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El Aleph 20Th and 21St Century Guitar Music

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El Aleph 20Th and 21St Century Guitar Music EL ALEPH 20TH AND 21ST CENTURY GUITAR MUSIC SMARO GREGORIADOU 1 DE 3490 0 13491 34902 2 DELOS DE 3490 SMARO GREGORIADOU EL ALEPH DELOS DE 3490 SMARO GREGORIADOU 20TH AND 21ST CENTURY GUITAR MUSIC SMARO GREGORIADOU FERNANDE PEYROT: Préludes pour Guitare NIKITA KOSHKIN: Toccata Larghetto ◆ Moderato ◆ Scherzando vivace SEAN HICKEY: Tango Grotesco ◆ Vivo con fuoco, Più lento, Tempo 1 RENÉ EESPERE: Tactus Spiritus AGUSTIN BARRIOS: Prelude in C Minor ◆ Las Abejas ◆ Aire de Zamba ◆ Danza ŠTĚPÁN RAK: Temptation of the Paraguaya No. 1 Renaissance MANUEL PONCE: Thème, varié et finale SMARO GREGORIADOU: El Aleph after Jorge Luis Borges*† HANS WERNER HENZE: Drei Tentos Prism ◆ Cantus ◆ Yo, no Du, schönes Bächlein ◆ Es findet das Aug oft ◆ ◆ EL ALEPH ◆ Sohn Laios EL ALEPH SMARO GREGORIADOU, GUITARS *OPEN SOURCE GUITARS HELMUT OESTERREICH, CONDUCTOR †World premiere recording Total playing time: 59:00 ORIGINAL ORIGINAL DIGITAL © 2016 Delos Productions, Inc., DIGITAL P.O. Box 343, Sonoma, CA 95476-9998 (800) 364-0645 • (707) 996-3844 [email protected] • www.delosmusic.com EL ALEPH 20TH AND 21ST CENTURY GUITAR MUSIC SMARO GREGORIADOU Fernande Peyrot: 15. René Eespere: Tactus Spiritus (7:12) Préludes pour guitare (6:05) 1. I. Larghetto (1:16) 16. Štěpán Rak: Temptation of the 2. II. Moderato (1:58) Renaissance (5:02) 3. III. Scherzando vivace (1:27) 4. IV. Vivo con fuoco – Più lento Smaro Gregoriadou: cantando – Tempo I (1:24) El Aleph after Jorge Luis Borges (for guitar ensemble) (10:00)*† Agustin Barrios: 17. I. Prism (5:06) 5. Prelude in C Minor (2:09) 18. II. Cantus (3:14) 6. Las Abejas (2:15) 19. III. Yo, no… (1:40) 7. Aire de Zamba (2:43) 8. Danza Paraguaya No. 1 (2:18) *Open Source Guitars, Helmut Oesterreich, conductor 9. Manuel Ponce: Thème varié et Finale †World premiere recording (8:33) Hans Werner Henze: Total playing time: 59:00 Drei Tentos (6:11) 10. I. Du, schönes Bächlein (1:53) All solo works arr. Gregoriadou for classical pedal 11. II. Es findet das Aug oft (1:50) guitar (tracks 1-7, 9-12, 14, 16); high-tuned pedal 12. III. Sohn Laios (2:28) guitar in scalloped frets and movable back (tracks 8, 13); and high-tuned, double-course pedal guitar tuned in octaves (track 15). 13. Nikita Koshkin: Toccata (2:20) Instruments, tuning schemes, string con- 14. Sean Hickey: Tango Grotesco (4:03) figurations by Kertsopoulos Aesthetics 2 INSTRUMENTS neering achievements in guitar and string construction that focuses on reviving/ In 2009 I introduced the term “reinventing redesigning the historical forms and guitar” to describe my overall interpretive sound traditions which have significantly and pedagogical approach, which is to marked the guitar’s evolution. In addition, express the need to redefine the classical Kertsopoulos Aesthetics seeks to expand guitar’s sound and technique on an the highly advanced instrument-building international scale. This redefinition is crucial, standards of today regarding modern especially for early music interpretation, repertory. given the great distance between modern classical guitar and performance practices In the solo part of this album, the main and sound idioms of the past; but it is section (tracks 1-4, 5-7, 9, 10-12, 14, 16) was equally important for contemporary guitar recorded with two types of standard classical music that depends on new tone qualities pedal guitars differing in string materials or colors for its expression. My purpose, and timbre. Barrios’ Danza Paraguaya therefore, is twofold: to provide historically (track 8) and Koshkin’s Toccata (track 13) are informed, well-substantiated, compatible interpreted on a high-tuned pedal guitar with guitar interpretations of Renaissance and scalloped frets and movable back, tuned five baroque music that at the same time can semitones higher than standard tuning. For be fresh, alive and convincing; and to offer a Eespere’s Tactus Spiritus (track 15), I have new reading for new repertoire, suitable for used a double-course pedal guitar tuned in modern audiences and venues. Hence my octaves, seven semitones higher than ordinary use in this album of a variety of exceptional tuning. Both of these pedal guitars possess instruments which, although they maintain an extra-clear, brilliant, distinct coloration the form and sound characteristics of the and articulation that project the nobility and standard guitar, are upgraded with various delicacy of the high frequencies. I find their constructional features and acoustic timbre particularly relevant for harpsichord applications, newly developed strings and or lute transcriptions (being mindful that all alternative tuning configurations that enrich genuine branches of the guitar family have sound, technique, interpretation and style. been double-course and high-pitched, with brilliant timbres of gut or metal strings and Listeners of my two previous albums (Rein­ very sharp attack). Alternatively, I use these venting Guitar, Volumes I and II, DELOS pedal guitars for contemporary pieces that 3398 and 3419) are probably familiar with either have folk origins or influences or adopt such innovations. They belong to Kert- techniques from folk-related instruments. sopoulos Aesthetics, a platform of pio- I also use them to effectively recreate the 3 preferences of certain composers, such as phrases. Prélude No. 3 (Scherzando vivace) Barrios, who used metal 1st and 2nd strings is brighter, playful and quite contrapuntal. searching for a brilliant and penetrating tone The cycle closes with Prélude No. 4 (Vivo color in his high register. con fuoco-Più lento cantando-Tempo I), a last monologue with impressive vitality and a Finally, all instruments’ tunings are based on somewhat recitativo narrative style. slightly different “A” rates, varying from 428 to 438 Hz, according to their individual harmonic Guitarist-composer Agustin Pío Barrios Man- potential and general acoustic response. goré (1885-1944), known as Agustin Bar- – Smaro Gregoriadou rios, was one of the finest classical musi- cians from his native Paraguay. Barrios was a polyglot and polymath who, during his NOTES ON THE PROGRAM early years, was equally captivated by math- ematics, philosophy and literature. A num- During her lifetime, French-Swiss Fernande ber of Paraguayan guitarists followed in Peyrot (1888-1978) was considered one of his footsteps to success. Barrios’ music can the most important female composers of the easily be described as coming directly “from 20th century. Peyrot’s skills and unique mu- the heart” and was much influenced by the sical personality brought her to the attention rich traditional melodies and rhythms of his of legendary musicians of her time, includ- country. Due to the refined and poetic feel- ing guitarist Andrés Segovia and conductor ing of his music, Barrios is often called “the Ernest Ansermet. Her well-crafted composi- Chopin of the guitar.” The structure of the tional output is quite extensive, including or- Prelude in C minor (one of his most-per- chestral works, chamber music, choral works formed pieces) recalls the sublime simplici- and songs. Until fairly recently she belonged ty of Johann Sebastian Bach’s Prelude in C to the mostly forgotten composers of her major, BWV 846 (from The Well­Tempered generation. Her four Préludes pour guitare, Clavier, Book I). It is shaped in a continuous most probably composed in the early 1930s, movement filled with touches of sweet mel- show her at her very best. These are four deli- ancholy. Las Abejas (The Bees), composed cate miniatures, contrasted in mood and har- in 1921, is a highly virtuosic piece of pro- monic and rhythmic development. Prélude grammatic character. The rapid succession No. 1 (Larghetto) is calm and serene. It gives of triplet notes directly expresses the bees’ way to the following Prélude No. 2 (Mod- busy flight. The Aire de Zamba (“manner of erato), the longest of the set, which is much Zamba”) from the Suita Andina, draws its in- more inquisitive in expression and unfolds spiration from the folk cultures of Argentina, in a sequence of short, interrupted musical Chile and Peru. Zamba is a form derived from 4 a dance that is both imposing and refined in composer’s works. Segovia, Ponce’s junior character. According to the most important by nearly a decade, unquestionably made his autograph manuscript available (found in the name known worldwide. Jacinto Matiauda Collection, Paraguay), this work was composed in 1923. Its dance char- Ponce composed Thème varié et Finale acter and frequent rhythmic changes are well (Tema variado y final) in 1926, the same year combined with melodic elements that are he composed his delightful little Prelude for passionately romantic in expression. Barrios’ guitar and harpsichord. The work includes a Danza Paraguaya No. 1 is one of his best- theme, six variations and a finale. The theme loved creations. Its sunny, optimistic pulse is beautifully simple and pensive, leading and generous, songlike melody never fail the way to a set of variations that have re- to impress. The guitar seems to imitate the markable structural and technical inventive- sound of the Paraguayan harp, the national ness, contrasting moods and a strong Latin instrument of his country. American flair. The finale is festively Spanish. Among the composer’s opuses in variation Like Barrios, Mexican composer, pedagogue form written for the guitar, it is worth noting and scholar Manuel María Ponce Cuéllar that this is the only one based on an original (1882-1948), known as Manuel Ponce, was theme that Ponce himself created. also inspired and influenced by the traditional music of his country. From an early age, he German composer Hans Werner Henze proved his exceptional skills as a pianist. His (1926-2012), a towering figure of the post- most important piano professor was Martin 1945 era, was influenced by styles and sounds Krause, who had also taught Claudio Arrau coming from different cultures and idioms, and had himself studied with Franz Liszt.
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