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About
the Music
This
collection is inspired and derived from the soulful,
expressive music of Spain especially the passionate
dance rhythms with the rich tradition of guitar at
their heart.
The
earliest music recorded here, two pieces by seventeenth
century Spanish guitarist Gaspar Sanz, were published
in 1674. Pavan, with its variations on a Spanish air,
and Canarios, based on a dance believed to be from
the Canary Islands, are examples of Sanz' legacy of
uniquely Spanish themes and rhythms which greatly
influenced the compositions of his countrymen for
the next few centuries.
Spanish
Romance is a mystery piece-although played as a typical
Spanish guitar piece there are some even in Spain
who believe it originally came from the Caucasus region
of Southeastern Russia.
Composer
Isaac Albéniz (1860-1909) traveled extensively in
search of sensory experiences to inspire his work.
Much of his music is evocative of the landscapes and
scenery of the Spanish countryside, as well as the
throb of life in the cities, and he often used the
local folk music he heard as a source of inspiration
for his compositions. Although Albéniz composed for
piano, his contemporary (and fellow Catalŕn) Francisco
Tárrega began arranging his pieces for guitar, as
did Tárrega's students Miguel Llobet and Emilio Pujol
and many others. Concert performers continue to arrange
and present Albéniz' work, and it has become an important
part of the classical guitar repertoire. Six of his
pieces appear on this recording, including the renowned
Malagueńa, based on the Fandango of Malaga, and Capricho
Catalán, which employs the rhythm of the Zambra, a
festive dance of Moorish origin. The nostalgic compositions
Cádiz, Sevilla, Granada, and Rumored de la Caleta
reflect Albéniz' journeys through the great cities
of Andalucia, which profoundly influenced him with
their Moorish heritage, gypsy rhythms, soulful song,
and strummed guitar.
Francisco
de Asis Tárrega Eixea (1852-1901) was a renowned performer,
teacher, and arranger during a nationalistic period
when Spanish music and themes gained popularity. Tárrega's
Recuerdos de la Alhambra, one of the most popular
pieces ever written for the guitar, uses tremolo technique
to portray the rivulets and fountains of moving water
throughout the famed Moorish palace overlooking the
city of Granada. His Capricho Arabe is a captivating
expression of Orientalism in Spanish music. Two of
Tárrega arrangements also appear here: Serenata Espańola,
a piano composition by Joaquin Malats performed widely
by Andres Segovia, and Seguidillas and Tango, a dance-based
composition by the celebrated Zarzuela composer Emilio
Arrieta.
Spanish
composer Manuel de Falla (1876-1946) had a great affection
for the guitar, and studied the instrument himself
to discover its technique and abilities to perform
modern music. Two of the selections recorded here,
Song of the Fisherman and Song of the Will o' the
Wisp, are arrangements of instrumental and song melodies
from de Falla's ballet El Amor Brujo. His compositions
are close to the heart of Spanish music, with its
dark, shadowed moods so beautifully portrayed in poetry,
song, and paintings.
Federico
Moreno Tórroba (1891-1982) was the first composer
to create pieces for Andres Segovia, who widely performed
and recorded many of his works. Tórroba's Romance
of the Pines became one of Segovia's particular favorites
as an encore piece. In performing this material, I
find audiences never tire of these charming pieces.
Happily,
these are among my favorites also. Perhaps I respond
to Albeniz' interpretations of Spanish places, which
immediately set a mood; they are evocative of fragrant
nights and the promise of romance.
James
Edwards
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