"La Tierra del Olvido" would mark a further step in Vives’ desire to fusion rock,
In 1993, backed by the band “La Provincia”, Vives released the album “Clásicos de la Provincia” in which he started fusing Vallenato with rock,
Aigues Vives was founded in 1971 in Germany. The band was first influenced by the English progressive rock scene. After some changes they turned to folk instead. Late 1980-early 1981 they recorded their first album called “Water of Seasons”. The tracks of the LP have a fine Folk-Rock sound, with English vocals, and bit of improvisation with violin or flute to the guitars, which provide mood flavours. The dreaminess of the improvisations only provide a fine and enjoyable somewhat progressive folk sensibility to the songs. Their sole album was rare enough and until the excellent label Garden Of Delight gave it a recent reissue, AV was certainly a hidden gem of the 80's. And as a blessing, GOD also delivers some bonus tracks from their second never finished album.
This CD includes 17 de Seixas sonatas, of which 10 are in the single movement form favored by Scarlatti. There are nine sonatas with two movements and one sonata with three movements. The movements tend to be brief as compared to Soler's multi-movement sonatas. The multi-movement works usually include an allegro and dance movements such as a gigue or minuet. The sonatas are mostly short. They range in time on this CD from 1:15 for the sonata no 45 in G major to 9:37 for the single movement sonata no. 16 in c minor. The works do not follow Kastner's ordering on the CD. The CD opens with five single movement works, and the remainder of the disk includes multi-movement works interspersed with single movement compositions. The initial work in Kastner's ordering, a short, sprightly single movement sonata in C major appears late in the CD. Of the sonatas 12 are in the major key and 5 in the minor.
A student and younger contemporary of Domenico Scarlatti on the Iberian peninsula, Portuguese composer Carlos de Seixas (1704-1742) wrote harpsichord sonatas in much the same vein as his teacher. Since precise dates for the compositions of either composer are hard to come by, it is even possible that the student might have influenced the teacher in some ways. His sonatas here don't harness the differentiation of texture to the new possibilities of harmonic rhythm in quite the precise ways that Scarlatti's do, and the multimovement structure of many of the sonatas makes them a little diffuse as compared with Scarlatti's.