “Batalla Imperial” represents a dramatic departure from the
serious mood that pervades most of Cabanilles’ music. It is an unabashed
descriptive piece of the highest order.
Musical descriptions of battles have appeared throughout the history
of music. So much so that if, indeed, “battles were invented for small
boys and generals,” I’m afraid we would have to include some very
famous composers as well. Andrea Gabrieli and William Byrd wrote
“battle pieces”; later, we have the more fam iliar examples of Beethoven
(“Wellington’s Victory”) and Tchaikovsky (the “1812” Overture).
The Cabanilles work, probably composed in honor of some great
victory, is supposedly for the organ. Despite the extraordinary power
and brilliance of the “trompeta real” found on many Spanish organs,
the “Batalla Imperial” is infinitely more effective on the harpsichord.
Only on this instrument can we hear the dry staccato drum beats, tumultuous
drum rolls, the pounding horses’ hooves, and the noisy clamor of
battle.
Alta . . . _ FRANCISCO DE LA TORRE (15th century)
The “Alta” (or saltarello) by Francisco de la Torre; about whom
little is known, is from the “Cancio nero Musical de Palacio,” an important
collection of early Spanish music.
The famous melody sometimes called “La Spagna,” “II Re di Spagna,”
or simply “Spagna” is of Spanish origin and was used by numerous
composers such as Cabez6n, Toulouze, Gulielmus, Henestrosa, and Diego
Ortiz, to name but a few.
Pavana con su Glosa .. . _ ANTONIO DE CABEZON (1510-1566).
Oiferencias Sobre La Gallarda Milanesa
Oiferencias SobreEI Canto Llano Del Caballero
It would seem improbable for a great composer who was widely
acclaimed in his lifetime- indeed, almost canonized by musical authorities
throughout the four hundred years since his death- to be practically
unknown to the general public.

#RutkowskiAndRobinette #JonathanWoods