555887bk Cuba USA 24/12/2003 07:56 pm Page 5

GUITAR MUSIC FROM CUBA Also available in this series DDD Guitar Collection 8.555887 1 Edward Simon (b.1969): El manicero (The Peanut-Seller) 4:33 Ñico Rojas (b.1921): 2 Guyún - El maestro 2:10 3 En el abra del Yumurí (In Yumuri Bay) 4:52 4 Francito y Alfonsito 2:38 5 Lilliam 4:21 CANCION DE CUNA 6 Guajira a mi madre (Guajira for my mother) 4:10 7 Carlos Fariñas (1934-2002): Preludio 3:41 Aldo Rodríguez (b.1955): Guitar Music from Cuba 8 Canción 3:03 9 Danza 1:52 Harold Gramatges (b.1918): Suite breve 8:01 0 Preludio 0:46 Marco Tamayo, Guitar ! Alemanda 2:20 @ Siciliana 0:59 # Sarabanda 3:11 $ Minuetto 0:45 Leo Brouwer (b.1939): % Canción de cuna (Berceuse) 4:04 ^ Zapateo 2:19 & Ojos brujos (Bewitching Eyes) 2:41 * Carlos Fariñas: Canción triste (Sad Song) 2:55 Hector Angulo (b.1932): Cantos Yoruba de Cuba 13:58 ( Asokere I 0:53 ) Suayo 2:01 ¡ Iyá mi ilé 1:44 ™ Borotití 2:16 £ Asokere II 0:28 ¢ Iyá mo dupé 1:49 ∞ Yeye bi obi toauo 2:26 § E iekua 1:12 ¶ Asokere III 1:08

8.555887 5 555887bk Cuba USA 24/12/2003 07:55 pm Page 2

Cuban Guitar Music Conservatorio Provincial de Música de Oriente, where film scores both in Cuba and abroad. From this time Marco Tamayo Cuban culture is essentially an amalgam of three he studied with Harald Gramatges. He joined the he completed his course in 1936. He went on to study onwards he was associated with the Cuban musical Marco Tamayo was born in Havana, where he started to dominant factors: 400 years of Spanish colonial rule, Sociedad Cultural Nuestro Tiempo in 1950, an at the then Conservatorio Municipal de Música in avant-garde, serving as adviser to Radio Havana Cuba play guitar at the age of three under his father’s tuition. He ending in 1901; the impact of religion as a result of organization for the promotion of contemporary Havana as a pupil of Amadeo Roldán and José and teaching at the Conservatorio Nacional, and, as studied with Antonio Alberto Rodríguez and Leo Brouwer, white and African slave immigration; and the 60-year Cuban music, and in 1956 studied composition at Ardévol. He was associated with the Grupo de occasion demanded, in universities abroad. He and later in Europe in Munich and at the Mozarteum in exposure to North American culture, ended by the Tanglewood with Aaron Copland, and conducting Renovación Musical from its foundation in 1942, the established the biennial Cuban Guitar Competition Salzburg, where he was a pupil of Eliot Fisk, Rainer 1959 revolution. Latin-American flexibility facilitated with Eleazar de Carvalho and Seymour Lipkin. He year in which a scholarsship took him to Tanglewood, and Festival and since 1981 has been general director Schmidt for violin, and Anthony Spiri for harpsichord, the assimilation of all these elements into the national completed his studies at the Havana Conservatorio in where he worked with Aaron Copland and Sergey of the Orquesta Sinfónica Nacional de Cuba. among others. Winner of major international guitar culture. It is easy to see how these influences have 1957. His early compositions were strongly Koussevitzky. He studied further with Copland in Conducting engagements have taken him to a number competitions like the Michele Pittaluga, Città de shaped Cuban music, which now incorporates Afro- influenced by nationalism and neo-classicism. From 1948-49 and attended seminars by Elliott Carter. He of countries. Alessandria, in 1999, Marco Tamayo has performed Cuban rhythms, twentieth century harmonies, 1961 to 1963 he studied in Moscow, and in 1969 won founded and directed the Havana Chamber Orchestra The first of the three discernible periods in concerts together with the Chamber Orchestra of characterized by the juxtaposition of major and minor a prize at the Fourth Paris Biennale for his Tiento II, and until 1958 taught at the Conservatorio Municipal, Brouwer’s creative career started in 1954, with a St Petersburg, the Turin Philharmonic, the Chamber modes, and elements of jazz and impressionism – an example of avantgarde work of the time. He was and for ten years, from 1951, was president of the series of pieces that explored the resources of the Orchestra of Aix en Provence, the Tampere Philharmonic typically in the music of José Antonio Rojas – as well involved in the establishment of the Orquesta Sociedad Cultural Nuestro Tiempo. He has held guitar in works that combined traditional classical in Finland and the Havana Philharmonic, among many as traditional European forms of composition – as in Sinfónica Nacional and served as director of the various other positions of importance in the official forms with Cuban inspiration. In the 1960s, after the others. He divides his activities between concert the melancholy Suite breve of Harold Gramatges. One Conservatorio Alejandro García Caturla. From 1966 cultural life of Cuba and from 1960 to 1964 was Cuban revolution, he came to know the work of avant- appearances and teaching, with master-classes in different guitar festivals around the world and in universities of the finest solo instruments for best giving to 1976 he was director of the music section of the Cuban ambassador to France. From its foundation in garde composers such as Penderecki and Bussotti, such as Seoul University of Arts in South Korea. He has lived in Salzburg since 1995 and has taught at the expression to this unique aspect of Cuban musical Biblioteca Nacional José Martí, and held the chair of 1976 he held the chair of composition at the Instituto when he attended the 1961 Warsaw Autumn Festival, Mozarteum since 2000. culture is the guitar. The music on this recording composition at the Instituto Superior de Arte. In 1989 Superior de Arte, and is now Professor Emeritus. He absorbing these influences and those of leading ranges from the popular appeal of the son montuno, he set up the Estudio de Música Electroacústiva y por has been the recipient of various national and contemporary composers who visited Cuba from the country dance form found especially in the Oriente Computadora (EMEC), a reflection of the later international prizes, with the highest Cuban honours abroad, into a very personal style that made use of region, to the contemporary harmonization of Yoruba direction his music took. He died in 2002. The and, among the latter, the Premio Tomás Luis de modern techniques of various kinds, including melodies by Hector Angulo. All the pieces convey a Preludio here recorded was performed first in Cuba by Victoria of the Sociedad General de Autores y elements of post-serialism and the aleatoric. The late diverse picture of Cuba in music that is nostalgic yet Jesús Ortega for the sound-track of the film Soy Cuba Editores de España. His earlier compositions were 1970s brought a third period that Brouwer himself has fresh-sounding, elaborate yet pure in its relative (I am Cuba) by Mikhail Kalatozov, and is in the largely neo-classical in style, developing over the described as national hyper-romanticism, a return to simplicity of expression. repertoire of almost every Cuban guitarist. years as a result of external influences. Afro-Cuban roots coupled with elements of traditional José Antonio (Ñico) Rojas Beoto was born in Aldo Rodríguez was born in 1955 and studied the The composer, guitarist and conductor Leo technique and of minimalism. Many of his guitar Havana in 1921. A civil engineer, guitarist and guitar with Isaac Nicola and Martha Cuervo. He also Brouwer Mezquida was born in Havana in 1939 into a compositions have won an international reputation, composer, he is one of the exponents of the so-called attended master-classes with Alirio Díaz, María Luisa family of musicians. He had his first music lessons with a firm place in current repertoire, played and ‘Feeling’ trend in Cuban music, which brought about Anido and Frank Fernández. He has given master- from his father, Juan Brouwer, and his aunt, Caridad recorded by guitarists throughout the world. He is here a revival in Cuban popular song in the 1940s. His classes in Poland, France, Colombia, Bulgaria and Mezquida, and his first guitar lessons in 1953 with represented by his Berceuse (Canción de cuna), the works combine the sonority of the guitar with the Chile, and teaches at the National School of Music in Isaac Nicola, who established the modern school of Zapateo, one of a pair of popular Cuban airs, and Ojos complex rhythmic and melodic elements of Cuban Havana. He has received various honours from the Cuban guitar-playing. In 1959 he was awarded a brujos (Bewitching Eyes). traditional music. His language is defined by an Cuban Government, including the Medalla por la scholarship for further study of the guitar in America Another aspect of Cuban music is heard in the improvisatory influence, and this is noticeable in re- Cultura Nacional, and the Medalla Alejo Carpentier, at Hartford University and of composition at the Cantos Yoruba de Cuba by Hector Angulo, who now expositions of themes and in passages where the awarded by the government in 2003. Juilliard School in New York, where his studies were enjoys a very considerable reputation.These melody combines with a free rhythm. One of the leading figures in Cuban musical life, with Vincent Persichetti, Stefan Wolpe, Isadore Preed, arrangements of melodies of African origin are an Carlos Fariñas was born in Cienfuegos in 1934 Harold Gramatges was born in Santiago in 1918 and J.Diemente and Joseph Iadone. In 1960 he was important part of the Afro-Cuban legacy. and studied first at Santa Clara. In 1948 he entered the had his early studies there with Zoila Figueras, appointed director of the Instituto Cubano de Arte e Conservatorio Municipal de Música in Havana, where followed by study with Dulce María Serret at the Industria Cinematográficos, a position that, over the Keith Anderson years, brought the composition of a large number of (Adapted from a note by Marco Tamayo) 8.555887 2 3 8.555887 4 8.555887 555887bk Cuba USA 24/12/2003 07:55 pm Page 2

Cuban Guitar Music Conservatorio Provincial de Música de Oriente, where film scores both in Cuba and abroad. From this time Marco Tamayo Cuban culture is essentially an amalgam of three he studied with Harald Gramatges. He joined the he completed his course in 1936. He went on to study onwards he was associated with the Cuban musical Marco Tamayo was born in Havana, where he started to dominant factors: 400 years of Spanish colonial rule, Sociedad Cultural Nuestro Tiempo in 1950, an at the then Conservatorio Municipal de Música in avant-garde, serving as adviser to Radio Havana Cuba play guitar at the age of three under his father’s tuition. He ending in 1901; the impact of religion as a result of organization for the promotion of contemporary Havana as a pupil of Amadeo Roldán and José and teaching at the Conservatorio Nacional, and, as studied with Antonio Alberto Rodríguez and Leo Brouwer, white and African slave immigration; and the 60-year Cuban music, and in 1956 studied composition at Ardévol. He was associated with the Grupo de occasion demanded, in universities abroad. He and later in Europe in Munich and at the Mozarteum in exposure to North American culture, ended by the Tanglewood with Aaron Copland, and conducting Renovación Musical from its foundation in 1942, the established the biennial Cuban Guitar Competition Salzburg, where he was a pupil of Eliot Fisk, Rainer 1959 revolution. Latin-American flexibility facilitated with Eleazar de Carvalho and Seymour Lipkin. He year in which a scholarsship took him to Tanglewood, and Festival and since 1981 has been general director Schmidt for violin, and Anthony Spiri for harpsichord, the assimilation of all these elements into the national completed his studies at the Havana Conservatorio in where he worked with Aaron Copland and Sergey of the Orquesta Sinfónica Nacional de Cuba. among others. Winner of major international guitar culture. It is easy to see how these influences have 1957. His early compositions were strongly Koussevitzky. He studied further with Copland in Conducting engagements have taken him to a number competitions like the Michele Pittaluga, Città de shaped Cuban music, which now incorporates Afro- influenced by nationalism and neo-classicism. From 1948-49 and attended seminars by Elliott Carter. He of countries. Alessandria, in 1999, Marco Tamayo has performed Cuban rhythms, twentieth century harmonies, 1961 to 1963 he studied in Moscow, and in 1969 won founded and directed the Havana Chamber Orchestra The first of the three discernible periods in concerts together with the Chamber Orchestra of characterized by the juxtaposition of major and minor a prize at the Fourth Paris Biennale for his Tiento II, and until 1958 taught at the Conservatorio Municipal, Brouwer’s creative career started in 1954, with a St Petersburg, the Turin Philharmonic, the Chamber modes, and elements of jazz and impressionism – an example of avantgarde work of the time. He was and for ten years, from 1951, was president of the series of pieces that explored the resources of the Orchestra of Aix en Provence, the Tampere Philharmonic typically in the music of José Antonio Rojas – as well involved in the establishment of the Orquesta Sociedad Cultural Nuestro Tiempo. He has held guitar in works that combined traditional classical in Finland and the Havana Philharmonic, among many as traditional European forms of composition – as in Sinfónica Nacional and served as director of the various other positions of importance in the official forms with Cuban inspiration. In the 1960s, after the others. He divides his activities between concert the melancholy Suite breve of Harold Gramatges. One Conservatorio Alejandro García Caturla. From 1966 cultural life of Cuba and from 1960 to 1964 was Cuban revolution, he came to know the work of avant- appearances and teaching, with master-classes in different guitar festivals around the world and in universities of the finest solo instruments for best giving to 1976 he was director of the music section of the Cuban ambassador to France. From its foundation in garde composers such as Penderecki and Bussotti, such as Seoul University of Arts in South Korea. He has lived in Salzburg since 1995 and has taught at the expression to this unique aspect of Cuban musical Biblioteca Nacional José Martí, and held the chair of 1976 he held the chair of composition at the Instituto when he attended the 1961 Warsaw Autumn Festival, Mozarteum since 2000. culture is the guitar. The music on this recording composition at the Instituto Superior de Arte. In 1989 Superior de Arte, and is now Professor Emeritus. He absorbing these influences and those of leading ranges from the popular appeal of the son montuno, he set up the Estudio de Música Electroacústiva y por has been the recipient of various national and contemporary composers who visited Cuba from the country dance form found especially in the Oriente Computadora (EMEC), a reflection of the later international prizes, with the highest Cuban honours abroad, into a very personal style that made use of region, to the contemporary harmonization of Yoruba direction his music took. He died in 2002. The and, among the latter, the Premio Tomás Luis de modern techniques of various kinds, including melodies by Hector Angulo. All the pieces convey a Preludio here recorded was performed first in Cuba by Victoria of the Sociedad General de Autores y elements of post-serialism and the aleatoric. The late diverse picture of Cuba in music that is nostalgic yet Jesús Ortega for the sound-track of the film Soy Cuba Editores de España. His earlier compositions were 1970s brought a third period that Brouwer himself has fresh-sounding, elaborate yet pure in its relative (I am Cuba) by Mikhail Kalatozov, and is in the largely neo-classical in style, developing over the described as national hyper-romanticism, a return to simplicity of expression. repertoire of almost every Cuban guitarist. years as a result of external influences. Afro-Cuban roots coupled with elements of traditional José Antonio (Ñico) Rojas Beoto was born in Aldo Rodríguez was born in 1955 and studied the The composer, guitarist and conductor Leo technique and of minimalism. Many of his guitar Havana in 1921. A civil engineer, guitarist and guitar with Isaac Nicola and Martha Cuervo. He also Brouwer Mezquida was born in Havana in 1939 into a compositions have won an international reputation, composer, he is one of the exponents of the so-called attended master-classes with Alirio Díaz, María Luisa family of musicians. He had his first music lessons with a firm place in current repertoire, played and ‘Feeling’ trend in Cuban music, which brought about Anido and Frank Fernández. He has given master- from his father, Juan Brouwer, and his aunt, Caridad recorded by guitarists throughout the world. He is here a revival in Cuban popular song in the 1940s. His classes in Poland, France, Colombia, Bulgaria and Mezquida, and his first guitar lessons in 1953 with represented by his Berceuse (Canción de cuna), the works combine the sonority of the guitar with the Chile, and teaches at the National School of Music in Isaac Nicola, who established the modern school of Zapateo, one of a pair of popular Cuban airs, and Ojos complex rhythmic and melodic elements of Cuban Havana. He has received various honours from the Cuban guitar-playing. In 1959 he was awarded a brujos (Bewitching Eyes). traditional music. His language is defined by an Cuban Government, including the Medalla por la scholarship for further study of the guitar in America Another aspect of Cuban music is heard in the improvisatory influence, and this is noticeable in re- Cultura Nacional, and the Medalla Alejo Carpentier, at Hartford University and of composition at the Cantos Yoruba de Cuba by Hector Angulo, who now expositions of themes and in passages where the awarded by the government in 2003. Juilliard School in New York, where his studies were enjoys a very considerable reputation.These melody combines with a free rhythm. One of the leading figures in Cuban musical life, with Vincent Persichetti, Stefan Wolpe, Isadore Preed, arrangements of melodies of African origin are an Carlos Fariñas was born in Cienfuegos in 1934 Harold Gramatges was born in Santiago in 1918 and J.Diemente and Joseph Iadone. In 1960 he was important part of the Afro-Cuban legacy. and studied first at Santa Clara. In 1948 he entered the had his early studies there with Zoila Figueras, appointed director of the Instituto Cubano de Arte e Conservatorio Municipal de Música in Havana, where followed by study with Dulce María Serret at the Industria Cinematográficos, a position that, over the Keith Anderson years, brought the composition of a large number of (Adapted from a note by Marco Tamayo) 8.555887 2 3 8.555887 4 8.555887 555887bk Cuba USA 24/12/2003 07:55 pm Page 2

Cuban Guitar Music Conservatorio Provincial de Música de Oriente, where film scores both in Cuba and abroad. From this time Marco Tamayo Cuban culture is essentially an amalgam of three he studied with Harald Gramatges. He joined the he completed his course in 1936. He went on to study onwards he was associated with the Cuban musical Marco Tamayo was born in Havana, where he started to dominant factors: 400 years of Spanish colonial rule, Sociedad Cultural Nuestro Tiempo in 1950, an at the then Conservatorio Municipal de Música in avant-garde, serving as adviser to Radio Havana Cuba play guitar at the age of three under his father’s tuition. He ending in 1901; the impact of religion as a result of organization for the promotion of contemporary Havana as a pupil of Amadeo Roldán and José and teaching at the Conservatorio Nacional, and, as studied with Antonio Alberto Rodríguez and Leo Brouwer, white and African slave immigration; and the 60-year Cuban music, and in 1956 studied composition at Ardévol. He was associated with the Grupo de occasion demanded, in universities abroad. He and later in Europe in Munich and at the Mozarteum in exposure to North American culture, ended by the Tanglewood with Aaron Copland, and conducting Renovación Musical from its foundation in 1942, the established the biennial Cuban Guitar Competition Salzburg, where he was a pupil of Eliot Fisk, Rainer 1959 revolution. Latin-American flexibility facilitated with Eleazar de Carvalho and Seymour Lipkin. He year in which a scholarsship took him to Tanglewood, and Festival and since 1981 has been general director Schmidt for violin, and Anthony Spiri for harpsichord, the assimilation of all these elements into the national completed his studies at the Havana Conservatorio in where he worked with Aaron Copland and Sergey of the Orquesta Sinfónica Nacional de Cuba. among others. Winner of major international guitar culture. It is easy to see how these influences have 1957. His early compositions were strongly Koussevitzky. He studied further with Copland in Conducting engagements have taken him to a number competitions like the Michele Pittaluga, Città de shaped Cuban music, which now incorporates Afro- influenced by nationalism and neo-classicism. From 1948-49 and attended seminars by Elliott Carter. He of countries. Alessandria, in 1999, Marco Tamayo has performed Cuban rhythms, twentieth century harmonies, 1961 to 1963 he studied in Moscow, and in 1969 won founded and directed the Havana Chamber Orchestra The first of the three discernible periods in concerts together with the Chamber Orchestra of characterized by the juxtaposition of major and minor a prize at the Fourth Paris Biennale for his Tiento II, and until 1958 taught at the Conservatorio Municipal, Brouwer’s creative career started in 1954, with a St Petersburg, the Turin Philharmonic, the Chamber modes, and elements of jazz and impressionism – an example of avantgarde work of the time. He was and for ten years, from 1951, was president of the series of pieces that explored the resources of the Orchestra of Aix en Provence, the Tampere Philharmonic typically in the music of José Antonio Rojas – as well involved in the establishment of the Orquesta Sociedad Cultural Nuestro Tiempo. He has held guitar in works that combined traditional classical in Finland and the Havana Philharmonic, among many as traditional European forms of composition – as in Sinfónica Nacional and served as director of the various other positions of importance in the official forms with Cuban inspiration. In the 1960s, after the others. He divides his activities between concert the melancholy Suite breve of Harold Gramatges. One Conservatorio Alejandro García Caturla. From 1966 cultural life of Cuba and from 1960 to 1964 was Cuban revolution, he came to know the work of avant- appearances and teaching, with master-classes in different guitar festivals around the world and in universities of the finest solo instruments for best giving to 1976 he was director of the music section of the Cuban ambassador to France. From its foundation in garde composers such as Penderecki and Bussotti, such as Seoul University of Arts in South Korea. He has lived in Salzburg since 1995 and has taught at the expression to this unique aspect of Cuban musical Biblioteca Nacional José Martí, and held the chair of 1976 he held the chair of composition at the Instituto when he attended the 1961 Warsaw Autumn Festival, Mozarteum since 2000. culture is the guitar. The music on this recording composition at the Instituto Superior de Arte. In 1989 Superior de Arte, and is now Professor Emeritus. He absorbing these influences and those of leading ranges from the popular appeal of the son montuno, he set up the Estudio de Música Electroacústiva y por has been the recipient of various national and contemporary composers who visited Cuba from the country dance form found especially in the Oriente Computadora (EMEC), a reflection of the later international prizes, with the highest Cuban honours abroad, into a very personal style that made use of region, to the contemporary harmonization of Yoruba direction his music took. He died in 2002. The and, among the latter, the Premio Tomás Luis de modern techniques of various kinds, including melodies by Hector Angulo. All the pieces convey a Preludio here recorded was performed first in Cuba by Victoria of the Sociedad General de Autores y elements of post-serialism and the aleatoric. The late diverse picture of Cuba in music that is nostalgic yet Jesús Ortega for the sound-track of the film Soy Cuba Editores de España. His earlier compositions were 1970s brought a third period that Brouwer himself has fresh-sounding, elaborate yet pure in its relative (I am Cuba) by Mikhail Kalatozov, and is in the largely neo-classical in style, developing over the described as national hyper-romanticism, a return to simplicity of expression. repertoire of almost every Cuban guitarist. years as a result of external influences. Afro-Cuban roots coupled with elements of traditional José Antonio (Ñico) Rojas Beoto was born in Aldo Rodríguez was born in 1955 and studied the The composer, guitarist and conductor Leo technique and of minimalism. Many of his guitar Havana in 1921. A civil engineer, guitarist and guitar with Isaac Nicola and Martha Cuervo. He also Brouwer Mezquida was born in Havana in 1939 into a compositions have won an international reputation, composer, he is one of the exponents of the so-called attended master-classes with Alirio Díaz, María Luisa family of musicians. He had his first music lessons with a firm place in current repertoire, played and ‘Feeling’ trend in Cuban music, which brought about Anido and Frank Fernández. He has given master- from his father, Juan Brouwer, and his aunt, Caridad recorded by guitarists throughout the world. He is here a revival in Cuban popular song in the 1940s. His classes in Poland, France, Colombia, Bulgaria and Mezquida, and his first guitar lessons in 1953 with represented by his Berceuse (Canción de cuna), the works combine the sonority of the guitar with the Chile, and teaches at the National School of Music in Isaac Nicola, who established the modern school of Zapateo, one of a pair of popular Cuban airs, and Ojos complex rhythmic and melodic elements of Cuban Havana. He has received various honours from the Cuban guitar-playing. In 1959 he was awarded a brujos (Bewitching Eyes). traditional music. His language is defined by an Cuban Government, including the Medalla por la scholarship for further study of the guitar in America Another aspect of Cuban music is heard in the improvisatory influence, and this is noticeable in re- Cultura Nacional, and the Medalla Alejo Carpentier, at Hartford University and of composition at the Cantos Yoruba de Cuba by Hector Angulo, who now expositions of themes and in passages where the awarded by the government in 2003. Juilliard School in New York, where his studies were enjoys a very considerable reputation.These melody combines with a free rhythm. One of the leading figures in Cuban musical life, with Vincent Persichetti, Stefan Wolpe, Isadore Preed, arrangements of melodies of African origin are an Carlos Fariñas was born in Cienfuegos in 1934 Harold Gramatges was born in Santiago in 1918 and J.Diemente and Joseph Iadone. In 1960 he was important part of the Afro-Cuban legacy. and studied first at Santa Clara. In 1948 he entered the had his early studies there with Zoila Figueras, appointed director of the Instituto Cubano de Arte e Conservatorio Municipal de Música in Havana, where followed by study with Dulce María Serret at the Industria Cinematográficos, a position that, over the Keith Anderson years, brought the composition of a large number of (Adapted from a note by Marco Tamayo) 8.555887 2 3 8.555887 4 8.555887 555887bk Cuba USA 24/12/2003 07:56 pm Page 5

GUITAR MUSIC FROM CUBA Also available in this series DDD Guitar Collection 8.555887 1 Edward Simon (b.1969): El manicero (The Peanut-Seller) 4:33 Ñico Rojas (b.1921): 2 Guyún - El maestro 2:10 3 En el abra del Yumurí (In Yumuri Bay) 4:52 4 Francito y Alfonsito 2:38 5 Lilliam 4:21 CANCION DE CUNA 6 Guajira a mi madre (Guajira for my mother) 4:10 7 Carlos Fariñas (1934-2002): Preludio 3:41 Aldo Rodríguez (b.1955): Guitar Music from Cuba 8 Canción 3:03 9 Danza 1:52 Harold Gramatges (b.1918): Suite breve 8:01 0 Preludio 0:46 Marco Tamayo, Guitar ! Alemanda 2:20 @ Siciliana 0:59 # Sarabanda 3:11 $ Minuetto 0:45 Leo Brouwer (b.1939): % Canción de cuna (Berceuse) 4:04 ^ Zapateo 2:19 & Ojos brujos (Bewitching Eyes) 2:41 * Carlos Fariñas: Canción triste (Sad Song) 2:55 Hector Angulo (b.1932): Cantos Yoruba de Cuba 13:58 ( Asokere I 0:53 ) Suayo 2:01 ¡ Iyá mi ilé 1:44 ™ Borotití 2:16 £ Asokere II 0:28 ¢ Iyá mo dupé 1:49 ∞ Yeye bi obi toauo 2:26 § E iekua 1:12 ¶ Asokere III 1:08

8.555887 5 555887bk Cuba USA 24/12/2003 07:56 pm Page 5

GUITAR MUSIC FROM CUBA Also available in this series DDD Guitar Collection 8.555887 1 Edward Simon (b.1969): El manicero (The Peanut-Seller) 4:33 Ñico Rojas (b.1921): 2 Guyún - El maestro 2:10 3 En el abra del Yumurí (In Yumuri Bay) 4:52 4 Francito y Alfonsito 2:38 5 Lilliam 4:21 CANCION DE CUNA 6 Guajira a mi madre (Guajira for my mother) 4:10 7 Carlos Fariñas (1934-2002): Preludio 3:41 Aldo Rodríguez (b.1955): Guitar Music from Cuba 8 Canción 3:03 9 Danza 1:52 Harold Gramatges (b.1918): Suite breve 8:01 0 Preludio 0:46 Marco Tamayo, Guitar ! Alemanda 2:20 @ Siciliana 0:59 # Sarabanda 3:11 $ Minuetto 0:45 Leo Brouwer (b.1939): % Canción de cuna (Berceuse) 4:04 ^ Zapateo 2:19 & Ojos brujos (Bewitching Eyes) 2:41 * Carlos Fariñas: Canción triste (Sad Song) 2:55 Hector Angulo (b.1932): Cantos Yoruba de Cuba 13:58 ( Asokere I 0:53 ) Suayo 2:01 ¡ Iyá mi ilé 1:44 ™ Borotití 2:16 £ Asokere II 0:28 ¢ Iyá mo dupé 1:49 ∞ Yeye bi obi toauo 2:26 § E iekua 1:12 ¶ Asokere III 1:08

8.555887 5 555887fb Cuba USA 24/12/2003 08:40 pm Page 1

CMYK

DDD Guitar Collection 8.555887

CANCIÓN DE CUNA Guitar Music from Cuba Marco Tamayo, Guitar

CMYK N AXOS This recital gives a fascinating insight into the many influences on Cuban culture: among them 400 years of Spanish colonial rule and 60 years of exposure to North American culture prior to the 1959 revolution. The music ranges across Afro-Cuban rhythms, twentieth century harmonies,

8.555887 elements of jazz and impressionism, traditional European forms of composition, the country dance form known as the son montuno, and contemporary harmonization of Yoruba melodies DDD from the Oriente region. 8.555887

GUITAR MUSIC FROM CUBA Playing Time GUITAR MUSIC FROM CUBA 65:31 1 Edward Simon (b.1969): El manicero (The Peanut-Seller) 4:33 7 Ñico Rojas (b.1921): 47313 2 Guyún – El maestro 2:10 3 En el abra del Yumurí (In Yumuri Bay) 4:52 4 Francito y Alfonsito 2:38 58872 5 Lilliam 4:21 6 Guajira a mi madre (Guajira for my mother) 4:10

7 Carlos Fariñas (1934-2002): Preludio 3:41 5 Made in Canada Booklet notes in English Aldo Rodríguez (b.1955): www.naxos.com h

8 Canción 3:03 2004 & 9 Danza 1:52

0-$ Harold Gramatges (b.1918): Suite breve 8:01 g Leo Brouwer (b.1939): 2004 Naxos Rights International Ltd. % Canción de cuna (Berceuse) 4:04 ^ Zapateo 2:19 GUITAR MUSIC FROM CUBA GUITAR & Ojos brujos (Bewitching Eyes) 2:41 * Carlos Fariñas: Canción triste (Sad Song) 2:55 (-¶ Hector Angulo (b.1932): Cantos Yoruba de Cuba 13:58

Marco Tamayo, Guitar 8.555887

Recorded at St John Chrysostom Church, Newmarket, Ontario, Canada, from 17th to 20th January, 2002 Producers: Norbert Kraft and Bonnie Silver • Engineer and Editor: Norbert Kraft

AXOS Cover Image: Hen and Chickens, Cuba (1997) by Andrew Macara (Bridgeman Art Library) N