Alan Rinehart : Spanish Recital.
A feast of renaissance and baroque music.
One of the first things that a concert guitarist considers when contemplating
making a recording is doing a 'recital' program. I have avoided this temptation
for some time, preferring to create recordings that follow some sort of theme. A
well planned concert program will also have certain 'themes' often following a
chronological order, including established and well known repertoire as well as
new works, perhaps even premiere performances, and be designed to carry the
listener on something of a musical journey. This program is based on the music
presented in a pair of recitals at The University of British Columbia in
Kelowna, B.C. held in the 2012-2013 academic year.
The music of Aragonese guitarist Gaspar Sanz (1640-1710) has an immediate
melodic appeal. Originally for a 5 course baroque guitar, his music adapts very
well to translation to the modern concert guitar. Villanos (village dance),
Espanioleta and Canarios (dance from the Canary Islands) are from his 1697
Both Luis Milan and Alonso Mudarra left substantial bodies of music for the
vihuela, a 16th century Spanish ancestor of the guitar that was tuned like a
lute. Fantasia 12 and Pavana 2 are from Milan's huge 1536 volume El Maestro.
Mudarra's three books of music include music for the four course guitar and six
course vihuela. Fantasia 18 foreshadows a baroque fugue with well developed
counterpoint based on the four note motive G-F#-D#-E.
Santiago de Murcia was active in the first half of the 18th century. Little is
known of his life apart from his having a respected career that may have even
included time spent in Mexico. His music shows a considerable skill with styles
popular at the time. He played a 5 course baroque guitar.
Fernando Sor (1778-1839) and Dionisio Aguado (1784-1849) were pioneers in the
development of the modern guitar with six single strings. They were both
students of Padre Basilio, a legendary guitarist and instructor in Spain, and
they both enjoyed active careers as performers, composers and teachers
throughout Europe. The varied fandango is reminiscent of a famous fandango by
Boccherini. The popular tune/chord progression 'las Folias de España' was often
used as a subject for variations.
Few composers produced music more closely associated with the guitar than Isaac
Albeniz (1860-1909), a curious fact considering he never wrote for the
instrument. His Asturias-Leyenda, the Prelude of his great piano work Chants
d'Espagne (Songs of Spain), is one of the great staples of the guitar
repertoire. His lesser known Pavana-Capriccio is full of considerable charm.
The strong association of Flamenco music with Spanish culture overshadows the
rich repertoire of very romantic but still distinctly Hispanic music that
flourished in the late 1800's. Isaac Albeniz and Enrique Granados were the most
famous exponents of this nationalistic style but there were many others,
guitarists included. The music of Spanish guitarist-composers enjoyed great
popular acclaim at the end of the nineteenth Century. By mixing folkloric
elements from the native Flamenco tradition with the classical forms, they
created a synthesis of style and playing technique that has persisted in the
concert music of the guitar for the last hundred years. Francisco Tarrega was
undoubtedly the most influential of these. His Prelude is subtitled 'A Vision
from the Devil's Tower'.
Jose Broca was a well-known guitarist at the time whose popularity waned as
musical fashion changed. Pensamiento Español is a wonderful example of his
delicate and appealing style. Another of Tarrega's contributions to the concert
repertoire was the arrangement of the music of his contemporaries. His
transcription of Joaquin Malats' Serenata Española was dedicated to Tarrega's
friend Dr. Walter Leckie.
Arguably the most often studied and performed original guitar work, Recuerdos de
la Alhambra memorably reflects the fountains of the Alhambra palace in Granada.
Tarrega (1852-1909) is often seen as the father of the modern concert guitar
technique, this may not entirely be the case but his skill as a performer,
composer and arranger built a legacy that provided a firm foundation for the
young Andres Segovia.
1. Villanos (Gaspar Sanz)
2. Espanoleta (Gaspar Sanz)
3. Canarios (Gaspar Sanz)
4. Fantasia (Luis de Milan)
5. Pavana (Luis de Milan)
6. Fantasia (Alonso Mudarra)
7. Pavana (Alonso Mudarra)
8. Gallarda (Alonso Mudarra)
9. Preludio (Santiago de Murcia)
10. Sarabanda (Santiago de Murcia)
11. Gigue (Santiago de Murcia)
12. Variations on 'Las Folios de Espana' Op15 (Fernando Sor)
13. Andante Largo Op5 no5 (Fernando Sor)
14. Le Fandango Varie (Dionisio Aguado)
15. Asturias-Leyenda (Isaac Albeniz)
16. 크레이지슬롯 사이트Pavana-Capriccio (Isaac Albeniz)
17. Pensamiento Espanol (Jose Broca)
18. Prelude no5 (Francisco Tarrega)
19. Serenata Espanola (Joaquin Malats)
20. Recuerdos de la Alhambra (Francisco Tarrega)
Listen to: the entire album.
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Release date: 4/28/2017
Alan Rinehart lives in Kelowna Canada
Tagged as: Classical, Renaissance, Instrumental, Composer: Alonso Mudarra, Composer: Dionisio Aguado, Composer: Fernando Sor, Composer: Francisco Tarrega, Composer: Gaspar Sanz, Composer: Isaac Albeniz, Composer: Luis de Milan, Composer: Santiago de Murcia, 크레이지슬롯 사이트Lute
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