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ALÍ ARANGO Guitar Recital

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ALÍ ARANGO Guitar Recital Laureate Series • Guitar Alí Arango 2014 Winner ‘Alhambra’ International Guitar Competition GUITAR RECITAL BROUWER • CLERCH • DEL PUERTO • ARANGO • DE LUCÍA Alí Arango Alí Arango: Guitar Recital Guitar Recital This selection presents a wide variety of music from eighteen I wrote Danza Característica around Cuban eminent guitarists who are also distinguished composers. themes. I have always felt a desire to transcend the mere Historically the acknowledged great guitarists of history repetition of popular dances…Where do we see the Leo Brouwer (b. 1939): prior to the twentieth century were players who invariably transcendence of the dance? In Ravel’s marvellously Danzas Rituales y Festivas (First Series) (2012-2014) 15:17 performed their own works. This tradition has not been ostentatious fantasy La Valse. This is my concept in the 1 I. Danza de los Altos Cerros 4:15 lost even if an important aspect of Andrés Segovia’s Ritual and Festive Dances without intending to dilute the 2 II. Habanera Trunca 5:21 mission in the twentieth century was to encourage popular feeling inherent in the folklore heritage.’ 3 III. Guajira 5:41 composers who were not guitarists to write for the El Decamerón Negro (The Black Decameron) (1981) instrument (a movement continued by Julian Bream and refers to a collection of African stories by Leo Frobenius Brouwer: El Decamerón Negro (1981) 17:44 John Williams, among others). From such activities a (1873-1938), German ethnologist, archaeologist, and 4 I. Balada de la Doncella Enamorada 6:57 quantity of high quality music was created. traveller. Brouwer’s representation of one of the legends 5 II. Huida de los Amantes por el Valle de los Ecos 5:25 But the advantage of music composed by the through the expressiveness of the guitar, shows his 6 III. El Arpa del Guerrero 5:22 practitioners of a specific instrument is that the harvest of imaginative approach in an Afro-Cuban fusion of what they produce is totally idiomatic and stylistically influences. 7 Joaquín Clerch (b. 1965): Estudio No. 4 para el Anular (2015) 5:47 appropriate. Moreover the works on this recording (Leo Brouwer has recommended that ‘the order of the (Dedicated to Alí Arango) originate from Spain and Latin America where the guitar is ballads is free’; therefore listeners may be interested to the accepted national instrument. In such an environment, hear the movements performed in a different order from David del Puerto (b. 1964): Fantasía y Rondó (2013) 4:59 nourished by long folkloric traditions, the indigenous tonal some previously recorded versions.) 8 I. Fantasía 3:21 colours and varied sonorities of the six plucked strings Balada de la Doncella Enamorada (Ballad of the 9 II. Rondó 1:38 flourish in the context of vibrant new compositions. Damsel in Love) consists of a romantic, lyrical theme and Leo Brouwer, from Havana, Cuba, has long been passages of rhythmical complexity. 0 Alí Arango (b. 1982): Opfergabe (2011) 5:17 acclaimed as one of the most challenging and innovative La Huida de los Amantes por el Valle de los Ecos I. Arreise – II. Tanz of contemporary composers. His output ranges from solo (The Flight of the Lovers through the Valley of Echoes) guitar pieces to symphonic works, including concertos, begins with declamato (declamation) and presage ! Arango: Paralelepípedo Isócrono sobre chamber music, and many film scores. His prolific (foreboding) before the galloping horses of the lovers are un Panáculo Helicoidal (2008) 6:40 contribution to the guitar has developed through various heard and they enter the Valley of Echoes. I. Preámbulo Inductivo – II. Aporía styles embracing the avant-garde and the experimental, El Arpa del Guerrero (The Warrior’s Harp), with its as well as neo-romanticism. running quavers and dramatic pauses (and short @ Arango: Escenas del Des-Equinoccio (2006) 5:24 Danzas Rituales y Festivas (2012-2014) shows tranquillo section), establishes the mood of the work # Arango: Lúa ‘Nana’ (2014) 5:28 Brouwer’s mastery of composing for guitar with its rich combining both traditional and atonal devices. A slow impressionism and superb understanding of the Epílogo concludes the movement. $ Paco de Lucía (1947-2014): Guajiras de Lucía (1969) 3:52 instrument’s natural tonal resources. Danza de los Altos Joaquín Clerch, born in Havana in 1965, studied with Cerros (Dance of the High Hills), Habanera Trunca several teachers in his early years, including Leo Brouwer Publishers: Manuscript – permission granted by composer (tracks 1-3, 7, 12, 13); (Truncated Habanera), and Guajira form a unified and Costas Costiolis. Later he moved to Salzburg to have Editions Musicales Transatlantiques (tracks 4-6); PILES, Editorial de Música, S.A. structure of images in homage to the concept of dance. lessons with Eliot Fisk, graduating with the highest (tracks 8-11); Ricordi Editions (track 14) (Alí Arango gave the first performance of this work in honours. Clerch has performed recitals and engagements December 2014 in Barcelona during a celebration of with orchestras world-wide and won many international “I dedicate this CD to my daughter Lúa and to the memory of my mother Marianela.” Brouwer’s seventy-fifth birthday.) guitar competitions. He is now professor of guitar at the Brouwer explained the suite as follows: ‘At the age of Robert Schumann University in Düsseldorf and has made a number of recordings including Brouwer’s Concierto de The composer designates the title Paralelepípedo fascinated performers since its first appearance on long onwards, Guajiras de Lucía has surely commanded the Havana. Isócrono sobre un Panáculo Helicoidal as being playing records. Many classical players have been drawn most admiration. Its dazzling arpeggios, rapid scale Clerch’s Estudios have become well known among ‘complicated, recherché, and meaningless’, which reflects to this composition, playing it with transcriptions taken passages, and moments of sheer lyricism conjure up a guitarists not only for their technical aspects but also as the work’s conceptual content, and refers also to from the original recording. romantic vision of an elegant perfection of form and appropriate concert studies. Estudio No. 4, dedicated to maieutics, denoting the Socratic mode of enquiry which The guajira in this instance is a flamenco dance, substance. Alí Arango, is specifically an exercise for the anular or ring aims to bring a person’s latent ideas into clear introduced into Spain from Cuba. The style is performed finger of the right hand. consciousness, a great conflict with no satisfactory alternating six/eight and three/four rhythm in a similar Graham Wade David del Puerto is a concert guitarist and composer resolution. The title of the second movement Aporía, manner to the siguriya, but mostly in a major mode. Of the who has given recitals in many countries and is currently means an ‘irresolvable internal contradiction or logical many guajiras featured by flamenco artists over the last Grateful acknowledgements are due to Thérèse Wassily Saba professor at the Escuela Superior de Música Reina Sofía, disjunction in a text, argument or theory’, from the Greek century, from the great Ramón Montoya (1880-1949) for permission to quote from her conversation with Leo Brouwer. in Madrid. His works have reached an international aporos (meaning ‘impassable’). audience and he has been awarded several prestigious Escenas del Des-Equinoccio (Scenes of the composition prizes in Spain. Diminished Equinox) portrays the period when the Fantasía y Rondó was commissioned in 2013 by the composer lived in Cordoba. Spain. He found a church 12th Alhambra International Guitar Competition. The where the bells made an irregular rhythm of seven beats, composer has explained that he has ‘not attempted to similar to a rhythmic cell of Afro-Cuban music. In the create a work of formidable virtuosity but rather a couple score there are often three simultaneous lines (left hand of pieces in which clarity of form and content allows us to tapping, right hand articulation, and the artist’s foot concentrate on musicality and expression’. He has marking the beat on a wooden box). described the Fantasía as ‘a three-part form with a lively Lúa is a lullaby to the composer’s daughter. Alí middle section in arpeggios which uses the whole range Arango has added his own comments to introduce the of the instrument. The final sections develop a little work: ‘One day I discovered a beautiful coincidence. mosaic of elements characterised by alternating textures Spelling her name in Spanish (ele-u-a), sounds like and moods’. Elegua, one of the gods of the Afro-Cuban religion. This The Rondó is written ‘with the feel of an energetic piece therefore begins with an exact quotation from the toccata, with a clear vigorous theme’. The episodes song to Elegua and then I use another fragment. Also, I ‘explore various homophonic and polyphonic textures, imitate the rhythmic cells of the drums, percussive effects including a canon, but always within that perpetuum of the tambores batá, the ritual drums of Afro-Cuban mobile style which characterises the theme itself’. The religion, with harmonics on the guitar.’ ending ‘gently slackens the rhythmic pulse in a rallentando Paco de Lucía (1947-2014) was one the greatest and diminuendo, culminating in a soft arpeggio’. guitarists of the instrument’s long history. He Alí Arango, born in Havana, combines the rigorous revolutionised the art of flamenco and with flamenco-jazz profession of international concert artist with a profound fusion he brought a new sound and style into the world of ‘Alhambra’ International Guitar Competition interest in extending the guitar repertoire with his own music. His extraordinary technical ability and his intense compositions. He also performs with the Traza Quartet artistic imagination elevated him to the front rank of The ‘Alhambra’ International Guitar Competition was established in 1990 to celebrate the 25th anniversary of (two guitars, violin, and cello), which explores the fusion international musicians.
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