Críticas
Au Monde is a stunning addition to the small but growing library of solo theorbo recordings. Spanish native Daniel Zapico has compiled a varied program of French works, mostly his own transcriptions. The basis and inspiration for this is the “Vaudry de Saizenay” manuscript (Paris, 1699) that now resides in the municipal library of Besançon, France. This collection is a goldmine of seventeenth-century French lute and theorbo music, containing works by some of the best-known names of the era, including Antoine Forqueray (1672–1745), François Couperin (1668–1733), Robert de Visèe (c.1655–1733), and Jean-Baptiste Lully (1632–1687). According to the CD’s notes, this voluminous manuscript was compiled over a number of years by four different scribes, but its namesake and principal contributor was politician and amateur musician Jean-Étienne Vaudry de Saizenay (1668–1742).
Mr. Zapico expresses the opinion that modern lutenists, theorbists in particular, have paid scant attention to a very important aspect of their instruments’ legacy, the art of transcription. The “Vaudry de Saizenay” manuscript fundamentally relies on this art, demonstrating that it was a rampant practice at the time, and one that should be continued in the hands of modern performers. To this end, Mr. Zapico has applied his considerable knowledge and skill to adapting works from other sources to the theorbo. A few of these were lute or guitar pieces to begin with, like his adaptation of three movements from de Visèe’s well-trod Suite in D Minor (a mainstay of modern guitar repertoire). Keyboard works are liberally represented here, too. Mr. Zapico has made his own adaptations of works by Forqueray and Couperin, including what is arguably his most famous work, “Baricades Mistérieuses” (which will also be familiar to guitarists everywhere). Only two out of the fourteen tracks on this disc were originally written for theorbo, both of them by de Visèe.
The CD begins with Mr. Zapico’s own transcription of Forqueray’s eponymous tribute, “La Couperin,” originally for viol and continuo. From the very first notes, I was transfixed. Mr. Zapico’s technical command of the theorbo is unassailable, his interpretations at once elegant and passionate. The instrument’s re-entrant tuning (the first two strings are an octave lower than they would be if tuned in order, making the third string its highest sounding) enables him to achieve harp-like effects that are used liberally and effectively. A particularly startling example of this may be found in the later variations of Michel Lambert’s (1610–1696) passacaille/aria, “Ma Bergère est tendre et fidelle.” The piece begins with a sedate, literal rendering of the original, but as it progresses, the variations gather momentum to the point of a thrilling, explosive cascade about three minutes in.
Whether he is interpreting simple melodic works, like Couperin’s “Les Bergeries,” or engaging in wild flights of virtuosity as in the aforementioned piece by Lambert, Mr. Zapico keeps us enthralled with his honey-hued tone and velvet-smooth technique.
He seems to be coaxing us to fall in love with the theorbo the way he did the first time he encountered one, in his teens. Indeed, according to his biography (you can read it at danielzapico.com) he began specializing in it at about age sixteen. This CD is certainly a vivid reflection of his affection for the instrument, and I suspect significant resources were lavished on it. The recording venue was the Studio de l’Orchestre national d’île-de-France, a top-tier professional studio in Paris that has produced recordings for many international record labels. The technical quality of the recording is outstanding. The sound has presence, richness, heft, and detail without muddying it in unnecessary ambiance, all set against a dead-silent background. The net result is organic and natural, something that is deceptively difficult to achieve in the studio.
The disc comes packaged in a unique way (at least, not one I’ve ever encountered, and I was involved in the retail CD business for quite a number of years): it’s embedded in a thick foam surround in an equally thick box. The booklet (if you can call it that) is a single folded sheet reminiscent of the back of an LP jacket, except bigger. On one side of this sheet are the descriptive notes (written by Mr. Zapico) in three languages, and on the other, a glossily embossed facsimile of the tablature for Lully’s “Assez de pleurs.”
Alborada éditiones is Mr. Zapico’s own record label and this is, so far, its only catalog entry, though I certainly hope not the last. However, this has an unfortunate effect on the CD’s availability.
So far as I could determine, it can only be purchased from the label’s website (alborada-editions.com), or streamed from Spotify and Deezer (though you might not get full sound quality, depending on how the music is encoded on these services). Even considering these restrictions, I wholeheartedly recommend this recording, so please do take the trouble to experience it.
Quarterly · The Lute Society of America
Howard Kadis | Finales de 2020
«This is a performance that commands attention throughout. Clearly Daniel Zapico is a master of his instrument where, at times, his sonority and style are reminiscent of the best of classical guitar. Technically very proficient he has an excellent understanding of sonority, composition and fluid ornamentation, with sensitive, subtle use of vibrato, and variation of volume, the latter possibly involving right-hand position. In his sleeve notes he describes his approach as ‘transcription by adding, with all due respect, new pages to this exquisite book’ thus permitting himself discreet addition of his own variations in an appropriate style. Often this is so seamless that I’m left asking myself where does the source end and Zapico begin? His fine theorbo, by Jaume Bosser, has an excellent dynamic range and a good balance of harmonics and both are ably served by the recording engineer. The disc includes a few transcriptions of pieces for keyboard, and a few for viol while the majority derive from the Vaudry de Saizenay manuscripts for lute and theorbo. I’ll be brief and just comment on some of the tracks.
The ‘Pastouralle’ (track 8) could easily be for Spanish guitar if it weren’t for the basses. ‘Les Sylvains’, (track 10) contains some minor surprises, possibly by reference to the keyboard original. The Bourée—‘Une Jeune Filette’—which I could just about recognise, as derived from ‘la Monica’, has a nice set of variations and finally the Chaconne (track 15) in style and ornament has a strong flavour of baroque guitar. Here Zapico lets the three-beat rhythm develop from an almost amorphous beginning into a performance with compelling drive, finishing with a virtuoso cascade of triplets. Some of his transcriptions, such as ‘Ma Bergère est tendre et fidelle’ (track 4) and ‘Plainte sur le Mort de Monsieur Lambert’ (track 14), seem strongly vocal while others such as ‘La Couperin’ (track 1) and ‘Le Carillon de Passy’ (track 9) retain much of their origins as pieces for viol.
This disc comes with intriguing packaging. A sturdy CD sized box about 2cm deep promised something like bespoke chocolates. Rather than in the customary booklet, notes are provided on a, possibly not as robust, double sided 45cm x 48cm sheet. But you will enjoy the contents.»
The Lutezine · The Lute Society
Eric Franklin | Julio 2021
[…] La soprano murciana especializada en la mal llamada “música antigua” y el virtuoso tiorbista langreano que ya tiene en el mercado un CD en solitario (Au monde) de sello propio, prepararon un bellísimo programa con intervenciones solistas de Daniel intercaladas para el siempre necesario descanso vocal de Olalla, excelsa combinación de virtuosismo a cargo de estos intérpretes que son referentes internacionales en este repertorio. […]
Primer “intermedio” instrumental de Zapico engarzando la Toccata Terza del italiano Giovanni Girolamo Kapsperger (ca.1580-1651), conocido allí como Il tedesco della tiorba, con nuestro Gaspar Sanz (1640-1710) y sus famosas Españoletas (Instrucción de música), formas de ida y vuelta, bautizadas en Italia y traídas a España desde donde pasarían a Hispanoamérica, inconfundibles y habituales del instrumentista asturiano que siempre resultan emocionantes por su intención y sentimiento, aún más rotundas en la tiorba por sus graves y resonancia que las tocadas generalmente con guitarra barroca. […]
Primer “intermedio” instrumental de Zapico engarzando la Toccata Terza del italiano Giovanni Girolamo Kapsperger (ca.1580-1651), conocido allí como Il tedesco della tiorba, con nuestro Gaspar Sanz (1640-1710) y sus famosas Españoletas (Instrucción de música), formas de ida y vuelta, bautizadas en Italia y traídas a España desde donde pasarían a Hispanoamérica, inconfundibles y habituales del instrumentista asturiano que siempre resultan emocionantes por su intención y sentimiento, aún más rotundas en la tiorba por sus graves y resonancia que las tocadas generalmente con guitarra barroca. […]
Pablo, la música en Siana
Pablo Álvarez | Agosto 2021
El nacimiento de un nuevo sello discográfico en estos tiempos de absoluta crisis del mercado del producto físico audiovisual es, además de una gran alegría, una muy loable y arriesgada apuesta. Si además se hace con el cariño, esmero y calidad que Alborada ha impuesto en su primer registro, no podemos sino agradecer de todo corazón esta nueva aventura que han emprendido los artistas Daniel Zapico y Nino Laisné.
El disco sorprende por su preciosa y trabajada presentación. Su bella caja se abre cuan cofre del tesoro para descubrir un libreto que es además una formidable reproducción de un fragmento del manuscrito de Vaudry de Saizenay, la fuente más importante para el instrumento que impera en el proyecto, la tiorba.
En el ámbito meramente musical, inmediatamente descubrimos que el registro sonoro no desdeña en absoluto del diseño gráfico. Daniel Zapico con su amada tiorba nos ofrece una formidable grabación de preciosas perlas del barroco francés transcritas por el propio intérprete, la mayoría de ellas de partituras ideadas bien para otros instrumentos como el clave, el laúd o la viola da gamba, o para la voz acompañada, práctica habitual en la época.
La interpretación es absolutamente abrumadora, mostrando un absoluto dominio del instrumento con un cálido, poderoso y homogéneo sonido que le permite desarrollar una expresividad mediterránea que carga de emoción y luminosidad las formidables piezas escogidas, entre las que destacamos especialmente Ma Bergère est tendre et fidelle de Michel Lambert o la preciosa Chaconne de Robert de Visée. Debemos resaltar asimismo la soberbia toma de sonido realizada por Mireille Faure.RITMO
Simón Andueza | Abril 2021
«It was fascinating, for instance, to see how the prominent onstage instrumentalists alter the way one hears those iconic Handelian numbers – how Daniel Zapico’s theorbo ornamentation, say, adds to the spine-tingling magic of “Ombra mai fù”, or how Atalanta’s provoking – and beautifully sung – dialogue with the violin on “Un cenno leggiadretto” turns up that teasing aria’s erotic heat.»
The Arts Desk
Boyd Tonkin | Octubre 2018
«And a special word for theorbo player Daniel Zapico, who underpinned the pungent rhythms with such tangy zest.»
Bachtrack
Stephen Pritchard | Octubre 2018
«La delicadeza de Ruth Verona al violonchelo, glosada maravillosamente a la tiorba por Daniel Zapico en uno de estos fragmentos fue un momento álgido de la velada, con sublimes trazas de ornamentación muy en el estilo.»
Granada Hoy
Gonzalo Roldán | Julio 2018
«El dúo Zapico ofreció un exquisito recital de música de cuerda que deleitó a los melómanos congregados en el Corral del Carbón. […] Ni una mota en el brillante recital de los Zapico: ellos saben decir algo nuevo al hablar de música antigua. […] Desde la vihuela rediviva hasta la guitarra barroca, con su somera modernidad, en diálogo con la tiorba espectacular hasta en su espalda, todas magistralmente tañidas por los hermanos Zapico.»
Ideal
Andrés Molinari | Junio 2018
«Solidísimos Zapico y Espasa tanto en técnica instrumental como en realización del acompañamiento, el asturiano mostró un sonido pleno y seguro en la tiorba.»
Diario de Sevilla
Juan Ramón Lara | Marzo 2018
«El Concierto para cuerdas en do mayor exige por igual despliegue enérgetico y equilibrio sonoro. En este dominó el valor contrastante de nuevo, y entre la agilidad de la cuerda sobresalió la solvencia y pulcritud de Daniel Zapico en la tiorba.»
Platea Magazine
Diego A. Civilotti | Enero 2018
«Los Zapico son un referente en su repertorio y demostraron por qué con casi dos horas de concierto en los que la atención del público no decayó. La comunicación entre los hermanos es evidente y, a través de ella, logran convertir una aparente dificultad en su mayor virtud. Tocan unos instrumentos originalmente diseñados para el acompañamiento que mediante sus arreglos y de ese lenguaje fraternal que dicen haber inventado, se convierten en un permanente ejercicio de cortejo. Cada miembro del trío contribuyó a su manera. La tiorba, virtuosa pero también capaz de una deliciosa y doliente sensibilidad en las Españoletas; la guitara, cálida pero también delicada e íntima en el Grabe y Allegro de Murcia; y el clave, alegre, ágil y poco resignado a una función de acompañamiento. Los tres solistas, los tres corales.»
Platea Magazine
Juan José Freijó | Diciembre 2017
«Daniel Zapico demostró de nuevo el lujo que es tenerlo de profesor en Zaragoza, ya que es un intérprete que domina a la perfección su instrumento tanto acompañando como en solitario».
Heraldo de Aragón
Juan Carlos Galtier | Agosto de 2017
«In India, authentic baroque period music is very rare to hear. Daniel and Pablo Zapico recreated an acoustic space that has never been heard before in Calcutta. A lot of guitarists and guitar students from across India were present for this concert, heard this music and have been inspired. Parts of this concert repertoire is what guitar students in India learn on the modern classical guitar. For them in particular, this was a unique and valuable experience.»
Indian Guitar Federation & Calcutta International Classical Guitar Festival
Veda Aggarwal, Director | Diciembre de 2016
«The ambience that was created by the Zapico brothers was second to none. To witness the exact music and sound that was performed in the Baroque era was a real experience and eternally impressive. Visually and aurally it was a trip back in time.»
Calcutta International Classical Guitar Festival
Aakash Saha, Artistic Director | Diciembre de 2016
«Daniel Zapico a remporté un vif succès. La qualité musicale de ses interprétations, sa technique parfaite, et un un choix de morceaux judicieux ont permis un concert de très haut niveau mais qui restait accessible à tout public. Une belle soirée qui restera un des moments fort de notre saison 2016-2017.»
Arnaud Labastie, Directeur de l’Ecole Municipale de Musique & Chargé de programmation M.A.C | Diciembre 2016
«Carlos Mena se adentró en este repertorio de canciones basadas en ostinati desde el milimétrico cuidado en la articulación y en el fraseo, deletreado con fruición morosa y desenvuelto en mil y una espirales expresivas, con momentos de belleza tan subyugante como Queste pungenti spine. Mena controla al máximo la calidad del sonido, con graves bien apoyados en los que se adentra sin saltos abruptos y ascenso al agudo bien ensamblado. Compartió dominio de las variaciones y ornamentaciones con un espléndido Zapico de rico y variado sonido.»
Diario de Sevilla
Andrés Moreno | Octubre de 2016
«For the last work, the tenor, Marco Beasley, returned to perform Monteverdi’s “Lettera amorosa”, from 1619, which is a setting of a poem by Claudio Achillini. He was accompanied (brilliantly) only by the theorbo. It is described as a madrigal, indeed it is in Monteverdi’s “Seventh Book of Madrigals”, but it is more like a recitative, with minimal accompaniment and a free rhythm. Beasley’s performance was beautiful as he wrote his letter, entreating it to deliver a heartfelt expression of love to his intended as he awaits their nuptials.»
CityNews
Clinton White | Mayo de 2016
«Kapsberger’s Passacaglia was exquisite, the delicate guitar introduction ending with one fragile note gently taken and gracefully developed by the theorbo.
The following Improvisaciones sobre Caponas y Chaconas created a mesmerising reverie creating a contrast to the final Fandango by Scarlatti – a surprisingly different style to his more frequently played keyboard sonatas.
How glorious to hear these musicians and feel the music of 18th century Spain brought to life.»The Canberra Times
Jennifer Gall | Mayo de 2016
«Os dois instrumentistas mostraram igualmente uma grande sintonia com o universo da cantata de câmara através de realizações imaginativas do baixo contínuo, sempre bastante atentas ao carácter das obras — recorde-se que neste repertório o registo da parte instrumental na partitura se limita à linha do baixo com cifras, devendo os intérpretes realizar as harmonias e enriquecer a textura com outras figurações.
Também nas intervenções puramente instrumentais ousaram apostar na componente da improvisação a partir de excertos de obras conhecidas (de François d’Agincourt, Frescobaldi, Kapsberger, Soler e Sanz), especialmente baseadas em baixos ostinatos ou em fórmulas de dança, recriando assim com vivacidade e virtuosismo uma prática habitual nos séculos XVII e XVIII ainda relativamente pouco presente nas salas de concerto do circuito mais convencional da música erudita.»
Público
Cristina Fernandes | Febrero de 2016
«Parte del truco del programa radicaba, claro, en el virtuosismo, que siempre es un reclamo para el oyente (llamativa la perfección de Daniel Zapico a la tiorba en Kapsperger), pero tal vez la forma de embaucar de la formación vaya un punto más lejos: convierten todas las músicas con un ostinato rítmico en pièces de caractère, en una demostración dual de personalidades (la del compositor y la del intérprete) enmarcada dentro de un fandago, una passacaglia o una folía. Se hace de la música juego, y no hay mejor manera de tomársela en serio.»
Bachtrack
Mario Muñoz | Agosto de 2015.
«Daniel Zapico nos regaló el mejor momento de la noche con la Passacaglia de Kapsberger, abordada con perfección técnica y gran capacidad emotiva.»
El Patio de Butacas.
Pablo Haldón | Septiembre de 2014.