La Regalada is a grouping of trumpets, timpani and organ, which was born with the intention of interpreting and recreating, from a historically informed perspective, the music and sonorities typical of this type of formations, thus remedying a void within the panorama of the ancient music of our country. The reclaiming repertoire covers a period that ranges from approximately the last third of the sixteenth century to the end of the eighteenth century, and goes through different genres: from music belonging to the bodies of trumpets and aabales, through trumpet and organ music, to opera and instrumental music.
During the seventeenth and eighteenth centuries, groups of trumpets and aails flourished in the European courts. These musicians and military were part of the stables, one of the institutions of the old regime in the service of the monarch. As servants they were in charge of the sound section whenever they were required for any type of event related to courtly celebrations (parades, banquets, profane and religious festivals, among others).
Likewise, these two centuries saw the art of the clairvoyene flourish, this is the technical development of the acute record of the trumpet, which was the most important event for the history of the instrument and, at the same time, favored its incorporation into the cultured musical tradition of the time.
The reclaiming repertoire covers a period that ranges from approximately the last third of the sixteenth century to the end of the eighteenth century, and goes through different genres: from music belonging to the bodies of trumpets and aabales, through trumpet and organ music, to opera and instrumental music.
In the first stage of this journey towards the music of the great composers, a turning point was the association between trumpet and organ. This cooperation was an opportunity to exhibit to the public, but also to the musicians themselves, the artistic expertise of the great trumpeters of the time and the musical performances and possibilities of the instrument. Such was the success of the development of the technical capabilities of the trumpet that all the great composers of the Baroque wrote to him works or, at least, included it within the organic of the orchestras on a regular basis. The military, religious and Majestetic symbology surrounding the instrument did not go unnoticed by composers, who did not hesitate to use it to introduce a genuinely trumpet language that expanded the expressive and mimetic abilities of their works. That is why we find constant trumpet interventions in numerous operas, usually associated with both instrumental moments and situations of dramatic intensity in which gods or heroes sang their solemn, vengeful chants and their warrior ardors, with which the composers referred to mental associations known to the public: the trumpets sounded ceremonious when the King and the Court paraded , instead they sounded terrifying in times of war, etc.