Concerto Zapico, Vol. 2 Forma Antiqva

• Gaspar Sanz.
• 1 Canarios 02:47
• 2 Marionas 04:22
• Antonio Martín y Coll:
• 3 Xácara 02:06
• Francesco Corbetta:
• 4 Preludio al 5to Tuono 01:38
• Santiago de Murcia:
• 5 Cumbees 03:50
• Francisco Tejada:
• 6 Faborita 03:12
• Gaspar Sanz:
• 7 Jacaras 03:12
• Giovanni Battista Vitali:
• 8 Toccata e Bergamasca 03:09
• Sebastián Aguilera de Heredia:
• 9 Obra de 8. Tono Alto. Ensalada 05:13
• Gaspar Sanz:
• 10 Españoletas 04:06
• Giovanni Girolamo Kapsperger:
• 11 Villan Di Spagna 03:05
• Antonio Martín y Coll:
• 12 Las Folías 04:40
• Santiago de Murcia:
• 13 Grabe 02:50
• 14 Allegro 03:09
• Bellerofonte Castaldi:
• 15 Cecchina e Florida Correnti 02:58
• Francisco Tejada:
• 16 Alemanda de Coreli 03:56
• Gaspar Sanz:
• 17 Pavanas por la D, Con Partidas al Aire Español 02:56
• Anonymous:
• 18 Tirana del Coche de la Princesa 02:07
• Giovanni Girolamo Kapsperger:
• 19 Kapsperger 04:05
• Traditional:
• 20 Fandango de Leitariegos 01:41
• Total Runtime 01:05:02

Info for Concerto Zapico, Vol. 2

In 2007 the Zapico brothers created «Concerto Zapico»; their most personal project. Through it they reached a longed for aspiration: to be able to make chamber music together. The problem is that none of them play any melodic instrument, but polyphonic, ideal for the solo repertoire or for the realization of the basso continuo, that is, the harmonic accompaniment of the melody. But, playing together?

To achieve it they decided to undertake the task of transcribing a selection of Italian and Spanish dances from the 17th and 18th centuries, creating a unique and personal language. Their first recording in this format, «Concerto Zapico», came out with tremendous success in 2010 for the German label Winter & Winter, where they are currently exclusive artists. The transcriptions alternated harmonic and rhythmic filling with singable parts for each instrument. A new language for a unique instrument set.

After «Concerto Zapico» came «Opera Zapico», in which they evidenced that it also works -and how!- their transcriptions of arias and instrumental opera parts, from Monteverdi to Mozart. Big orchestral scores reduced to three unique instruments; and without voice. A practice, although common at that time, nothing explored today by almost any performer.

After more than a hundred concerts around the world with this program, the original registered selection of dances of «Concerto Zapico» was evolving in such a way that eight years later a new corpus of works has emerged with its own entity and that configures the content of this new release. This is «Concerto Zapico Vol. 2», a journey through the dance music of the 17th and 18th centuries with an extra maturity, language control, colors and timbre possibilities of their instruments. The most current expression of the recognized by the reviews as «Zapico style», their own language that they maintain in continuous development. This musical understanding makes this CD a hypnotic and fascinating experience for the listener.

Forma Antiqva:
Aarón Zapico, harpsichord, organ
Daniel Zapico, theorbo
Pablo Zapico, baroque guitar
Additional musicians:
David Mayoral, drum, tombak, brooms, tambourine, darbuca, framedrum, tabor

Forma Antiqva
is the personal and professional project of the 3 Zapico brothers: {Aarón}, {Daniel} and {Pablo}. Founded in 1999, in just a short time it has managed to secure a leading position in the sector of Baroque music in Spain thanks to their up-to-date, daring and accurate interpretations, their refined image and their presence on social networks.

Daniel, Pablo and Aarón try to ensure that every Forma Antiqva concert is a unique experience, whether playing as a trio, a chamber ensemble or as part of an orchestra.

Born in Asturias, Aarón Zapico has made a forceful arrival on the early music scene in Spain over recent years. The key to this success can be found in his elegant, resilient interpretations with their varied and nuanced dynamics, as highlighted by the specialized music critics. He is constantly present at the most important festivals and concert halls, where he can be found leading symphonic orchestras, specialised groups and his own ensemble Forma Antiqva.

His services are increasingly in demand as a guest conductor and he has had the pleasure of leading the Symphony Orchestra of Galicia, the Symphony Orchestra of the Principality of Asturias, the Philharmonic Orchestra of Malaga, the Orchestra of Extremadura, the Roquetas de Mar Baroque Orchestra and Choir, the Bilbao Choral Society, the Princess of Asturias Foundation Choir, the University of Santander Camerata Choir, the Youth Baroque Orchestra of Andalucía, the Santander Academy of Early Music, Acadèmia 1750, the Baroque Orchestra of Vélez Blanco and the Youth Orchestra of the Autonomous Community of Madrid.

In 1999 he founded the baroque music ensemble Forma Antiqva (resident in the Oviedo Auditorium), to which he dedicates most of his time and attention. In just a few years he has managed to secure the ensembles place in the top ranks of historical interpretation thanks to their performances at the most prestigious cycles, their international tours across Europe, Asia and Latin America, as well as their recordings which have been repeatedly praised by international critics.

An exclusive artist of the German record company Winter & Winter since 2009, his recordings as a solo artist and conductor have been nominated on 4 occasions for the International Classical Music Awards (2010, 2011, 2014 and 2017) and have obtained maximum recognition by European critics. His version of Antonio Vivaldi’s celebrated Four Seasons in 2012 had a genuine impact across Europe and was unanimously elected by the critics as an absolute reference point.

Committed to recovering Spanish music from the 17th and 18th centuries, he has directed numerous debuts in modern times of authors such as Blas de Laserna, José Lidón, Antonio Literes, Joaquín Lázaro and Jaime Casellas. In a like manner, his interest in contemporary music and new artistic manifestations has led him to work closely with Ernst Reijseger (1954), and to record his symphonic poem The Volcano Symphony written especially for Forma Antiqva, Fumio Yasuda (1953) or Uri Caine (1956), in the multidisciplinar project Poem of a cell, premiered at the Heineken Jazzaldia in San Sebastian.

With classical training and an outstanding advanced degree in piano from the Conservatory of Oviedo, he specialised in early music and harpsichord at the Royal Conservatory of The Hague, where he completed his soloist diploma with the unanimous praise of the board. At the same time, he also received advices from the most renowned worldwide specialists in historical interpretation.

He has collaborated for many years with some of the most outstanding symphonic orchestras and ensembles under the baton of Frans Brüggen, Emilio Moreno, Pablo González, Marzio Conti, Álvaro Albiach and Victor Pablo Pérez.

He has worked as harpsichord and chamber music professor at the conservatories of Murcia and Oviedo and as guest professor on the most important courses on early music. He has also given advanced courses and master classes in places such as Melbourne, Singapore, Gijón, Aracena, Burdeos, Costa Rica, Vélez Blanco, Granada and Albarracín.

In 2009, his restless, committed and entrepreneurial spirit led him to found and direct (until 2013) the Early Music Academy in Gijón. From 2011 to 2013 he also directed the Early Music Festival in the same city, as part of which he created the first International Competition of Early Music in Spain and different pioneering initiatives, such as concerts for disadvantaged people. He has also participated actively in the foundation of GEMA (Association of Spanish Groups of Early Music) and in the Platform for teachers, performers, composers and researchers of the Principality of Asturias.

Aarón Zapico has been finalist as Best Director in the GEMA Awards the years 2015, 2016 and 2017. He has been the recipient of the Asturian of the Month award from La Nueva España newspaper, the Group of the Year 2010 prize from the Television of the Principality of Asturias, the Asturian Music Award in 2012, the Serondaya Award for Cultural Innovation in 2012, and the FestClásica Award (Association of Spanish Festivals of Classical Music) in 2015. He has been member of the Jury for the Princess of Asturias Awards.

Booklet for Concerto Zapico, Vol. 2