Beyond his soundtracks that I knew since I scured his art as symphonic and chamber was a child: Miklós Rózsa had put music to music composer, but it hadn’t impeded him colossal epics like IVANHOE, QUO to continually write good music: the Sonata for VADIS?, EL CID, BEN HUR, KING OF Guitar was an extremely valid example. KINGS and others. I had the occasion to read the score of his concerto for violin, writ- Recently, in an Internet discussion dedicated ten for Jascha Heifetz, recognizing the hand to the guitar, Gregg Nestor told the story of of a master that could stand up next to the the composition: he had the occasion to get greats of the century. Miklós Rózsa, Hungar- closer to Miklós Rózsa thanks to the favor of ian-born in 1907, could seem from his Holly- circumstance; and when as I had done before wood villa an unapproachable figure to the he asked him to write nothing less than a eyes of a young Italian guitarist, but the oc- Sonata for Guitar, he felt himself opposed with casion came about to send him a message a courteous refusal. But Nestor persisted and, through a common Italian-American ac- making him listen to some pieces transcribed quaintance that lived in Beverly Hills. for guitar, managed to convince him. I wrote him, therefore, without fear, asking I don’t know how much Nestor had to work him to compose a piece for guitar. The re- on the original Rózsa Sonata, to make it sponse arrived on time, concise and courte- smooth, full and sonorous like it appears in ous: “Dear friend”, he said, “I would really the edition, but I have the impression that the like to accept your proposal, but I just don’t Hungarian master had hit the target of the feel ready to write music for an instrument of solution of the guitar-problem not less hap- which I am not familiar with the technique pily than his colleague Mario Castelnuovo- and that I don’t have time to study.” Tedesco. It’s not necessary to institute Masterpiece by a Hollywood Star comparisons – the style and the poetics of the by Angelo Gilardino About 15 years later I had the pleasure to re- two authors are incomparable – but it’s cer- ceive the recently published edition of Sonata tain that, from the reading of Rózsa’s work, Hungarian Miklós Rózsa, celebrated com- For Guitar by Miklós Rózsa, published by As- one leaves with the sensation of having en- poser of soundtracks, wrote a Sonata for gui- sociated Music Publishers, linked with tered in an authentic musical world, austere, tar that’s a perfect example of good art: Schirmer. Dedicated to and accurately fin- delicate and clean. classic form, solid structure, clear definition gered by the Californian guitarist Gregg of the particulars. He shied away from writ- Nestor, it appeared right away to me as one Praise should go to Gregg Nestor for his mis- ing it so as not to clash with composer Mario of the best compositions for guitar that I had sion accomplished and also for the album Castelnuovo-Tedesco, his neighbor in Beverly ever read: of classic form and extremely solid recording of the Sonata; I heard it in preview, Hills. structure. It confirmed my initial response and it’s worthy of the dedication with which while reading the score for the violin con- the composer honored him. In 1972, while I was busily inviting composers certo: Rózsa was a master that had perfectly who esteemed the guitar to write new pieces assimilated the lesson of the classics and of Angelo Gilardino for the instrument, I happened to also think his first, illustrious teachers, namely Bartók Sei Corde (Suonare News) about a certain famous film composer that and Kodály. Beyond his admirable job as au- - June 2007 was sought after by Hollywood cinema pro- thor of movie soundtracks, he knew how to ducers. create a strong and well defined poetic world. Translated from Italian by His famous Hollywood starkness had ob- Stephen R. Figoni have heard before, and make them very clear sion was passed to Leonard Bernstein.) and distinct. It focuses the basic substance and can highlight the structure of the music.” The EL CID Overture (1961) was its com- poser’s third “epic” score in a row, after the According to Gregg Nestor, the music of equally majestic BEN-HUR and KING OF Hungarian-born composer Miklós Rózsa KINGS. Although the music of EL CID is (1907 - 1995) is especially suited for guitar unmistakably its composer’s own, it was adaptation, “because you hear someone who shaped by Rózsa’s careful study of music is always thinking orchestrally. His musical from the film’s period, eleventh century lines are not static; the canonic imitation and Spain. The opening fanfare, with its polytonal contrapuntal voices lie very well for guitar.” chords spread between the two players, sets the excitement of the scene. With the appear- The six beautiful miniature cameos of ance of the EL CID theme, a castanet effect KALEIDOSCOPE, Op. 19c (1946) were is created by one guitarist strumming the ac- ew things encourage artistic rediscov- written for the composer’s two small children. companiment on the lower strings, while his ery so much as a change in perspective. fingernails add a percussive rhythm. The music of Miklós Rózsa represented The first piece, March, is an almost Fon this release has endured in the memory of Tchaikovskian miniature with military over- EL CID’s Love Theme (presented here for both filmgoers and music lovers, its popularity tones, while the unmistakable Hungarian oboe, violin and two guitars) is also a seamless confirmed by time; but in adapting these character of the Zingara is clearly in evidence blend of ancient Phrygian harmonies and pieces for two guitars, in arrangements based (instructions for the guitar to play “like a cim- Rózsa’s more opulent style, with its trademark faithfully on the composer’s original scores, balom”); and in the Musette which cleverly im- sequential motifs and echoing voices; yet this guitarist and arranger Gregg Nestor encour- itates the bagpipe and also re-appears in the sensual Moorish theme, as Nestor observes, ages us to both renew and rethink some old pastoral sequences in the score for the film “sounds as if it has existed forever.” acquaintances. THE RED HOUSE, composed at much the same time. The Berceuse is an exquisite lullaby THAT HAMILTON WOMAN (1941) was “Andrés Segovia used to say that one is able with a gently modal melody over a lyrical a typically lavish Alexander Korda produc- to capture all the different fragrances of the pentatonic and rocking ostinato. The Chinese tion chronicling the love affair of Emma orchestra on guitar, but viewed in a bottle, in Carillon allows the use of delicate harmonics Hamilton and Admiral Horatio Nelson. It miniaturized form,” observes Nestor. “A gui- under a hypnotic melody reminiscent of In- was the favorite film of Winston Churchill, tarist can produce tone-color changes on the donesian or Asian influence while the finale, who never failed to weep during Nelson’s strings; he can imitate qualities of a particular Burlesque, highlights a rollocking and rhythmi- death scene; with all due respect to stars Lau- instrument. The challenge of these arrange- cally engaging play between the two instru- rence Olivier and Vivien Leigh, we may guess ments was to bring forward the most impor- ments. (It was originally written as the First that Rózsa’s tender love music was no less a tant elements from their orchestral guise. The Sailor’s Dance for Jerome Robbins’ ballet catalyst to the emotions. The theme’s middle guitar, being a plucked instrument, can ex- FANCY FREE, but Robbins decided eventu- section, with its fragile, delicate harmonics, pose individual voices, voices you might not ally on a jazz-oriented score and the commis- seems especially suited to the guitar. For this release, which is essentially a bouquet Concluding this Rózsa mini-concert is a suite in honor of the composer, Gregg Nestor from CRISIS (1950), a political thriller that chose to arrange three waltzes from Rózsa marked writer Richard Brooks’ directorial film scores used as source music: “The Boat debut. Cary Grant stars as a surgeon held House Waltz” is from the 1948 drama A captive by an ailing South American dictator WOMAN’S VENGEANCE starring (José Ferrer); Rózsa establishes tension and a Charles Boyer and Ann Blyth, with a script sense of menace immediately in the severe based on an Aldous Huxley novel; “Valse Crè- march (Viva La Revolución) that opens the film, pusculaire” (“Twilight Waltz”) is from the score followed here by a delightfully capricious Rózsa wrote in France for the 1977 Alain dance (Paso Doble) heard in a nightclub scene. Resnais film PROVIDENCE. Rózsa de- This score is also noteworthy for being almost scribed this haunting waltz as “espressing not fully composed for two guitars, both originally only the nostalgic feeling of the film but my played by Vicente Gomez – one of the few own memories of Paris in my youth.” The Hollywood scores conceived in this manner. “Tokyo Tea Room Waltz” (subtitled “Waltz for Throughout his film career, particularly dur- Cagney”) comes from the 1945 James Cagney Steven C. Smith ing his years at MGM (1949 to 1962) Rózsa melodrama BLOOD ON THE SUN set in Steven C. Smith is the author of A Heart At Fire’s contributed distinguishing scores to a variety pre-World War Two Japan. Three additional Center: The Life And Music Of Bernard Herrmann of “costume” films. Two charming examples film themes have also been arranged for solo (University Of California Press, 1991) and Film – the droll The King’s Diary and Finances from guitar - the theme from GREEN FIRE Composers (Lone Eagle Press, 1990). YOUNG BESS (1953), and the lovely Le (1954), a Bourrée from MOONFLEET (1955) Passepied de Vaubiessard from MADAME BO- and “The Happy Idiot Waltz” from TIP ON A VARY (1949), both based on seventeenth DEAD JOCKEY (1957). century dance forms – demonstrate Rózsa’s gift for conveying a sense of period without Rózsa has also composed several of the sacrificing his own dramatic voice. screen’s most sophisticated and enchanting waltzes (not to mention cinema’s most bril- In feature films source music (in this case liantly relentless one, the “neurotic” waltz of music written for underscoring to provide at- MADAME BOVARY). Perhaps his most ro- mosphere in a nightclub or restaurant scene) mantic one is found in LYDIA (1941), an- are often treated as second class citizens. But other Alexander Korda production featuring Miklós Rózsa always gives them the same de- the producer’s then-wife Merle Oberon as an tailed care and attention that he devotes to aging benefactress who recalls the four great the main body of the scores, turning them loves of her life. This arrangement, which in- from potentially mundane items into cludes the score’s playful Harlequin sequence, sparkling gems. is adapted from Rózsa’s own 1977 suite. GREGG NESTOR, WILLIAM KANENGISER, most experienced guitarists having sition and conducting from the Uni- guitar guitar performed solo concerts, concertos, versity of Costa Rica. Internationally acclaimed guitarist Known worldwide for his talents as on film scores, radio, and television Francisco has served as principal Gregg Nestor has built a strong fol- soloist and chamber musician, and in virtually every possible guitar oboe for the Redlands Symphony, lowing for his abilities as soloist, ac- William Kanengiser was awarded ensemble combination. the Pasadena Pops Orchestra, and companist and arranger. Finalist in First Prize at the 1987 Concert As a soloist he has toured exten- Associate Professor of Oboe at the the 1981 New York Concert Guild Artists Guild International New sively throughout the UK, Europe, University of Redlands as well as the Competition held at Carnegie Hall, York Competition. He received his the USA, South America, Canada Idyllwild School of Music and the Gregg has recorded and broadcast Bachelor’s and Master’s Degrees and the Far East, and has appeared Arts. in Holland, Belgium, Spain and for from the University of Southern many times at London’s Wigmore the BBC in London. In his London California and was twice named the Hall, the South Bank Centre’s Pur- CAROLE KLEISTER- debut, The Times critic commented Outstanding Graduate of the USC cell Room, and Birmingham's Sym- CASTILLO, on his being “uncommonly communica- School of Music where he served as phony Hall. Raymond has been violin tive, a real artist in timing and shading, in an Adjunct Professor of Guitar. featured on BBC Radio, and worked Carole began her violin studies at stylish fluency and tact besides wholehearted Also known for his expertise as an with many of England’s foremost the age of fourteen, and later con- communication with his composers.” arranger, Mr. Kanengiser has tran- orchestras including the BBC Sym- tinued her musical training with Many works arranged by Gregg scribed extensively for the Los An- phony, the Philharmonia, the Eng- Manuel Compinsky - earning her Nestor for solo/duo guitars or with geles Guitar Quartet. His solo guitar lish Chamber Orchestra and the Bachelor of Music degree from Cal- various ensemble have been pub- arrangements of Mozart and Han- Royal Philharmonic. ifornia State University, Northridge. lished. For this recording he was al- del keyboard works are published by For this release, in duet with Gregg She is a member of the distin- lowed access to Miklós Rózsa’s Guitar Solo Publications. Nestor on KALEIDOSCOPE, Ray- guished Los Angeles Chamber Or- personal archives. The results are For this release, in duet with Gregg mond Burley is heard on the right chestra, Pasadena and Long Beach arrangements as concise and accu- Nestor, Mr. Kanengiser’s guitar is channel. Symphonies and performs regularly rate as possible to the composer’s heard on the right channel. with the Los Angeles Opera Orches- original intentions. FRANCISCO CASTILLO, tra. Carole is an active studio musi- For this release, in duet with oboe cian and devoted teacher. William Kanengiser and Raymond RAYMOND BURLEY, Francisco earned his Masters in Burley, Mr. Nestor’s guitar is heard guitar Music from the University of South- on the left channel. Raymond Burley is one of Britain's ern California and in oboe,compo- Executive Album Producers for BSX Records: Ford A. Thaxton and Mark Banning

Album Produced by Gregg Nestor

Guitar Arrangements by Gregg Nestor

Recorded at Penguin Recording, Eagle Rock, CA

Engineer: John Strother

Digitally Edited and Mastered by James Nelson at Digital Outland

Album Art Direction: Mark Banning

Mr. Nestor’s Guitars by Martin Fleeson, 1981 & José Ramirez, 1984

Mr. Kanengiser’s Guitar by Miguel Rodriguez, 1977

Special Thanks to the Miklós Rózsa estate for access to the original scores for this project.

BSX Records wishes to thank Gregg Nestor, The Miklós Rózsa Society, Jon Burlingame and Mike Joffe KALEIDOSCOPE, Op. 19c (1946): 1. March (1:17) 2. Zingara (1:47) 3. Musette (2:12) 16. PROVIDENCE (1977): 4. Berceuse (1:56) Valse Crèpusculaire (3:58) 5. Chinese Carillon (1:07) 6. Burlesque (1:38) 17. BLOOD ON THE SUN (1945): The Tokyo Tea Room Waltz (1:52) SONATA FOR GUITAR, Op. 42 (1986): 18. GREEN FIRE (1954): Theme (2:03) 7. Moderato (5:52) 8. Molto Moderato, quasi Canzone (5:59) 19. MOONFLEET (1955): Bourrée (2:27) 9. Allegro Frenètico (4:35) 20. TIP ON A DEAD JOCKEY (1957): The Happy Idiot Waltz (2:06) EL CID (1961): 21. LYDIA (1941): Suite (4:48) 10. Overture (3:23) 11. Love Theme (5:18) 22. CRISIS (1950): Suite (2:24) 12. THAT HAMILTON WOMAN (1941): Lady Hamilton - Love Theme (4:08) Total Time: 67:05 13. YOUNG BESS (1953): The King’s Diary and Finances (2:51) Tracks 1-6 with Raymond Burley, Gregg Nestor - guitars 14. MADAME BOVARY (1949): Tracks 10-14, 21, 22 with William Kanengiser, Le Passepied de Vaubiessard (3:09) Gregg Nestor - guitars 15. A WOMAN’S VENGEANCE (1948): The Boat House Waltz (2:11) Track 11 with Francisco Castillo - oboe, Carole Kleister-Castillo - violin

ൿ Ꭿ 2008 Gregg Nestor. All Rights Reserved. Tracks 7-9 (written for Gregg Nestor) Released by BSX Records, a division of Buysoundtrax.com with Gregg Nestor - guitar 2828 Cochran Street #287, Simi Valley, California 93065 Visit the The Miklós Rózsa Society at: www.miklosrozsa.org Tracks 15-20 with Gregg Nestor - guitar