CALIFORNIA STATE UNIVERSITY, NORTHRIDGE

Brandon Mendez’s Master of Music Guitar Recital

A graduate project submitted in partial fulfillment of the requirements for the degree of Master of Music in Music Performance

By Brandon Mendez

May 2018

The graduate project of Brandon Mendez is approved:

______Professor Ron Borczon Date

______Dr. Bryan Fasola Date

______Professor Steven Thachuk, Chair Date

CALIFORNIA STATE UNIVERSTY, NORTHRIDGE

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Table of Contents

Signature Page ii

Abstract iv

I. J.S. Bach: Prelude, Fugue, and Allegro 1 in E-flat major, BWV 998

II. Mario Castelnuovo-Tedesco: Op. 195 No. 18 5 El Sueño de la Razón Produce Monstruos

III. Leo Brouwer: Sonata 10

IV. Joaquin Rodrigo: Concierto de Aranjuez 14

Bibliography 21

Appendix: Program 22

iii ABSTRACT

Master of Music Guitar Recital

By

Brandon Mendez

Master of Music in Music, Performance

This thesis presents extended program notes on my graduate recital repertoire. I will be exploring the historical background and providing detailed analysis of the following works: J.S.

Bach (March 21, 1685 – 28 July 1750), Prelude, Fugue, and Allegro in E-flat major, BWV

998; Mario Castelnuovo-Tedesco (April 3, 1895 – March 16, 1968), El Sueño de la Razón

Produce Monstruos, op. 195 no. 18; Leo Brouwer (March 1, 1939 – Present), Sonata; and

Joaquin Rodrigo (Nov. 22, 1901 – Jul. 6, 1999), Concierto de Aranjuez. The purpose of this paper is to explain the overall significance of these works and the impact they have made on modern guitar literature.

Additionally, I will be discussing Joaquin Rodrigo’s Concierto de Aranjuez more thoroughly and with greater detail than the other compositions in my recital program. This composition’s political and historical background make it perhaps the most significant modern orchestral concerto and certainly the most important guitar composition. I will be discussing the source of its significance and provide an in depth analysis to explain why it stands out above other guitar compositions.

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I. J.S. Bach: Prelude, Fugue, and Allegro

in E-flat major, BWV 998

Johann Sebastian Bach’s Prelude, Fugue, and Allegro in E-flat major, BWV 998 is one of the few lute suites written by Bach, yet its unique characteristics carry it to be one of the most significant compositions in the modern guitar repertoire. I will be exploring the historical background of the work followed by an explanation of the main characteristics of the music and what makes the composition unique. Finally, I will explain why this piece has such a pronounced presence in today’s guitar literature.

This secular composition was written around 1735, which was approaching the final decade of Bach’s life. During this time, he was acquainted with the renowned lutenist Silvius Leopold

Weiss.1 Despite this relationship, there have been questions regarding the intended instrumentation of the piece. The first indication of questionable instrumentation resides in the original manuscript’s title, which states: “Prelude pour la Luth ò Cembal.” It is suggested by the title that the piece may have been intended for a keyboard instrument such as the clavichord or lautenwerck.2 Also, the Fugue and Allegro do not fit within the range of the lute and would require alterations in order to make it performable. Furthermore, “the last few bars of the BWV

998 are in organ tablature, thereby raising further performance issue.”3 Bach was not a lutenist

1 Anne Leahy, “Bach’s Prelude, Fugue, and Allegro for Lute (BWV 998): a Trinitarian Statement of Faith?” Journal of the Society for Musicology in Ireland, 1 (2005), p. 33.

2 The lautenwerck is a harpsichord-like instrument with gut strings and a large pear- shaped body similar to a lute.

3 Leahy, 34.

1 and was primarily a keyboardist, so it is understandable why his lute compositions are

“independent of instrumental considerations.”4 However, the nature of this composition, as well with his other lute suites, allows the work to be adapted to the lute relatively easily. As a result, transcriptions for guitar were eventually created since the instrument is so closely related to the lute. Almost two centuries after the original date of composition, Hans Dagobert Bruger became one of the first to publish a practical edition of Bach’s lute pieces arranged for the guitar.5

Thankfully, the overall character of the music is still retained in the arrangements despite the modifications that stem from the number of transcriptions.

Figure 1.1

The first movement of the piece is an improvisatory-like prelude in a pastoral triple meter.

The movement begins with a short three-note motif in the upper voice, as seen in Figure 2.1, which is employed at many moments throughout the work. This motif is the main driving force in the composition and can be heard at the start of every main phrase. Additionally, the melodic contour of this motif is interspersed within certain phrases, creating more overall unification of the work. As opposed to dance movements that follow a typical tonic-dominant binary form,

Bach modulates to closely related keys at his own discretion during the prelude, retaining similar thematic material throughout the key changes. After many harmonic changes, Bach revisits the

4 Scott Workman, “J.S. Bach’s Lute Suite BWV 1006a: A Study in Transcription,” The Graduate Research Journal, p. 104.

5 Clive Titmuss, “The Myth of Bach’s Lute Suites”, This is Classical Guitar, https://www.thisisclassicalguitar.com/bachs-lute-suites-clive-titmuss/. 2 main theme in a da capo section and closes the piece with a rich 4–3 suspension on a D major chord.

Figure 1.2

The second movement of BWV 998 is a slow and elegant fugue with many unique characteristics and allusions to Bach’s religious inspirations. Figure 2.2 shows the quarter-note theme that is later passed on throughout the different voices. The exposition transitions to the development by repeating a “sigh motif” that features suspensions on a variety of chords.6 The development features many sixteenth note arpeggios that modulate to a number of keys, in addition to some references back to the “sigh motif.” Finally, there is a recapitulation that features the exact same material found in the exposition which creates a “Fuga da capo” formal structure – a form that appears very rarely in Bach’s works7

There are many similar characteristics between the fugue and the previous prelude movement. For example, the first three notes of the subject of the fugue, as seen in Figure 2.2, are the exact same as the main motif in the prelude. The link between the two movements shows how Bach was looking at the bigger picture while composing the entire work. Bach’s recurring use of this three note motif, as well as his use of a three part form, suggests that he may be referring to the Holy Trinity, despite the work being initially thought of as secular. 8 Also, evidence suggests that the subject of the fugue is referencing Martin Luther’s Christmas hymn

6 Leahy, 46.

7 Eduardo Fernandez, Essays on J.S. Bach’s works for lute, ART Ediciones, p. 39.

8 Leahy, 50-51.

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‘Vom Himmel hoch, da komm ich her,’ further connecting the music with having religious elements.9

The final movement of the piece is in an allegro dance form that employs a fast triple meter.

The piece is led by many quick scalar melodies that are contrasted with slower counter-melodies in the lower voice. The A section modulates gradually from tonic to dominant which leads the music to the B section which starts in the newly established dominant key before modulating back to the home key at the end of the section. With repeats at the end of both sections, the movement a typical dance form structure and is an exciting conclusion to the three-movement masterpiece.

This composition has upmost importance in the classical guitar repertoire because of its numerous contributions to many different aspects of guitar literature. Firstly, the piece has numerous pedagogical aspects that assist guitarists to further develop their technique. For example, the amount of counterpoint presents a necessity to realize the various simultaneous melodic lines with clarity and great musicality. This can prove to be quite difficult for the guitar as the instrument is very limited in terms of the tessitura and accessibility to certain fingerings.

Bach’s works have continuously been seen as a great technical exercise for guitarists, therefore resulting in the music’s popularity. The challenges presented by the limitations of the guitar have led to many different arrangements and transcriptions of the lute suite. The constant revisions and desire to improve upon making the work fit the idiosyncrasies of the guitar have brought the work even more into the forefront of modern guitar literature.

9 Leahy, 37. 4

II. Mario Castelnuovo-Tedesco: Op. 195 No. 18

El Sueño de la Razón Produce Monstruos

El Sueño de la Razón Produce Monstruos is a composition by Mario Castelnuovo-Tedesco from his collection of works titled 24 Caprichos de Goya. Tedesco’s compositions have made a lasting impact on modern guitar repertoire and I will be discussing the historical context of the piece, followed by a brief analysis and comparison to the etching it’s based on, and concluding with an explanation as to how the work proved its significance in the guitar lexicon.

Tedesco completed the 24 Caprichos de Goya in 1961 after being inspired by Francisco Jose de Goya’s Caprichos – a series of eighty etchings that were completed in 1799. Goya, being

“undeniably one of the most important artists at the turn of the eighteenth to nineteenth century,” linked his works to the Enlightenment movement.10 These rather progressive art pieces directly inspired Tedesco to interpret the works on solo guitar. Interestingly enough, Tedesco did not play the guitar and was only inspired to compose for the instrument after developing a relationship with the renowned guitarist Andres Segovia.11 As a result, there have been some performance problems with his compositions, which I will be discussing later on in this section. Nevertheless,

Tedesco’s works have found themselves to be highly regarded and frequently played amongst guitarists.

10 Sandra Kuberski, “’The Sleep of Reason Produces Monsters’ in Goya’s ‘Los Caprichos,’” (GRIN Verlag, The University of Essex, 2011), 1-2.

11 Noah David DeLong, “Between two worlds: Mario Castelnuovo-Tedesco, his journey from Italy to America, and his oratorio ‘The Book of Ruth,’” (DMA Dissertation, The University of Iowa, 2015), 10. 5

Figure 2.1

Figure 3.1 shows Goya’s forty-third etching titled El Sueño de la Razón Produce Monstruos from his collection eighty Caprichos. The image depicts a self-portrait of the artist surrounded by nighttime creatures such as bats, owls, and lynxes. It is believed that the etching is to represent Goya seeing all of the foolishness of human society in his dreams and his purpose with the Caprichos is to reveal them to his audience.12 Furthermore, “the image depicts the world as a chaotic and dark place” and that “absence of reason is the source of all evil.”13 All of these characteristics and meanings behind the work provide Tedesco with a guideline for his composition which will portray the art piece.

12 Kuberski, 8.

13 Ibid., 9. 6

In his 24 Caprichos de Goya, Tedesco “allows his own imagination and artistic instincts to shape his individual response to each work of art rather than following any facile programmatic patterns.”14 Tedesco’s composition was a direct reflection what he interpreted the meaning of the art work to be and his goal was to illustrate, with his music, what was happening in the image.

There are a number of ways Tedesco illustrates the concepts of the image in his music – the first being that the composition is organized as a chaconne and has the tempo marking of ‘lento e grave.’ The chaconne allows Tedesco to establish the haunting main theme and harmonic structure in the first section before going on to present variations on the main melody. The consistent slow and dark variations successfully realizes the image throughout the entire work.

Additionally, the tonality of D minor and use of melodic minor scales and chromatic counter- melodies further demonstrates his understanding of the tone of the original art work.

This composition, among the dozens of other compositions he created for the guitar, have made their way into the standard repertoire for guitarists. Many of his works made it into the forefront because of his relationship with Andres Segovia who would perform his works to audiences around the world. Tedesco’s reputation was growing at a steady rate and he was able to collaborate with even more performers. One reason this composition in particular is so significant is because Tedesco described it as “probably [his] most ambitious work for guitar.”15

The entire collection of pieces was lengthy and guitarists, such as Segovia, were “full of

14 Graham Wade, Liner notes for Mario Castelnuovo-Tedesco (1895–1968) 24 Caprichos de Goya for Guitar, Op. 195, performed by Zoran Dukic. NAXOS Records 8.572252-53, 2009, compact disc.

15 Dario Leendert Van Gammeren, “The guitar works of Mario Castelnuovo-Tedesco: Editorial principles, comparative source studies, and critical editions of selected works,” (PhD Dissertation, The University of Manchester, 2008), 63.

7 enthusiasm [and were] studying it with great hurry.”16 These pieces, even at the time of composition, were highly coveted by the most elite guitarists. However, Segovia “would never go on to record the work or any part of it.”17 His reasoning for never recording the work may be because of the challenges presented in the music.

Figure 2.2 Figure 2.3

Hector Berlioz once said that “it is almost impossible to write well for the guitar without being a player on the instrument ... the majority of composers who employ it, are, however, far from knowing its powers; and therefore they frequently assign it things to play, of excessive difficulty, of little sonorousness, and little effect.”18 Tedesco, along with most other non-guitarist composers, unfortunately illustrates the ideas Berlioz was presenting. For example, the second variation of the piece incorporates a challenging sixteenth-note triplet arpeggios with melodies in the upper and lower voice. Figure 3.2 includes Tedesco’s edition of a measure of the second variation which is regrettably impossible to play. As a result, editors had to change many aspects of the music in order for it to be performed more fluently on the guitar. An example of an edit by

Angelo Gilardino can be seen in Figure 3.3 where notes are displaced to different octaves and other notes are completely omitted. Despite these difficulties, the increasing amount of

16 Van Gammeren, 63.

17 Ibid.

18 Hector Berlioz, A Treatise upon Modern Instrumentation and Orchestration, trans. M.C. Clarke (London: Novello, Ewer and Co., 1858), 67. 8 arrangements and alternate fingerings to make the compositions more idiomatic for the guitar, as well as the initial anticipation for the piece when it was composed, shows how much of a role these compositions have had in modern guitar literature.

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III. Leo Brouwer: Sonata

Leo Brouwer’s Sonata (1990) is a landmark composition in the history of guitar repertoire and it remains to be a standard piece for guitar performers around the world. This unique work features many allusions to compositions from past composers and I will identify the similarities between them and Brouwer’s Sonata. Furthermore, in addition to discussing the historical background of the work, I will be examining Brouwer’s Sonata in context of the year it was composed, and mention how it includes examples of the compositional trends occurring during that time.

Growing up in a musical family, Brouwer started to play guitar and compose at a young age.

His first period of composition started in 1954 with a number of pieces that “explored the resources of the guitar in works that combined traditional classical forms with Cuban inspiration.”19 After the 1960s and following the Cuban Revolution, Brouwer entered his second compositional period where he started to be associated with more avant-garde composers and including elements of post-serialism and aleatoric music into his compositions. During the late

1970s is when Brouwer entered his third period where he described his music as “national hyper- romanticism, [and] a return to Afro-Cuban roots coupled with elements of traditional technique and of minimalism.”20 The Sonata was composed during this period in the year 1990 and was dedicated to the legendary guitarist Julian Bream. Bream commissioned the work because he thought that “at the time, a solo sonata, with the skills that he had shown working in sonata form,

19 Graham Anthony Devine, Liner notes for Brouwer: Guitar Music Volume 3, performed by Graham Anthony Devine. NAXOS Records 8.554195, 2003, compact disc.

20 Ibid.

10 would augur well for his new guitar piece.”21 The piece was met with acclaim and found its way into the standard guitar repertoire through its display of virtuosity and unique compositional style.

Figure 3.1

The first movement, titled Fandangos y Boleros, blends rhythmic elements of the Spanish fandango with characteristics of the bolero, a type of Cuban love song. The piece starts out with a Preambulo section with improvisatory characteristics. This is followed by the Danza section where the main motivic melodies are presented. After developing on these ideas Brouwer concludes with a section that brings back several short motives. Brouwer describes the first movement as “a sort of puzzle in which the colours are recomposed and redistributed.”22 The overall form of the piece is a fragmented sonata form that is similar to Ludwig van Beethoven’s

Pastoral Symphony.23 Furthermore, Brouwer directly quotes the symphony near the conclusion of the work, as seen in Figure 3.1.

21 Julian Bream, interview by Therese Wassily Saba, Catching Up with Julian Bream: The Legendary Master Looks Back, Classical Guitar Magazine, December 11, 2014. http://classicalguitarmagazine.com/catching-up-with-julian-bream-the-legendary-master-looks- back/

22 Devine, Liner notes for Brouwer: Guitar Music Volume 3.

23 Ibid. 11

Figure 3.2

The second movement, titled Sarbanda de Scriabin, is built upon a three note ostinato that is stated in the opening measures.24 A sixteenth note motif, which is present in every movement of the Sonata, is then presented above the ostinato. Following this is a slow, cascading arpeggio – similar to the sounds of Scriabin’s Piano Sonata No. 9 – that flows all over the fretboard. After developing on these two ideas, Brouwer concludes with a section that repeats the material found in the beginning of the piece.

Figure 3.3

The final movement of the work, titled La Toccata de Pasquini, is a virtuosic piece that blends together the elements of seventeenth century keyboard music and contemporary music.

Brouwer’s main inspiration for this piece came from Bernardo Pasquini’s Scherzo del cucco which has a descending third motif that imitates a cuckoo clock – which can be seen in Figure

3.3.

24 Norbert Kraft, Liner notes for Ricardo Gallen: Guitar Recital, performed by Ricardo Gallen. NAXOS Records 8.554832, 2000, compact disc. 12

Figure 3.4

Brouwer chooses to quote the motif with an added staccato articulation to emphasize the motif over the droning lower voice. These inclusions of musical elements from past generations, as well as the use of extended guitar technique such as Bartok pizzicato give this piece a unique character and energy which set it above so many other guitar compositions. His ability to unite the entire Sonata with common thematic elements makes the composition one of the most substantial in guitar repertoire.

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IV. Joaquin Rodrigo: Concierto de Aranjuez

Joaquin Rodrigo’s Concierto de Aranjuez remains to be the most influential and significant piece composed for the guitar. The concerto’s significance has even transcended it outside of the world of guitar and into the music of other genres. In this section, I will be discussing the historical and political background of the piece, followed by a discussion on what gives this piece its enduring legacy, and concluding with an analysis of each movement.

Encouraged by the guitarist Regino Sainz de la Maza, Rodrigo started to compose the

Concierto de Aranjuez in 1938.25 During the outbreak of the Spanish Civil War (1936-1939),

Rodrigo had been studying in Paris, but when he returned to Spain in 1939 his life had changed on a personal and national level.26 The country was in the process of rebuilding and “it was left to composers such as Joaquin Rodrigo to attempt the post-war convalescence of Spanish culture, applying, as far as is possible, the consolations of a national music to an embittered and war- scarred country.”27 The music of the Spanish culture, which incorporated flamenco, gypsy, and folk music, was something that Rodrigo was proud of and he wanted to communicate this national identity through his compositions.

On November 9th, 1940, the concerto was premiered in Barcelona and it received an enormous amount of praise from audiences and critics. The concerto’s neo-classical impressionistic style resonated easily with audiences, as opposed to the other avant-garde

25 Graham Wade, Joaquin Rodrigo and the Concierto de Aranjuez,(Leeds: Mayflower Enterprises, 1985), 15.

26 Ibid., 16.

27 Ibid., 22. 14 compositional trends occurring during that time. This compositional style helped define the

Concierto de Aranjuez as a “musical testament to the period marking the cessation of the Civil

War.”28 The jubilant Spanish characteristics of the music combined with the concerto’s political context helped audiences regain a connection with their war-damaged country. The Concierto de

Aranjuez was “seen for a time as restoring traditional values after their disappearance in Spanish music immediately before the war.”29 The concerto was a light of hope for the nation following the Civil War and the music evoked the power and character embedded within Spanish music.

Joaquin Rodrigo gained his main inspiration for the concerto from the Palacio Real de

Aranjuez (Royal Palace of Aranjuez). While talking about his composition, Rodrigo stated that

“it was [his] intention to evoke a certain period in the life of Aranjuez – the end of the eighteenth and the beginning of the nineteenth century at the courts of Charles IV and Ferdinand VII. It was an epoch subtly characterized by ‘majas’ and bull-fighters, and by Spanish-American tunes.”30

During this period in Spanish history, the country was in process of a new enlightenment and there was an upsurge of national feeling.31 Rodrigo wanted to capture the blissful atmosphere of the palace during this time and incorporate the beauty of the palace’s gardens. He chose to emulate all of these ideas with his light and airy orchestral textures and cheerful, yet driving rhythms.

28 Ann Livermore, A short history of Spanish music (Vienna: Vienna House, 1972), 208.

29 Tomas Marco, New Grove Dictionary of Music and Musicians (London: Macmillan, 1980), quoted in Graham Wade, Joaquin Rodrigo and the Concierto de Aranjuez,(Leeds: Mayflower Enterprises, 1985), 23.

30 Joaquin Rodrigo, quoted in Graham Wade, Joaquin Rodrigo and the Concierto de Aranjuez,(Leeds: Mayflower Enterprises, 1985), 23.

31 Wade, 46. 15

The success of the Concierto de Aranjuez helped push Rodrigo into the international spotlight. He was appointed as a professor at Madrid University in the 1940s and began traveling the world premiering new compositions.32 In the 1950s, Narciso Yepes became the first guitarist to record the concerto which inspired many other guitarists, such as Julian Bream and John

Williams, to follow in his footsteps.33 Bream’s performance of the concerto started to make audiences and critics compare him to Segovia. Once Williams started to perform the concerto in the 1960’s “the work [started to become] an expected and standard item of the orchestral repertoire in quite a different way from ever before. The sight and sound of the guitar in an orchestral context was now a musical experience that could be accepted by the public with a sense of familiarity and enthusiasm.”34 Furthermore, Rodrigo’s influence extended into the jazz scene with the legendary jazz trumpeter Miles Davis’ 1960 album Sketches of Spain which featured the concerto’s Adagio movement. These instances of the composition influencing musicians and audiences show just how significant the concerto was, not only in the guitar area but throughout the entire musical world.

Figure 4.1

32 Wade, 17.

33 Ibid.

34 Ibid., 11. 16

The first movement of the concerto, titled Allegro con spirito is a cheerful piece driven by the rhythmic and catchy guitar part. In its traditional sonata-allegro form, the composition starts out with an introduction that features a shift in rhythmical accents that implies a switch between

6/8 and 3/4 meter. The use of the rasgueado strumming technique and sonorous D major chords allow the listener to be immediately familiar with the sounds and style of the guitar. Following this, the oboe and the first violins give the first subject of the exposition still in the key of D major. The second subject is then stated by the guitar part still in the key of D major before modulating to F major where the second subject is restated again. Moving to the key of E major,

Rodrigo then uses scalar passages in his transitional material before arriving at the development section in the key of A minor. The development features music that is built upon references to material found in the exposition. After a series of key changes and fast scales, the music returns to the main theme in D major at the recapitulation at rehearsal number 16 in the score (Schott

Edition). The second subject is then repeated in the key of G by the clarinet which is then followed by a restatement of the transitional material in the key of A major. Fragments of the introduction are stated in the coda section in the key of D major which is concluded with the first motif played by the guitar in the exposition.

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Figure 4.2

The second movement, titled Adagio, is a tonal and characteristic contrast to the movements that surround it. In the key of B minor, the piece starts off with the main theme, as seen in Figure

4.2, being presented by the cor anglais. “This melody evokes the atmosphere of the saeta; literally, an arrow, the saeta is the flamenco-like arrow of a song which bursts from the people spontaneously during the religious procession in Holy Week; it is improvisational and pierces the celebrational clamour with its plaintive lament.”35 The melody soon moves to the guitar part where it is linked with more improvisational characteristics in its heavy ornamentation. The theme is then played again by the cor anglais but now starting on the tonic note and it is then followed by the guitar repeated an ornamented version of the same melody. New themes based on the main melody then arises in the key of E minor before being repeated again down a whole- step. Then, a new theme based on triplets is then presented in the key of G minor before being repeated again in C minor.

After all of these question-and-answer section a slow cadenza section follows where the guitar plays the main theme while accompanying itself with lush chords. Following this, the guitar diverges into fast ascending scales that conclude with longs trills. This passage is then

35 Wade, 34. 18 answered by being repeated a whole step lower before being interrupted by a triplet figure in the orchestra. This leads to a melody played by the bassoon which is held on a fermata before the main cadenza starts. In the key of C sharp minor, the guitar plays the main melody over consistent pedal G sharp notes. The cadenza builds with a long crescendo over a metric accelerando before reuniting with the orchestra after strumming a fast embellished C sharp minor chord. The orchestra then begins again with a tutti section in the key of F sharp minor where they are playing the main theme. The triplet melody returns in the guitar part before finishing off with a quiet and ethereal B major arpeggio.

Figure 4.3

The third and final movement, Allegro gentile, is essentially in rondo form. The theme

(Figure 4.3) that is restated throughout the piece is based off a courtly dance, similar to what one would hear at the Royal Palace of Aranjuez. Starting off in B major, the guitar presents the two- voice theme without accompaniment before the orchestra repeats it. A chord-based melody is then presented by the guitar before being repeated again up a whole step. The guitar then return to play the main theme in a staccato eighth note pattern. Following this, there is an assertive chord passage that modulates to a lyrical melody in B minor. A fast triplet line is played in the guitar part before being repeated again up a perfect fourth. Then, the theme is stated again with the guitarist playing fast sixteenth-note arpeggios with pizzicato strings reinforcing the theme. A new lyrical theme with contrapuntal accompaniment is then presented by the guitar and then is repeated down a perfect fourth. This leads into the theme being presented again with a quick sixteenth-note embellishment. A new eighth-note theme is then played by the guitar and is then

19 repeated twice in new keys. This leads the music into a lush arpeggio section that ends with a fermata which is followed by a fast ascending scale. The main theme is presented once again by the orchestra before the guitar finished off the piece with a embellished descending D major arpeggio.

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Bibliography

Berlioz, Hector. A Treatise upon Modern Instrumentation and Orchestration. Translated by M.C. Clarke. London: Novello, Ewer and Co., 1858.

Bream, Julian. Catching Up with Julian Bream: The Legendary Master Looks Back by Therese Wassily Saba. Classical Guitar Magazine, December 11, 2014. http://classicalguitarmagazine.com/catching-up-with-julian-bream-the-legendary-master- looks-back/.

DeLong, Noah David. “Between two worlds: Mario Castelnuovo-Tedesco, his journey from Italy to America, and his oratorio ‘The Book of Ruth.’” DMA Dissertation, The University of Iowa, 2015.

Devine, Graham Anthony. Liner notes for Brouwer: Guitar Music Volume 3, performed by Graham Anthony Devine. NAXOS Records 8.554195, 2003, compact disc.

Fernandez, Eduardo. Essays on J.S. Bach’s works for lute. Montevideo: ART Ediciones, 2003.

Kraft, Norbert. Liner notes for Ricardo Gallen: Guitar Recital, performed by Ricardo Gallen. NAXOS Records 8.554832, 2000, compact disc.

Kuberski, Sandra. “’The Sleep of Reason Produces Monsters’ in Goya’s ‘Los Caprichos.’” GRIN Verlag, The University of Essex, 2011.

Leahy, Anne. “Bach’s Prelude, Fugue, and Allegro for Lute (BWV 998): a Trinitarian Statement of Faith?” Journal of the Society for Musicology in Ireland, 1 (2005): 33-51.

Livermore, Ann. A short history of Spanish music. Vienna: Vienna House, 1972.

Titmuss, Clive. “The Myth of Bach’s Lute Suites.” This is Classical Guitar (2015), https://www.thisisclassicalguitar.com/bachs-lute-suites-clive-titmuss/.

Van Gammeren, Dario Leendert. “The guitar works of Mario Castelnuovo-Tedesco: Editorial principles, comparative source studies, and critical editions of selected works.” PhD Dissertation, The University of Manchester, 2008.

Wade, Graham. Joaquin Rodrigo and the Concierto de Aranjuez. Leeds: Mayflower Enterprises, 1985.

––– Liner notes for Mario Castelnuovo-Tedesco (1895–1968) 24 Caprichos de Goya for Guitar, Op. 195, performed by Zoran Dukic. NAXOS Records 8.572252-53, 2009, compact disc.

Workman, Scott. “J.S. Bach’s Lute Suite BWV 1006a: A Study in Transcription,” The Graduate Research Journal. http://brandon.multics.org/music/articles/ReadingBach.pdf.

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Appendix: Program

California State University, Northridge Mike Curb College of Arts, Media, and Communication Department of Music

Presents

Brandon Mendez, Guitar

In his Master Recital*

A student of Steve Thachuk

Friday, May 11th, 2018, 7:30pm Cypress Recital Hall

*In partial fulfillment of the Master of Music degree in Guitar Performance

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Program

El Sueño de la Razon Produce Monstruos op. 195 no. 18 Mario Castelnuovo-Tedesco (1895-1968)

Prelude Fugue and Allegro in Eb Major, BWV 998 J.S. Bach (1685-1750)

Sonata Leo Brouwer (1939- ) Fandangos y Boleros Sarabanda de Scriabin Toccata de Pasquini

Intermission

Concierto de Aranjuez Joaquin Rodrigo (1901-1999) Allegro con spirito Adagio Allegro gentile

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