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Temps & de l’Instant
1. Cantiga de amigo V: Quantas sabedes amare
Martin Codax (s. XII) 4’34
Montserrat Figueras, Arianna Savall, Ferran Savall,
Jordi Savall
2. Nastaran (Naghma instr.) Anonyme (Afghanistan)
4’37
Arianna Savall, Ferran Savall, Jordi Savall, Pedro Estevan
3. Noumi, noumi yaldatii Berceuse Hébraïque
(Israël) 4’39
Montserrat Figueras, Arianna Savall, Ferran Savall,
Jordi Savall, Pedro Estevan
4. Variations sur O Soñjal (Gwerz Breton)
4’29
Arianna Savall, Ferran Savall, Jordi Savall, Pedro Estevan
5. La Cançó del Lladre
6’03
Ferran Savall (voix & théorbe)
6. Romanesca & Pasamezzo (instr.) Diego
Ortiz 2’37
Arianna Savall, Ferran Savall, Jordi Savall
7. La Salve 5’18
Arianna Savall, Jordi Savall, Pedro Estevan
8. Paxarico tu te llamas (instr.) Anonyme Séfarade
(Sarajevo) 3’45
Jordi Savall, Arianna Savall, Ferran Savall, Pedro Estevan
9. Apoxeno neros Traditionnelle Grecque
2’57
Montserrat Figueras, Jordi Savall, Arianna Savall, Ferran
Savall, Pedro Estevan
10. Ghazali tal jàhri (instr.) Anonyme
(Maroc) 1’37
Jordi Savall, Ferran Savall, Arianna Savall, Pedro Estevan
11. Durme, durme hermosa donzella Berceuse
Sefardi (Rhodes) 4’37
Montserrat Figueras, Jordi Savall, Ferran Savall, Arianna
Savall, Pedro Estevan
12 . Tarantela d’après Lucas Ruiz
de Ribayaz (ca.1650) 4’57
Arianna Savall, Pedro Estevan
13 . Jaroslaw (improvisations) 6’48
Ferran Savall, Jordi Savall
14. Canarios (improvisations instr.)
3’13
Jordi Savall, Arianna Savall, Ferran Savall, Jordi,
Pedro Estevan
15 . Fantasiant 4’03
Arianna Savall, Ferran Savall
16. Muzettes I-II (IV. 28.29) Marin Marais (1656-1728)
2’59
Jordi Savall, Ferran Savall, Arianna Savall
17. El Cant dels Aucells Traditionnelle catalane
/ Jordi Savall 3’50
Montserrat Figueras, Arianna Savall, Ferran Savall,
Jordi Savall
18. Diferencias sobre la Guaracha Mexique (s.
XVII) Jordi Savall 3’41
Jordi Savall, Arianna Savall, Ferran Savall, Pedro Estevan
19 . Sentirete una canzonetta Tarquinio Merula
3’14
Jordi Savall, Montserrat Figueras, Arianna Savall, Ferran
Savall, Pedro Estevan
74’25
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Du
Temps & de l’Instant
In “Du temps & de l’instant” (Moments
in time) we offer a highly personal selection of the
music that has moved us by its tenderness and beauty,
as well as its ability to promote dialogue and harmony.
The pieces evoking “time”, represented here
by the music of former ages, are the living memory of
a past that in some cases is remote and yet at the same
time very close to us, because it has become part of
our historical as well as our individual imagination.
Those evoking the essence of “the moment”
include all the unique and fleeting musical moments
which spring forth when musical discourse is allowed
to flourish in freedom and harmony, perpetually seeking
new forms of expression.
Existing only at the moment when it becomes materialised
in the form of sound waves produced by the human voice
or instruments, Music is the art of memory par excellence,
and it is precisely this temporal constraint which makes
it the most human and the most spiritual of the arts.
Music is one of the most universal means of expression
and communication; its importance and significance must
be gauged not according to the evolution of its language
– in the sense of its history and progress –
but in terms of its expressive intensity, its intrinsic
richness and humanity. From this perspective, the historical
significance of a work of art stems not from the necessary
development of the sound material (melody, harmony,
rhythm, timbre, and so on) but from a will to achieve
expression on the part of those (composers and performers)
who use it.
The programme of “Du temps & de l’instant”
is conceived as an inter-cultural dialogue whose purpose
is to point to or build firm bridges between:
Eastern and Western music,
cultivated music and popular (anonymous) works derived
from the oral tradition,
ancient and contemporary music,
different generations of performers,
and also between performers and their audiences.
As musicians, we are above all the product of our time.
To be more exact, we are the result of a unique equilibrium
between the individual spirit and the age in which we
live. From our vantage point at the beginning of the
21st century, the decision to perform a repertoire dating
back to the 11th century responds to an inner need that
is born equally of vocation and passion. Learning to
understand the most representative works of the past
and bringing them to life in our own day and age, respecting
their various historical and stylistic contexts, but
steering clear of an academic approach, is essentially
a means of rediscovering the very sources of our civilization.
In renewing this space for creation, improvisation and
experimentation through a dialogue between different
cultures and traditions, we will also steadily forge
a space in our imagination for all those musical treasures
which have shaped and must continue to nurture one of
the essential mainsprings of humanistic civilization
in the modern era: Music, the true living history of
mankind.
JORDI SAVALL
Cardona, Spring 2005
Translated by Jacqueline Minett
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