If anything characterizes the XX and XXI centuries -as far as musical performance is concerned-is the interest in music of the past, the old music.
The point is that until mid-twentieth century people what used to hear was the music of his own time, that is unknowingly made and listened to contemporary music.
It is not until the 40 or 50 of the last century when interest in reviving the music of the time was not itself gained an unprecedented growth; although in the nineteenth century there were more or less serious attempts (as Mendelssohn) showed curious what did the musicians of his recent or distant past.
So today, we see that the public has a variety of options, thanks also to the existence of recorded music in its various formats and forms. For example, we get people dealing with the guaracha, the ballroom dancing of the '50s, people who revives the foxtrot, or charleston and boleristas type Cantores Los Panchos or Tropics. And if academics or classic is concerned, suffice it to note the repertoires of orchestras, who spend over 60 percent of their programs to the music of the past, and little or almost never mounted contemporary works.
One of these cultists is the Spanish Eduardo Paniagua, who illustrates our note today, dedicated to the daunting task of recording the integral of the Cantigas of King Alfonso X the Wise, pure music of the twelfth and thirteenth centuries, that is, totally medieval .
This is one of the fundamental contributions of musicians and listeners of our time: the ability to offer all possible and enjoy music of all existing times.
