Gaspar Sanz (1640-1710)
Zarabanda

Andrea Falconiero (1585-1656)
L'Eroica à 3

Domenico Scarlatti (1685-1757)
Sonate pour clavecin seul en ré majeur, K 492

José de Nebra (1702-1768)
Fandango de Espana

Felix Maximo Lopez (1742-1821)
Variaciones del fandango espagnol, pour clavecin seul

Luigi Boccherini (1743-1805)
Grave assai
Fandango

Santiago de Murcia (1682-1740)
Jacaras por la E, pour guitare seule
Tarantelas
Fandango

Antonio Martin y Coll (1680-1740)
Zarabanda

Jean-Philippe Rameau (1683-1764)
Les Sauvages

Juan Bautista Cabanilles (1644-1712)
Pasacalles II de primer tono

Padre Antonio Soler (1729-1783)
Fandango

Concierto Ibérico

Inés Pina Pérez, flûtes à bec
Miguel Bellas, guitares, théorbe
Lea Sutter, clavecin
Peter Kuhnsch, percussion
Juan Gonzalez Martinez, trombones

Fandango - Inspiración: The Dance of Joy. Rich or poor, young or old, great or small – almost everyone in town knew at least the basic figures of this improvisational song and dance. It was danced in theaters and on the streets, from the taverns and dance halls to the palaces of nobles. The fandango, usually accompanied by a guitar and castanets, was and is fundamentally an expression of joie de vivre! And - as many a prudish contemporary at the time lamented - it was also a dance of amorous pleasure: "Their bodies move to the cadences of the music, full of passionate excitement, with extremely voluptuous gestures, with stamping feet, glances, leaps, all the movements brimming with lascivious intentions", complained the Dean of Alicante in 1712. If that is not proof enough of the charms of the fandango, let it be noted that even Giacomo Casanova himself expressly described the fandango as "the most seductive and voluptuous dance in the world". And he should know..