This browser doesn't support Spotify Web Player. Switch browsers or download Spotify for your desktop. The most commercially successful Spanish singer of all time, Alejandro Sanz earned a reputation as an industrious hitmaker in his native country during the s, and by the decade's end, he'd expanded his fan base internationally, broadening his style beyond romantic ballads and collaborating with fellow Latin superstars, most memorably Shakira.
Probably it is merely an allegorical fragment of a longer poem now lost. Many include links to recordings. This literary squabble ended in the most natural way, namely, in the co-existence of both manners in peace and harmony. I've not yet read Legion, this rating is only for Emperor's Soul! Another is:.
A talented songwriter with handsome looks, Sanz proved immensely popular even with his debut album, 's Viviendo de Prisa, which was a number one hit in Spain. Released in , No Es Lo Mismo found him breaking away from audience expectations and exploring his own musical interests. Sanz did much the same on his next album, 's El Tren de los Momentos, which was highlighted by "Te Lo Agradezco, Pero No," a passionate duet with Shakira , whom he'd collaborated with the previous year on her massive Grammy-winning hit "La Tortura.
His father played guitar professionally and was a significant influence on Alejandro, who learned to play guitar as a boy. Arenas helped Sanz find work in the recording industry, and the young performer initially signed a contract with the Spanish label Hispavox , which issued Los Chulos Son Pa' Cuidarlos , an album that was met with indifference upon its release and is now a curious collector's item. Sanz was billed as Alejandro Magno on the album. Remaining aligned with Arenas, Sanz subsequently moved to WEA Latina , where he began recording music under his present billing.
His early albums -- 's Viviendo de Prisa, 's Si Tu Me Miras and Basico, and 's 3 -- were loaded with hit singles and consequently were all successful, each reaching platinum status many times over in Spain. Comprised largely of romantic songs, these early albums connected well with sentimental listeners, particularly women, who tended to be as taken aback by the music as they were by Sanz's looks.
El Alma al Aire, released in , was a comparable commercial success, selling well internationally.
However, the album wasn't as solid as its predecessor and accordingly spawned fewer hits: "Cuando Nadie Me Ve," "Quisiera Ser By this point, Sanz had garnered a sizable following across the Atlantic, and his next recording, 's MTV Unplugged, was a clear effort to further his growing popularity in the Americas. MTV Unplugged moreover showcased the bounty of career highlights Sanz now had to his credit, as one hit after another was performed during the concert. When Sanz returned to the studio to begin recording his next album, No Es Lo Mismo, he decided to broaden his musical style to reflect his own interests.
Released in , the album was harder-hitting and more street-savvy than past ones, even including a bit of rap and touches of electronica.
The romantic songs were still front and center, granted, but Sanz wrote an album far from generic, illustrating his growing reluctance to cater to the expectations of his audience; for the first time, he co-produced the album himself. It was probably in the neighborhood of that lyrics began to be written in Castilian by the cultured classes of Leon and Castile, who had previously thought Galician the only proper tongue for that use, but the influence of the Galician school persisted long after.
The first real lyric in Castilian is its offspring. It is apparently an isolated example, ahead of its time, unless, as is the case with the Castilian epic, more poems are lost than extant. One must pass into the succeeding century to find the next examples of the true lyric. The serranas are particularly free and unconventional.
They are included in the didactic poem usually called El rimado de palacio. Poetry flourished in and about the courts of the monarchs of the Trastamara family; and what may be supposed a representative collection of the work done in the reigns of Henry II , John I , Henry III and the minority of John II , is preserved for us in the Cancionero which Juan Alfonso de Baena compiled and presented to the last-named king.
Two schools of versifiers are to be distinguished in it. In others appears the imitation of Italian models which was to supplant the ancient fashion. They likewise cultivated the metro de arte mayor , which later became so prominent see below, p. But the interest of the poets of the Cancionero de Baena is mainly historical.
Check out El alma al aire Edicion by Alejandro Sanz on Amazon Music. Stream ad-free or Prime pricing. See all 9 formats and editions Hide other formats and editions . Una noche (con the Corrs) · Una noche . I must begin this review by stating that I do not know how to speak or write Spanish. However, when. El Alma al Aire is the sixth studio album recorded by Spanish singer-songwriter Alejandro Sanz 3 Sales and certifications; 4 Personnel; 5 Awards; 6 Special edition; 7 Track listing . Cuando Nadie Me Ve (Video); Quisiera Ser (Video); El Alma al Aire (Video); Llega, Llegó Soledad (Video); Una Noche con The Corrs ( Video).
In spite of many an illuminating side-light on manners, of political invective and an occasional glint of imagination, the amorous platitudes and wire-drawn love-contests of the Galician school, the stiff allegories of the Italianates leave us cold. It was a transition period and the most talented were unable to master the undeveloped poetic language. The same may be said, in general, of the whole fifteenth century.
Although the language became greatly clarified toward it was not yet ready for masterly original work in verse. Invaded by a flood of Latinisms, springing from a novel and undigested humanism, encumbered still with archaic words and set phrases left over from the Galicians, it required purification at the hands of the real poets and scholars of the sixteenth century.
The poetry of the fifteenth is inferior to the best prose of the same epoch; it is not old enough to be quaint and not modern enough to meet a present-day reader upon equal terms. These remarks apply only to artistic poetry.
Popular poetry,—that which was exemplified in the Middle Ages by the great epics of the Cid, the Infantes de Lara and other heroes, and in songs whose existence can rather be inferred than proved,—was never better. It produced the lyrico-epic romances see Notes , p. It produced charming little songs which some of the later court poets admired sufficiently to gloss. But the cultured writers, just admitted to the splendid cultivated garden of Latin literature, despised these simple wayside flowers and did not care to preserve them for posterity.
The artistic poetry of the fifteenth century falls naturally into three classes, corresponding to three currents of influence; and all three frequently appear in the work of one man, not blended, but distinct. One is the conventional love-poem of the Galician school, seldom containing a fresh or personal note.
Another is the stilted allegory with xvi erotic or historical content, for whose many sins Dante was chiefly responsible, though Petrarch, he of the Triunfi , and Boccaccio cannot escape some blame. Third is a vein of highly moral reflections upon the vanity of life and certainty of death, sometimes running to political satire.
He gained more fame in the world of letters than many better kings by fostering the study of literature and gathering about him a circle of "court poets" nearly all of noble birth. Only two names among them all imperatively require mention. Santillana combined the freshest local setting with perfection of form and left nothing more to be desired in that genre. He also wrote the first sonnets in Castilian, but they are interesting only as an experiment, and had no followers.
Juan de MENA was purely a literary man, without other distinction of birth or accomplishment. His work is mainly after the Italian model. The Laberinto de fortuna , by which he is best known, is a dull allegory with much of Dante's apparatus. There are historical passages where xvii the poet's patriotism leads him to a certain rhetorical height, but his good intentions are weighed down by three millstones: slavish imitation, the monotonous arte mayor stanza and the deadly earnestness of his temperament.
He enjoyed great renown and authority for many decades. Two anonymous poems of about the same time deserve mention.
The Danza de la muerte , the Castilian representative of a type which appeared all over Europe, shows death summoning mortals from all stations of life with ghastly glee. The Coplas de Mingo Revulgo , promulgated during the reign of Henry IV , are a political satire in dialogue form, and exhibit for the first time the peculiar peasant dialect that later became a convention of the pastoral eclogues and also of the country scenes in the great drama. The second half of the century continues the same tendencies with a notable development in the fluidity of the language and an increasing interest in popular poetry.
The Coplas por la muerte de su padre , beautifully translated by Longfellow, contain some laments for the writer's personal loss, but more general reflections upon the instability of worldly glory.
It is not to be thought that this famous poem is in any way original in idea; the theme had already been exploited to satiety, but Manrique gave it a superlative perfection of form and a contemporary application which left no room for improvement. There were numerous more or less successful love-poets xviii of the conventional type writing in octosyllabics and the inevitable imitators of Dante with their unreadable allegories in arte mayor.
The repository for the short poems of these writers is the Cancionero general of Hernando de Castillo It was reprinted many times throughout the sixteenth century. Among the writers represented in it one should distinguish, however, Rodrigo de Cota. The bishop Ambrosio Montesino Cancionero , was a fervent religious poet and the precursor of the mystics of fifty years later.
The political condition of Spain improved immensely in the reign of Ferdinand and Isabella and the country entered upon a period of internal homogeneity and tranquility which might be expected to foster artistic production. Such was the case; but literature was not the first of the arts to reach a highly refined state.
The first half of the sixteenth century is a period of humanistic study, and the poetical works coming from it were still tentative. As a lyric poet Encina excels in the light pastoral; he was a musician as well as a poet, and his bucolic villancicos and glosas in stanzas of six-and eight-syllable lines are daintily written and express genuine love of nature.
Like most of his compatriots of the sixteenth century he wrote in both Portuguese and Castilian, though better in the former tongue. He was close to the xix people in his thinking and writing and some of the songs contained in his plays reproduce the truest popular savor. The intimate connection between Spain and Italy during the period when the armies of the Emperor Charles V Charles I of Spain: reigned were overrunning the latter country gave a new stimulus to the imitation of Italian meters and poets which we have seen existed in a premature state since the reign of John II.