CLASSICAL GUITAR JEWELS
01 – 05. Heitor Villa-Lobos – Cinq Préludes (1940)
06 – 08. Federico Moreno Torroba – Sonatina (1924)
09 – 11. Agustin Barrios – La Catedral (1921)
12. Agustin Barrios – Vals en Sol (1923)
13 – 34. Manuel Maria Ponce – Variations sur “Folia de Espana” et Fugue (1929).
(Total Time: 79’28”)
Jeno Hubay Concert Hall, Budapest
The period between 1920 and 1940 was particularly important for the guitar repertoire. Composers were interested in timbre and expressive possibilities of the guitar. Some of them absolutely did not know the guitar technique and the right way of writing for this particular instrument. These noble minds created the base of the modern repertoire and technique of classical guitar.
Heitor Villa-Lobos (Rio de Janeiro, 1887 – 1959) was a very innovative and prolific composer and today is considered the most important from Brasil. The Cinq Préludes (1940) have an impressionistic language. They are dedicated to his wife Mindinha, and have the sub-titles:
1. Lyric melody. Homage to the Brazilian sertanejo – 2. Capadocia and capoeira melody. Homage to the Carioca hustler – 3. Homage to Bach – 4. Homage to the Brazilian Indian – 5. Homage to social life. To the young teenagers who frequent Rio’s concerts and theaters.
Federico Moreno Torroba (Madrid, 1891 – 1982), zarzuela (the Spanish light Opera) and symphonic composer, was influenced by the Russian music of Rimsky-Korsakov, Borodin and Mussorgsky, by the impressionism of Debussy and Ravel and by Igor Stravinsky. In the Sonatina (1924), the folklore and the orchestral technique is evident and admirably brought on the six guitar strings.
Agustín Barrios (San Juan Bautista de las Misiones, 1885 – San Salvador, 1944), Paraguayan, played and wrote only for the guitar. The legend says that the Catedral (1921) was inspired by the visit in the Cathedral of San José in Uruguay where an organist was playing Bach. The Prelude Saudade was added later in 1938. This piece, full of symbolism, ideally describes the various levels of a cathedral and the passage from the celestial to the terrestrial. The Vals en Sol (1923), full of grace and rhythmically intense, takes from the European classical tradition that Barrios deeply admired.
Manuel María Ponce (Fresnillo, 1882 – Ciudad de México, 1948) after his trip in Paris, where studied composition with Paul Dukas, started to compose in polyphonic and impressionistic style using concise musical forms. This is the case of the Variations sur “Folia de España” et Fugue (1929) that represents one of the guitar masterpieces of the XX century. It is really a monumental and innovative piece both for the depth of the music and the modernity of the writing and the use of all the expressive and polyphonic possibilities of the guitar.
01. Celso Machado – Piazza Vittorio (Choro Maxixe)
02. Celso Machado – Paçoca (Choro)
03. Celso Machado – Algodao Doce (Samba)
04. Jorge Cardoso – Milonga
05. Astor Piazzolla – Bordel 1900 (Tango)
06. Astor Piazzolla – Café 1930 (Tango)
07. Celso Machado – Pé De Moleque (Samba Choro)
08. Francis Kleynjans – Deux Arias – I
09. Francis Kleynjans – Deux Arias – II
10. Celso Machado – Sambossa (Bossa Nova)
11. Maximo Diego Pujol – Palermo
(Total Time: 47′)
DL Records (C) 2007
Jeno Hubay Concert Hall, Budapest
Duo Giuliani and South American music
Emőke and Daniele met in Budapest in 2006. Despite their different origins – she is Hungarian and he is Italian – they share a passion for chamber music. This mutual interest started a professional collaboration and a friendship. They chose the name Giuliani, after Mauro Giuliani a well-known Italian guitarist and composer of the 19th century. The repertoire of the Duo Giuliani includes five hours of music of different styles and periods, but this CD is a very special homage to modern South American music that they deeply love. This kind of music is pervaded by romantic melodies over the dance rhythms, by sense of fun and tragedy, always lived intensely.
The word “SAMBOSSA” comes from the union of “SAMBA” and “BOSSA”. This Bossa Nova is taken from “Musique populaires Brésiliennes” of Celso Machado (b. Ribeirao Preto, 1953). The other pieces of the Brazilian composer on this CD are: Piazza Vittorio (chôro maxixe) – a market place in Rome; Paçoca (chôro) – paçoca is a staple of the Brazilian diet based on a paste of yuca flour mixed with other sweet or savory ingredients; Algodão Doce (samba) – cotton candy; Pé de Moleque (samba) – child’s feet, a Brazilian sweet made with peanuts and sugar.
Jorge Cardoso (b. Posadas – Argentine, 1949) is the author of the “Milonga” for solo guitar. It is taken from the “24 Piezas Sudamericanas” for solo guitar. This is a very characteristic Argentinean dance that was the mother of the early tango, which had the same rhythm although slightly quicker.
The two pieces of Ástor Piazzolla (Mar del Plata, 1921 – Buenos Aires, 1992) belong to his “Histoire du Tango” that ideally draws the evolution of the Argentinean Tango. “Bordel 1900” remembers the origin of the tango which was born in Buenos Aires in 1882. At that time it was first played on the guitar and flute. The music is full of grace and liveliness and describes a scene of a bordello. “Café 1930” is another age of the tango. The people don’t dance it but prefer listen to the music, which is more romantic and melancholic.
Francis Kleynjans (b. Paris, 1951) produced more than 600 pieces for guitar: solos, duets, trios, quartets, concertos as well as film music. He was very stimulated by the South American music and wrote many pieces in this style. The “Deux Arias”, according with the title, are genuinely lyrical. They seem to be inspired by the baroque music introducing, at the same time, modern harmonies.
“Palermo”, the second movement of the “Suite Buenos Aires” of Máximo Diego Pujol (b. Buenos Aires, 1957), reflects the influence of Ástor Piazzolla using, similarly, the tango as a basic style.