El arte de fantasía

1	Entrada, improvisation af
2	Tres sobre el canto Ilano
3	Mille regretz (after Josq
4	Demandez vous, canción (a
5	Je vous, canción
6	Tiento para harpa u órgan
7	Tiento sobre la Pavana re
8	Soneto a manera de dança
9	Cinco Diferencias sobre C
10	Pavana con su glosa, impr
11	Mundo, qué me puedes dar?
12	Diferencia Sobre "La Gall
13	Unum colle Deum, fugue fo
14	Míralo cómo llora, canció
15	Para discantar
16	De los álamos vengo, madr
17	Baxa de contrapunto
18	Tiento XVIII (after Cabez
19	Canto Ilano
20	Duo
21	Tres (after Cabezón)
22	Himno a 4 (after Cabezón)
23	Himno de canto Ilano (aft
24	Diferencias sobre Guárdam
25	Paseávase el rey moro
26	Paseábase glosado (after
27	Final, improvisation afte
El arte de fantasía
1.	Entrada, improvisation after Henestrosa & Cabezón 5:01
	Composed by Harp Consort
	Performed by Harp Consort
2.	Tres sobre el canto Ilano de La alta (after Cabezón) 1:33
	Composed by Luis Venegas de Henestrosa
	Performed by Harp Consort
3.	Mille regretz (after Josquin), for vihuela 2:48
	Composed by Luys de Narváez
4.	Demandez vous, canción (after Crequillon) 1:25
	Composed by Luis Venegas de Henestrosa
	Performed by Harp Consort
5.	Je vous, canción 1:26
	Composed by Luis Venegas de Henestrosa
	Performed by Harp Consort
6.	Tiento para harpa u órgano 0:47
	Composed by Alonso de Mudarra
	Performed by Andrew Lawrence-King
7.	Tiento sobre la Pavana real 1:31
	Composed by Enríquez de Valderrábano
	Performed by Helen Coombs
8.	Soneto a manera de dança 1:57
	Composed by Enríquez de Valderrábano
9.	Cinco Diferencias sobre Conde Claros 10:18
	Composed by Luis Venegas de Henestrosa
	Performed by Harp Consort
10.	Pavana con su glosa, improvisation after Henestrosa 2:36
	Composed by Harp Consort
	Performed by Andrew Lawrence-King
11.	Mundo, qué me puedes dar?, canción 2:56
	Composed by Luis Venegas de Henestrosa
	Performed by Andrew Lawrence-King and Hille Perl
12.	Diferencia Sobre "La Gallarda Milanesa" for organ 2:43
	Composed by Antonio de Cabezón
	Performed by Andrew Lawrence-King
13.	Unum colle Deum, fugue for 40 voices 2:02
	Composed by Luis Venegas de Henestrosa
	Performed by Andrew Lawrence-King, Andrew Lawrence-King and Harp Consort
14.	Míralo cómo llora, canción 1:04
	Composed by Luis Venegas de Henestrosa
	Performed by Harp Consort
15.	Para discantar 3:17
	Composed by Enríquez de Valderrábano
	Performed by Andrew Lawrence-King and Lee Santana
16.	De los álamos vengo, madre, song 1:54
	Composed by Juan Vasquez
	Performed by Andrew Lawrence-King and Harp Consort
17.	Baxa de contrapunto 1:25
	Composed by Luys de Narváez
18.	Tiento XVIII (after Cabezón) 5:52
	Composed by Luis Venegas de Henestrosa
19.	Canto Ilano 0:40
	Composed by Plainchant
	Performed by Hille Perl
20.	Duo 2:07
	Composed by Antonio de Cabezón
21.	Tres (after Cabezón) 1:39
	Composed by Luis Venegas de Henestrosa
	Performed by Hille Perl
22.	Himno a 4 (after Cabezón) 3:05
	Composed by Luis Venegas de Henestrosa
23.	Himno de canto Ilano (after Cabezón) 1:53
	Composed by Luis Venegas de Henestrosa
	Performed by Hille Perl
24.	Diferencias sobre Guárdame las vacas (Henestrosa's & Narváez's versions) 2:58
	Composed by Various Composers
	Performed by Steve Player
25.	Paseávase el rey moro 1:05
	Composed by Luys de Narváez
	Performed by Hille Perl
26.	Paseábase glosado (after Palero) 0:58
	Composed by Luis Venegas de Henestrosa
	Performed by Andrew Lawrence-King and Hille Perl
27.	Final, improvisation after Mudarra, Cabezón & Henestrosa 3:29
	Composed by Harp Consort
	Performed by Harp Consort

Barnes & Noble

In the 20th century, classical musicians were trained to follow composers' instructions to the letter, original texts were sought out, and editorial alterations were strictly verboten. It was the era of the urtext. Not surprisingly, improvisation became a lost art, but when looking back to the music of the past, one finds that the ability to improvise was an essential facet of a musician's technique, and Andrew Lawrence-King has made it his business to restore that tradition. Fittingly, a 16th-century Spanish treatise on ornamentation -- Luis Venegas de Henestrosa's (c.1510-70) lengthy Libro de cifra nueva -- forms the basis for Lawrence-King and the Harp Consort's El arte de fantasía, a rich program that includes some of Henestrosa's own fantasías (basically, re-workings of others' compositions), as well as new improvisations following Henestrosa's instructions. The result is chamber music of startling freshness and expressive intensity. The sounds in themselves are ravishing, too: Lawrence-King plucks both a Renaissance harp and a Spanish double harp, and moves about on organ, harpsichord, and psaltery, aided by the magnificent young viola da gamba virtuoso Hille Perl and three other Harp Consort veterans. Writing about the old Spanish master in an extensive booklet note, Lawrence-King claims that the Libro shows Henestrosa's "true colors as a creative and daring artist." Given the eloquence of the interpretations here, one could say the same about Lawrence-King. Andrew Farach-Colton

All Music Guide

With El arte de fantasía, Andrew Lawrence-King and his Harp Consort have once again put together an album that is attractive to hear even as it introduces audiences to an esoteric repertoire. Any lover of harp music might enjoy the pristine sounds and graceful ornaments of Lawrence-King's Spanish double harp and Renaissance harp. The selections here come from the era of Spain's King Charles V. Lawrence-King is featured on every track, usually accompanied by a small group of string and keyboard instruments. As on other recordings, Lawrence-King focuses on a single musical entity as an entry point to a complex repertoire, in this case a publication, the Libro de cifra nueva para tecla, arpa & vihuela (Book of New Tablatures for Keyboard, Harp, and Vihuela) of 1557. The music reflects various influences: improvisatory procedures, variation structures that were the ancestors of later ground bass pieces, semi-popular song, and the Flemish polyphony of Josquin and his contemporaries that was the high-art music of its time. Mixing preexisting materials together to create something new was central to the music's conception. Luis Venegas de Henestrosa, the book's compiler, brought together arrangements of works by various composers, often drastically altering the originals and even merging several different works into a single new piece. By the lights of the old cult of individual creativity, Henestrosa was a defacer, but as a hip-hop sampler he'd be a natural. Lawrence-King leads the listener into this compositional world, undertaking improvisations "after Henestrosa", providing extensive liner notes, and even indulging in a little fantasy of his own, using overdubbing to record a 40-part "fuga" by Henestrosa with just five musicians. El arte de fantasía will please both casual listeners and those curious about specific Renaissance musical cultures. James Manheim