572843bk Montesinos B:New 6-page template A 29/6/11 1:00 PM Page 1

Anabel Montesinos Anabel Montesinos is a winner of several major international guitar competitions, Laureate Series • Guitar including the Francisco Tárrega in Spain and the Michele Pittaluga in Alessandria, Italy. Also available ... She started her musical training at the age of five and the guitar at the age of six, and appeared, after a few months, as an infant prodigy. She performed a solo recital in Anabel Montesinos Mallorca when she was just twelve. She has recorded for radio and television in Spain, First Prize Poland, Italy, and Sweden, and her many triumphs in major international competitions 2010 Michele Pittaluga Guitar Competition, Alessandria led to her first recording with Naxos, a release acclaimed by the international press and chosen by British Airlines as a part of GRANADOS • FALLA • LLOBET • SOR the inflight musical programme on overseas flights. Anabel Montesinos has shared RODRIGO • LÓPEZ-QUIROGA • PUJOL concerts with Paco de Lucía, receiving a standing ovation in Uppsala, Sweden. She has appeared as a soloist with the Moscow Philarmonic, St Petersburg Philarmonic, and orchestras in Turin, Mexico, Madrid, Oulu in Finland, and elsewhere. Her 2011 tour started at the Carnegie Hall, where she received a standing ovation. She plays a Simon Marty guitar and lives in Austria.

Naxos 8.557294 C Photo: Christian Kathrein M Y K 5 8.572843 6 8.572843 572843bk Montesinos B:New 6-page template A 29/6/11 1:00 PM Page 2

Anabel Montesinos: Guitar Recital Pedrell. In 1907 he went to France where he remained for composer wrote about this piece: the lines, ‘Look at my arm tattooed with a woman’s name Pujol spent a lifetime propagating the principles of his several years in the circle of Debussy, Dukas, Ravel, and The fandango was a very popular dance in the … she loved me … so I will for ever bear the mark of this teacher, giving recitals, writing a Guitar Method, editing Enrique GRANADOS (1867–1916) Manuel LÓPEZ-QUIROGA (1899–1988) Albéniz. His music includes stage and orchestral pieces, eighteenth century; it was the dance both of the nobility woman’s name.’ dozens of transcriptions, and composing solos. Three 1 Valses poéticos (arr. Montesinos) 9:15 Three Coplas (arr. Carles Trepat) 12:41 vocal items, piano solos, and chamber and instrumental and the masses… The fandango is a slow dance and The second song, María de la O, subtitled, zambra- Spanish Pieces, published by Max Eschig in 1926, are compositions. sometimes includes ballads which are sung. Its origin is canción (the zambra being a Spanish dance with Moorish Pujol’s best known compositions. Tonadillas al estilo antiguo 0 Tatuaje – Canción de puerto 3:55 ! María de la O – Zambra-canción 4:40 Danza del corregidor (Dance of the Corregidor) is an uncertain though many experts claim the fandango is of influence), was composed in 1935. Its lyrics have been sung Tonadilla, marked lively and gracious, is in ternary 2 No. 7 La maja de Goya (arr. Montesinos) 4:19 abridged arrangement of a movement from El sombrero de Arabian descent. Except in the trio of the central section, in a number of styles and featured in a film of the same form. The Tárrega-like lyricism of the first section contrasts @ Ojos verdes – Zambra-canción 4:06 Manuel DE FALLA (1876–1946) tres picos (The Three-Cornered Hat), a ballet in two scenes. this Fandango does not employ popular themes, but it is title. The central character, María de la O, is a passionate with a briefly introspective central episode, this unit being El sombrero de tres picos – Ballet Fernando SOR (1778–1839) The action centres around the Corregidor (a magistrate) inspired by the sevillanas, an extremely intricate folk- gypsy, similar to the operatic Carmen, whose tempestuous repeated before the reprise of the opening. 3 Danza del corregidor (arr. Siegfried Behrend) 1:59 # Introduction and Variations on a Theme of who has designs on the local miller’s beautiful wife. During dance. The melodic style reflects the gallantry and pomp of personality brings disturbance and shame. The guitar Tango, dedicated to Pujol’s wife, Matilde Cuervas, is Mozart, Op. 9 9:44 this theme in the ballet, the magistrate makes foolish the eighteenth century in Spain and especially in Madrid. version of López-Quiroga’s setting is an extended reminiscent of Albéniz’s Tango in D. Though the tango is Miguel LLOBET (1878–1938) gestures like a grand seducer. But as he crosses a bridge Passacaglia is more introspective in character, revealing exploration of the zambra with its embellished arabesques primarily a dance of Argentinian derivation, Pujol 12 Catalan folk-songs 6:24 Emilio PUJOL (1886–1980) the moon is hidden by a cloud and he falls into the water. how resonant a single line can be on the guitar. Gradually in the melody and rhythmic bass patterns reminiscent of a approaches the genre through a Spanish vocabulary, the 4 El Nit de Nadal 1:20 Tres piezas españolas 12:25 The miller’s wife sees the bedraggled figure and the the figurations over the repeated ground become more drum. result being a satisfying combination of melodic sweetness, 5 Canço del lladre 2:12 $ Tonadilla 2:57 Corregidor pursues her, drawing his pistol. The wife complex until a chordal rasgueado (strumming) takes us Another zambra-canción, Ojos verdes (Green Eyes), rhythmic ingenuity and well blended colourings. 6 El Noi de la Mare 2:49 % Tango 3:48 escapes. In the confusion the Corregidor takes off his wet into the atmosphere of the indigenous guitar of Spain, but written in the late 1930s, concludes the trio of songs. The Guajira is dedicated to León Ferré, a dairy farmer of ^ Joaquín RODRIGO (1901–1999) Guajira 5:36 clothes and puts on the miller’s long shirt and pointed with slightly altered chords from what might be expected. poet observes that the girl’s eyes are ‘as green as basil, as Barcelona, mentioned in Andrés Segovia’s autobiography. nightcap, while the miller dons the Corregidor’s uniform, The harp-like brilliance of the following section precedes green as wheat, green as lime’. Noticeable in the arrange- Milk was sold at the entrance to his farm while in the barn Tres piezas españolas 12:09 thus preparing the action for a richly comic finale. a fugato coda in fandango rhythm. The transition from the ment once more is the patterned duple time bass over which guitarists gathered. As Segovia described it, the ‘cows 7 Fandango 3:51 Miguel Llobet, born in Catalonia, was one of the leading pensive opening to the vigorous finale is a masterly piece an ornamented theme sings evoking the oud, the Arabic lowing and mooing’ echoed ‘in the cavity of the guitar’. 8 Passacaglia 4:53 guitarists of the early twentieth century. A student of of composing requiring the performer to be a fine judge of lute, still an integral part of everyday life from Morocco to Many famous players performed at Ferré’s farm including 9 Zapateado 3:25 Tárrega and a profound influence on Segovia, Llobet gave pace and shading. Egypt and beyond. Llobet, as well as Pujol and Segovia. recitals in many countries, made recordings, and wrote a Zapateado is a virtuoso demonstration of the rhythms of Fernando Sor performed his compositions on a guitar The guajira was originally a Cuban narrative song form The ‘Spanish guitar’ retains a central significance in the movement is a vigorous presto in six-eight time reminiscent variety of excellent compositions for the guitar. Llobet’s the flamenco dance famed for its skilful footwork. Its smaller in structure than the instrument as we know it of rural folk tradition but there is a flamenco version instrument’s appeal, even after a century when the of the brillante style of Chopin, and then the first waltz lasting legacy to the guitar repertoire includes his acclaimed perpetual motion, inventive modulation and subtle rhythms today. Yet he captures the essence of the guitar as a brought back to Spain in the sixteenth century by Spanish repertoire was internationalised by the contributions of returns to provide a serene coda. harmonizations of a dozen traditional Catalan folk-songs. create not only picturesque images of vigorous choreo- ‘miniature orchestra’, emulating the great composers by soldiers returning from South America. Pujol’s Guajira, composers of many countries. In this selection the music A tonadilla is a tune set to poetry or dance, often with El Nit de Nadal (Christmas Night) and El Noi de la graphy but also provide a dramatic climax to the triptych. writing sonatas, fantasias, sets of variations, and many alternating between six-eight and three-four, owes much to ranges from traditional folk-songs to the feast of guitar contrasting tempi. Originally it signified a musical inter- Mare (The Son of Our Lady) celebrate the birth of Jesus. Manuel López-Quiroga, born in Seville, Andalusia, was studies for all levels of ability. Spanish by birth, he flamenco examples distilled here into classical purity. The music produced throughout the twentieth century. mezzo between acts in the theatre but developed into a style In Canço del lladre (The Robber’s Song), the thief narrates a prolific composer who wrote hundreds of songs as well emigrated to France after Napoleon’s defeat in Spain, and piece begins with extended pizzicato passages concluded Enrique Granados, like Isaac Albéniz, was one of the of cantata, with vocal solos, choral and instrumental the story of his life. A refrain bids farewell to the carnation as 36 zarzuelas (Spanish light operettas), and fifty film travelled extensively, giving recitals in Britain, Poland and by descending scale fragments. The next section proceeds great Spanish romantic composers. Though neither Grana- movements. La maja de Goya from Tonadillas, a song- and ‘the star of day’, as the bandit confesses deeds of scores. Several of his songs were arranged for guitar by Russia. to the upper register with harmonics contributing a varied dos nor Albéniz wrote directly for the guitar, their art cycle written in 1912/13, depicting the composer’s ad- robbing and killing. El Noi de la Mare, in contrast, invites Carles Trepat, published by Ediciones Quiroga of Madrid His Variations on ‘O cara armonia’ from Mozart’s The texture. The pizzicato returns before a further episode of constantly evoked, as Manuel de Falla expressed it, ‘certain miration for the paintings of Goya. La maja de Goya has us to offer gifts to the Infant including raisins and figs, in 1999. At the age of eleven, López-Quiroga became a Magic Flute, indicate a great deal about Sor’s approach. poetic intensity. An ad libitum passage provides a cadenza guitaristic values’. the following text: honey and cream, a blanket to keep the Baby warm, and a church organist, and later studied piano, harmony and Such a brilliant showpiece surely astounded Sor’s audiences and change of mood before the guajira rhythms return, Valses poéticos were part of a collection for piano under There is no woman, whether maja or lady, who song full of love sung by the Virgin, echoed by the Angels composition at the Seville Muncipal Conservatoire. He as there were few guitaristic precedents for this kind of tour after which some new thematic material is introduced. the title of Valses de amor from which Granados selected does not miss Goya now. of Heaven. moved to Madrid in 1929 and from 1931 collaborated with de force in which the instrument’s technical devices were Before the pizzicato finale, a brief passage, marked seven pieces and added an introduction, dedicating the If I found someone who would love me as he loved Tres piezas españolas (Three Spanish Pieces), were the poet Rafael de León in the writing of songs and developed with such gusto. Opus 9 is one of those rare douloureux (sadly), allows a moment of nostalgic work to Joaquín Malats, like himself a distinguished me, composed in 1954, the same year as Rodrigo’s second zarzuelas which became popular throughout Spain. compositions which break new ground, uniting lyricism reflection. pianist. The composition opens not with a poetic waltz but I would not envy, no, nor ever wish for more guitar concerto, Fantasía para un gentilhombre (Fantasia Tatuaje (Tattoo), first published in 1941, is a waltz full with thrilling virtuosity. with a vivace molto introduction in duple time. The fortune or joy. for a Gentleman), both dedicated to Andrés Segovia. of atmosphere and picturesque moods. In the second part it As a pupil of Francisco Tárrega (1852-1909), Emilio Graham Wade succeeding dances create various moods associated with Manuel de Falla was born in Cádiz. After early piano Fandango, with its ‘wrong note’ beginning, contains fine moves from three-four time to two-four to present a slow the waltz, such as the melodic, the nostalgic, the humorous, lessons from his mother, Falla continued his pianistic moments of lyricism accompanied by colourful chords, as tango of great melodic beauty. The composition is then the elegant, and the sentimental. The penultimate education under José Tragó and also studied with Felipe well as many challenging passages of triplets. The repeated. The original poem by Rafael de León includes 2 8.572843 3 8.572843 4 8.572843 572843bk Montesinos B:New 6-page template A 29/6/11 1:00 PM Page 2

Anabel Montesinos: Guitar Recital Pedrell. In 1907 he went to France where he remained for composer wrote about this piece: the lines, ‘Look at my arm tattooed with a woman’s name Pujol spent a lifetime propagating the principles of his several years in the circle of Debussy, Dukas, Ravel, and The fandango was a very popular dance in the … she loved me … so I will for ever bear the mark of this teacher, giving recitals, writing a Guitar Method, editing Enrique GRANADOS (1867–1916) Manuel LÓPEZ-QUIROGA (1899–1988) Albéniz. His music includes stage and orchestral pieces, eighteenth century; it was the dance both of the nobility woman’s name.’ dozens of transcriptions, and composing solos. Three 1 Valses poéticos (arr. Montesinos) 9:15 Three Coplas (arr. Carles Trepat) 12:41 vocal items, piano solos, and chamber and instrumental and the masses… The fandango is a slow dance and The second song, María de la O, subtitled, zambra- Spanish Pieces, published by Max Eschig in 1926, are compositions. sometimes includes ballads which are sung. Its origin is canción (the zambra being a Spanish dance with Moorish Pujol’s best known compositions. Tonadillas al estilo antiguo 0 Tatuaje – Canción de puerto 3:55 ! María de la O – Zambra-canción 4:40 Danza del corregidor (Dance of the Corregidor) is an uncertain though many experts claim the fandango is of influence), was composed in 1935. Its lyrics have been sung Tonadilla, marked lively and gracious, is in ternary 2 No. 7 La maja de Goya (arr. Montesinos) 4:19 abridged arrangement of a movement from El sombrero de Arabian descent. Except in the trio of the central section, in a number of styles and featured in a film of the same form. The Tárrega-like lyricism of the first section contrasts @ Ojos verdes – Zambra-canción 4:06 Manuel DE FALLA (1876–1946) tres picos (The Three-Cornered Hat), a ballet in two scenes. this Fandango does not employ popular themes, but it is title. The central character, María de la O, is a passionate with a briefly introspective central episode, this unit being El sombrero de tres picos – Ballet Fernando SOR (1778–1839) The action centres around the Corregidor (a magistrate) inspired by the sevillanas, an extremely intricate folk- gypsy, similar to the operatic Carmen, whose tempestuous repeated before the reprise of the opening. 3 Danza del corregidor (arr. Siegfried Behrend) 1:59 # Introduction and Variations on a Theme of who has designs on the local miller’s beautiful wife. During dance. The melodic style reflects the gallantry and pomp of personality brings disturbance and shame. The guitar Tango, dedicated to Pujol’s wife, Matilde Cuervas, is Mozart, Op. 9 9:44 this theme in the ballet, the magistrate makes foolish the eighteenth century in Spain and especially in Madrid. version of López-Quiroga’s setting is an extended reminiscent of Albéniz’s Tango in D. Though the tango is Miguel LLOBET (1878–1938) gestures like a grand seducer. But as he crosses a bridge Passacaglia is more introspective in character, revealing exploration of the zambra with its embellished arabesques primarily a dance of Argentinian derivation, Pujol 12 Catalan folk-songs 6:24 Emilio PUJOL (1886–1980) the moon is hidden by a cloud and he falls into the water. how resonant a single line can be on the guitar. Gradually in the melody and rhythmic bass patterns reminiscent of a approaches the genre through a Spanish vocabulary, the 4 El Nit de Nadal 1:20 Tres piezas españolas 12:25 The miller’s wife sees the bedraggled figure and the the figurations over the repeated ground become more drum. result being a satisfying combination of melodic sweetness, 5 Canço del lladre 2:12 $ Tonadilla 2:57 Corregidor pursues her, drawing his pistol. The wife complex until a chordal rasgueado (strumming) takes us Another zambra-canción, Ojos verdes (Green Eyes), rhythmic ingenuity and well blended colourings. 6 El Noi de la Mare 2:49 % Tango 3:48 escapes. In the confusion the Corregidor takes off his wet into the atmosphere of the indigenous guitar of Spain, but written in the late 1930s, concludes the trio of songs. The Guajira is dedicated to León Ferré, a dairy farmer of ^ Joaquín RODRIGO (1901–1999) Guajira 5:36 clothes and puts on the miller’s long shirt and pointed with slightly altered chords from what might be expected. poet observes that the girl’s eyes are ‘as green as basil, as Barcelona, mentioned in Andrés Segovia’s autobiography. nightcap, while the miller dons the Corregidor’s uniform, The harp-like brilliance of the following section precedes green as wheat, green as lime’. Noticeable in the arrange- Milk was sold at the entrance to his farm while in the barn Tres piezas españolas 12:09 thus preparing the action for a richly comic finale. a fugato coda in fandango rhythm. The transition from the ment once more is the patterned duple time bass over which guitarists gathered. As Segovia described it, the ‘cows 7 Fandango 3:51 Miguel Llobet, born in Catalonia, was one of the leading pensive opening to the vigorous finale is a masterly piece an ornamented theme sings evoking the oud, the Arabic lowing and mooing’ echoed ‘in the cavity of the guitar’. 8 Passacaglia 4:53 guitarists of the early twentieth century. A student of of composing requiring the performer to be a fine judge of lute, still an integral part of everyday life from Morocco to Many famous players performed at Ferré’s farm including 9 Zapateado 3:25 Tárrega and a profound influence on Segovia, Llobet gave pace and shading. Egypt and beyond. Llobet, as well as Pujol and Segovia. recitals in many countries, made recordings, and wrote a Zapateado is a virtuoso demonstration of the rhythms of Fernando Sor performed his compositions on a guitar The guajira was originally a Cuban narrative song form The ‘Spanish guitar’ retains a central significance in the movement is a vigorous presto in six-eight time reminiscent variety of excellent compositions for the guitar. Llobet’s the flamenco dance famed for its skilful footwork. Its smaller in structure than the instrument as we know it of rural folk tradition but there is a flamenco version instrument’s appeal, even after a century when the of the brillante style of Chopin, and then the first waltz lasting legacy to the guitar repertoire includes his acclaimed perpetual motion, inventive modulation and subtle rhythms today. Yet he captures the essence of the guitar as a brought back to Spain in the sixteenth century by Spanish repertoire was internationalised by the contributions of returns to provide a serene coda. harmonizations of a dozen traditional Catalan folk-songs. create not only picturesque images of vigorous choreo- ‘miniature orchestra’, emulating the great composers by soldiers returning from South America. Pujol’s Guajira, composers of many countries. In this selection the music A tonadilla is a tune set to poetry or dance, often with El Nit de Nadal (Christmas Night) and El Noi de la graphy but also provide a dramatic climax to the triptych. writing sonatas, fantasias, sets of variations, and many alternating between six-eight and three-four, owes much to ranges from traditional folk-songs to the feast of guitar contrasting tempi. Originally it signified a musical inter- Mare (The Son of Our Lady) celebrate the birth of Jesus. Manuel López-Quiroga, born in Seville, Andalusia, was studies for all levels of ability. Spanish by birth, he flamenco examples distilled here into classical purity. The music produced throughout the twentieth century. mezzo between acts in the theatre but developed into a style In Canço del lladre (The Robber’s Song), the thief narrates a prolific composer who wrote hundreds of songs as well emigrated to France after Napoleon’s defeat in Spain, and piece begins with extended pizzicato passages concluded Enrique Granados, like Isaac Albéniz, was one of the of cantata, with vocal solos, choral and instrumental the story of his life. A refrain bids farewell to the carnation as 36 zarzuelas (Spanish light operettas), and fifty film travelled extensively, giving recitals in Britain, Poland and by descending scale fragments. The next section proceeds great Spanish romantic composers. Though neither Grana- movements. La maja de Goya from Tonadillas, a song- and ‘the star of day’, as the bandit confesses deeds of scores. Several of his songs were arranged for guitar by Russia. to the upper register with harmonics contributing a varied dos nor Albéniz wrote directly for the guitar, their art cycle written in 1912/13, depicting the composer’s ad- robbing and killing. El Noi de la Mare, in contrast, invites Carles Trepat, published by Ediciones Quiroga of Madrid His Variations on ‘O cara armonia’ from Mozart’s The texture. The pizzicato returns before a further episode of constantly evoked, as Manuel de Falla expressed it, ‘certain miration for the paintings of Goya. La maja de Goya has us to offer gifts to the Infant including raisins and figs, in 1999. At the age of eleven, López-Quiroga became a Magic Flute, indicate a great deal about Sor’s approach. poetic intensity. An ad libitum passage provides a cadenza guitaristic values’. the following text: honey and cream, a blanket to keep the Baby warm, and a church organist, and later studied piano, harmony and Such a brilliant showpiece surely astounded Sor’s audiences and change of mood before the guajira rhythms return, Valses poéticos were part of a collection for piano under There is no woman, whether maja or lady, who song full of love sung by the Virgin, echoed by the Angels composition at the Seville Muncipal Conservatoire. He as there were few guitaristic precedents for this kind of tour after which some new thematic material is introduced. the title of Valses de amor from which Granados selected does not miss Goya now. of Heaven. moved to Madrid in 1929 and from 1931 collaborated with de force in which the instrument’s technical devices were Before the pizzicato finale, a brief passage, marked seven pieces and added an introduction, dedicating the If I found someone who would love me as he loved Tres piezas españolas (Three Spanish Pieces), were the poet Rafael de León in the writing of songs and developed with such gusto. Opus 9 is one of those rare douloureux (sadly), allows a moment of nostalgic work to Joaquín Malats, like himself a distinguished me, composed in 1954, the same year as Rodrigo’s second zarzuelas which became popular throughout Spain. compositions which break new ground, uniting lyricism reflection. pianist. The composition opens not with a poetic waltz but I would not envy, no, nor ever wish for more guitar concerto, Fantasía para un gentilhombre (Fantasia Tatuaje (Tattoo), first published in 1941, is a waltz full with thrilling virtuosity. with a vivace molto introduction in duple time. The fortune or joy. for a Gentleman), both dedicated to Andrés Segovia. of atmosphere and picturesque moods. In the second part it As a pupil of Francisco Tárrega (1852-1909), Emilio Graham Wade succeeding dances create various moods associated with Manuel de Falla was born in Cádiz. After early piano Fandango, with its ‘wrong note’ beginning, contains fine moves from three-four time to two-four to present a slow the waltz, such as the melodic, the nostalgic, the humorous, lessons from his mother, Falla continued his pianistic moments of lyricism accompanied by colourful chords, as tango of great melodic beauty. The composition is then the elegant, and the sentimental. The penultimate education under José Tragó and also studied with Felipe well as many challenging passages of triplets. The repeated. The original poem by Rafael de León includes 2 8.572843 3 8.572843 4 8.572843 572843bk Montesinos B:New 6-page template A 29/6/11 1:00 PM Page 2

Anabel Montesinos: Guitar Recital Pedrell. In 1907 he went to France where he remained for composer wrote about this piece: the lines, ‘Look at my arm tattooed with a woman’s name Pujol spent a lifetime propagating the principles of his several years in the circle of Debussy, Dukas, Ravel, and The fandango was a very popular dance in the … she loved me … so I will for ever bear the mark of this teacher, giving recitals, writing a Guitar Method, editing Enrique GRANADOS (1867–1916) Manuel LÓPEZ-QUIROGA (1899–1988) Albéniz. His music includes stage and orchestral pieces, eighteenth century; it was the dance both of the nobility woman’s name.’ dozens of transcriptions, and composing solos. Three 1 Valses poéticos (arr. Montesinos) 9:15 Three Coplas (arr. Carles Trepat) 12:41 vocal items, piano solos, and chamber and instrumental and the masses… The fandango is a slow dance and The second song, María de la O, subtitled, zambra- Spanish Pieces, published by Max Eschig in 1926, are compositions. sometimes includes ballads which are sung. Its origin is canción (the zambra being a Spanish dance with Moorish Pujol’s best known compositions. Tonadillas al estilo antiguo 0 Tatuaje – Canción de puerto 3:55 ! María de la O – Zambra-canción 4:40 Danza del corregidor (Dance of the Corregidor) is an uncertain though many experts claim the fandango is of influence), was composed in 1935. Its lyrics have been sung Tonadilla, marked lively and gracious, is in ternary 2 No. 7 La maja de Goya (arr. Montesinos) 4:19 abridged arrangement of a movement from El sombrero de Arabian descent. Except in the trio of the central section, in a number of styles and featured in a film of the same form. The Tárrega-like lyricism of the first section contrasts @ Ojos verdes – Zambra-canción 4:06 Manuel DE FALLA (1876–1946) tres picos (The Three-Cornered Hat), a ballet in two scenes. this Fandango does not employ popular themes, but it is title. The central character, María de la O, is a passionate with a briefly introspective central episode, this unit being El sombrero de tres picos – Ballet Fernando SOR (1778–1839) The action centres around the Corregidor (a magistrate) inspired by the sevillanas, an extremely intricate folk- gypsy, similar to the operatic Carmen, whose tempestuous repeated before the reprise of the opening. 3 Danza del corregidor (arr. Siegfried Behrend) 1:59 # Introduction and Variations on a Theme of who has designs on the local miller’s beautiful wife. During dance. The melodic style reflects the gallantry and pomp of personality brings disturbance and shame. The guitar Tango, dedicated to Pujol’s wife, Matilde Cuervas, is Mozart, Op. 9 9:44 this theme in the ballet, the magistrate makes foolish the eighteenth century in Spain and especially in Madrid. version of López-Quiroga’s setting is an extended reminiscent of Albéniz’s Tango in D. Though the tango is Miguel LLOBET (1878–1938) gestures like a grand seducer. But as he crosses a bridge Passacaglia is more introspective in character, revealing exploration of the zambra with its embellished arabesques primarily a dance of Argentinian derivation, Pujol 12 Catalan folk-songs 6:24 Emilio PUJOL (1886–1980) the moon is hidden by a cloud and he falls into the water. how resonant a single line can be on the guitar. Gradually in the melody and rhythmic bass patterns reminiscent of a approaches the genre through a Spanish vocabulary, the 4 El Nit de Nadal 1:20 Tres piezas españolas 12:25 The miller’s wife sees the bedraggled figure and the the figurations over the repeated ground become more drum. result being a satisfying combination of melodic sweetness, 5 Canço del lladre 2:12 $ Tonadilla 2:57 Corregidor pursues her, drawing his pistol. The wife complex until a chordal rasgueado (strumming) takes us Another zambra-canción, Ojos verdes (Green Eyes), rhythmic ingenuity and well blended colourings. 6 El Noi de la Mare 2:49 % Tango 3:48 escapes. In the confusion the Corregidor takes off his wet into the atmosphere of the indigenous guitar of Spain, but written in the late 1930s, concludes the trio of songs. The Guajira is dedicated to León Ferré, a dairy farmer of ^ Joaquín RODRIGO (1901–1999) Guajira 5:36 clothes and puts on the miller’s long shirt and pointed with slightly altered chords from what might be expected. poet observes that the girl’s eyes are ‘as green as basil, as Barcelona, mentioned in Andrés Segovia’s autobiography. nightcap, while the miller dons the Corregidor’s uniform, The harp-like brilliance of the following section precedes green as wheat, green as lime’. Noticeable in the arrange- Milk was sold at the entrance to his farm while in the barn Tres piezas españolas 12:09 thus preparing the action for a richly comic finale. a fugato coda in fandango rhythm. The transition from the ment once more is the patterned duple time bass over which guitarists gathered. As Segovia described it, the ‘cows 7 Fandango 3:51 Miguel Llobet, born in Catalonia, was one of the leading pensive opening to the vigorous finale is a masterly piece an ornamented theme sings evoking the oud, the Arabic lowing and mooing’ echoed ‘in the cavity of the guitar’. 8 Passacaglia 4:53 guitarists of the early twentieth century. A student of of composing requiring the performer to be a fine judge of lute, still an integral part of everyday life from Morocco to Many famous players performed at Ferré’s farm including 9 Zapateado 3:25 Tárrega and a profound influence on Segovia, Llobet gave pace and shading. Egypt and beyond. Llobet, as well as Pujol and Segovia. recitals in many countries, made recordings, and wrote a Zapateado is a virtuoso demonstration of the rhythms of Fernando Sor performed his compositions on a guitar The guajira was originally a Cuban narrative song form The ‘Spanish guitar’ retains a central significance in the movement is a vigorous presto in six-eight time reminiscent variety of excellent compositions for the guitar. Llobet’s the flamenco dance famed for its skilful footwork. Its smaller in structure than the instrument as we know it of rural folk tradition but there is a flamenco version instrument’s appeal, even after a century when the of the brillante style of Chopin, and then the first waltz lasting legacy to the guitar repertoire includes his acclaimed perpetual motion, inventive modulation and subtle rhythms today. Yet he captures the essence of the guitar as a brought back to Spain in the sixteenth century by Spanish repertoire was internationalised by the contributions of returns to provide a serene coda. harmonizations of a dozen traditional Catalan folk-songs. create not only picturesque images of vigorous choreo- ‘miniature orchestra’, emulating the great composers by soldiers returning from South America. Pujol’s Guajira, composers of many countries. In this selection the music A tonadilla is a tune set to poetry or dance, often with El Nit de Nadal (Christmas Night) and El Noi de la graphy but also provide a dramatic climax to the triptych. writing sonatas, fantasias, sets of variations, and many alternating between six-eight and three-four, owes much to ranges from traditional folk-songs to the feast of guitar contrasting tempi. Originally it signified a musical inter- Mare (The Son of Our Lady) celebrate the birth of Jesus. Manuel López-Quiroga, born in Seville, Andalusia, was studies for all levels of ability. Spanish by birth, he flamenco examples distilled here into classical purity. The music produced throughout the twentieth century. mezzo between acts in the theatre but developed into a style In Canço del lladre (The Robber’s Song), the thief narrates a prolific composer who wrote hundreds of songs as well emigrated to France after Napoleon’s defeat in Spain, and piece begins with extended pizzicato passages concluded Enrique Granados, like Isaac Albéniz, was one of the of cantata, with vocal solos, choral and instrumental the story of his life. A refrain bids farewell to the carnation as 36 zarzuelas (Spanish light operettas), and fifty film travelled extensively, giving recitals in Britain, Poland and by descending scale fragments. The next section proceeds great Spanish romantic composers. Though neither Grana- movements. La maja de Goya from Tonadillas, a song- and ‘the star of day’, as the bandit confesses deeds of scores. Several of his songs were arranged for guitar by Russia. to the upper register with harmonics contributing a varied dos nor Albéniz wrote directly for the guitar, their art cycle written in 1912/13, depicting the composer’s ad- robbing and killing. El Noi de la Mare, in contrast, invites Carles Trepat, published by Ediciones Quiroga of Madrid His Variations on ‘O cara armonia’ from Mozart’s The texture. The pizzicato returns before a further episode of constantly evoked, as Manuel de Falla expressed it, ‘certain miration for the paintings of Goya. La maja de Goya has us to offer gifts to the Infant including raisins and figs, in 1999. At the age of eleven, López-Quiroga became a Magic Flute, indicate a great deal about Sor’s approach. poetic intensity. An ad libitum passage provides a cadenza guitaristic values’. the following text: honey and cream, a blanket to keep the Baby warm, and a church organist, and later studied piano, harmony and Such a brilliant showpiece surely astounded Sor’s audiences and change of mood before the guajira rhythms return, Valses poéticos were part of a collection for piano under There is no woman, whether maja or lady, who song full of love sung by the Virgin, echoed by the Angels composition at the Seville Muncipal Conservatoire. He as there were few guitaristic precedents for this kind of tour after which some new thematic material is introduced. the title of Valses de amor from which Granados selected does not miss Goya now. of Heaven. moved to Madrid in 1929 and from 1931 collaborated with de force in which the instrument’s technical devices were Before the pizzicato finale, a brief passage, marked seven pieces and added an introduction, dedicating the If I found someone who would love me as he loved Tres piezas españolas (Three Spanish Pieces), were the poet Rafael de León in the writing of songs and developed with such gusto. Opus 9 is one of those rare douloureux (sadly), allows a moment of nostalgic work to Joaquín Malats, like himself a distinguished me, composed in 1954, the same year as Rodrigo’s second zarzuelas which became popular throughout Spain. compositions which break new ground, uniting lyricism reflection. pianist. The composition opens not with a poetic waltz but I would not envy, no, nor ever wish for more guitar concerto, Fantasía para un gentilhombre (Fantasia Tatuaje (Tattoo), first published in 1941, is a waltz full with thrilling virtuosity. with a vivace molto introduction in duple time. The fortune or joy. for a Gentleman), both dedicated to Andrés Segovia. of atmosphere and picturesque moods. In the second part it As a pupil of Francisco Tárrega (1852-1909), Emilio Graham Wade succeeding dances create various moods associated with Manuel de Falla was born in Cádiz. After early piano Fandango, with its ‘wrong note’ beginning, contains fine moves from three-four time to two-four to present a slow the waltz, such as the melodic, the nostalgic, the humorous, lessons from his mother, Falla continued his pianistic moments of lyricism accompanied by colourful chords, as tango of great melodic beauty. The composition is then the elegant, and the sentimental. The penultimate education under José Tragó and also studied with Felipe well as many challenging passages of triplets. The repeated. The original poem by Rafael de León includes 2 8.572843 3 8.572843 4 8.572843 572843bk Montesinos B:New 6-page template A 29/6/11 1:00 PM Page 1

Anabel Montesinos Anabel Montesinos is a winner of several major international guitar competitions, Laureate Series • Guitar including the Francisco Tárrega in Spain and the Michele Pittaluga in Alessandria, Italy. Also available ... She started her musical training at the age of five and the guitar at the age of six, and appeared, after a few months, as an infant prodigy. She performed a solo recital in Anabel Montesinos Mallorca when she was just twelve. She has recorded for radio and television in Spain, First Prize Poland, Italy, and Sweden, and her many triumphs in major international competitions 2010 Michele Pittaluga Guitar Competition, Alessandria led to her first recording with Naxos, a release acclaimed by the international press and chosen by British Airlines as a part of GRANADOS • FALLA • LLOBET • SOR the inflight musical programme on overseas flights. Anabel Montesinos has shared RODRIGO • LÓPEZ-QUIROGA • PUJOL concerts with Paco de Lucía, receiving a standing ovation in Uppsala, Sweden. She has appeared as a soloist with the Moscow Philarmonic, St Petersburg Philarmonic, and orchestras in Turin, Mexico, Madrid, Oulu in Finland, and elsewhere. Her 2011 tour started at the Carnegie Hall, where she received a standing ovation. She plays a Simon Marty guitar and lives in Austria.

Naxos 8.557294 C Photo: Christian Kathrein M Y K 5 8.572843 6 8.572843 572843bk Montesinos B:New 6-page template A 29/6/11 1:00 PM Page 1

Anabel Montesinos Anabel Montesinos is a winner of several major international guitar competitions, Laureate Series • Guitar including the Francisco Tárrega in Spain and the Michele Pittaluga in Alessandria, Italy. Also available ... She started her musical training at the age of five and the guitar at the age of six, and appeared, after a few months, as an infant prodigy. She performed a solo recital in Anabel Montesinos Mallorca when she was just twelve. She has recorded for radio and television in Spain, First Prize Poland, Italy, and Sweden, and her many triumphs in major international competitions 2010 Michele Pittaluga Guitar Competition, Alessandria led to her first recording with Naxos, a release acclaimed by the international press and chosen by British Airlines as a part of GRANADOS • FALLA • LLOBET • SOR the inflight musical programme on overseas flights. Anabel Montesinos has shared RODRIGO • LÓPEZ-QUIROGA • PUJOL concerts with Paco de Lucía, receiving a standing ovation in Uppsala, Sweden. She has appeared as a soloist with the Moscow Philarmonic, St Petersburg Philarmonic, and orchestras in Turin, Mexico, Madrid, Oulu in Finland, and elsewhere. Her 2011 tour started at the Carnegie Hall, where she received a standing ovation. She plays a Simon Marty guitar and lives in Austria.

Naxos 8.557294 C Photo: Christian Kathrein M Y K 5 8.572843 6 8.572843 NAXOS NAXOS Multi-award winner Anabel Montesinos returns to the Naxos label with the ‘graceful flexibility’ and ‘flawless technique’ (MusicWeb International) of her earlier acclaimed recital (8.557294). She has since become 1st Prize Winner at the prestigious 2010 Michele Pittaluga Guitar Competition in Alessandria. This programme is emblematic 8.572843 of the ‘Spanish guitar’, ranging from Pujol’s and Rodrigo’s respective Tres piezas ANABEL MONTESINOS: ANABEL MONTESINOS: españolas which descend from traditional folk styles, to Fernando Sor’s Variations on DDD a Theme of Mozart, a showpiece which turns the guitar into a ‘miniature orchestra’. Playing Time ANABEL MONTESINOS 69:13 Guitar Recital Enrique GRANADOS (1867–1916) Manuel LÓPEZ-QUIROGA 1 Valses poéticos (1899–1988) (arr. Montesinos) 9:15 Three Coplas 2 Tonadilla – La maja de Goya (arr. Carles Trepat) 12:41 (arr. Montesinos) 4:19 0 Tatuaje – Canción de puerto 3:55 Manuel DE FALLA (1876–1946) ! María de la O – Zambra-canción 4:40 @ 3 Danza del corregidor Ojos verdes – Zambra-canción 4:06 www.naxos.com Made in Germany Booklet notes in English ൿ Naxos Rights International Ltd. Naxos Rights International Guitar Recital (arr. Siegfried Behrend) 1:59 Fernando SOR (1778–1839) Guitar Recital # Introduction and Variations & Miguel LLOBET (1878–1938) Ꭿ on a Theme of Mozart, Op. 9 9:44 4 El Nit de Nadal 1:20 2011 5 Canço del lladre 2:12 Emilio PUJOL (1886–1980) 6 El Noi de la Mare 2:49 Tres piezas españolas 12:25 Joaquín RODRIGO (1901–1999) $ Tonadilla 2:57 % Tango 3:48 Tres piezas españolas 12:09 ^ Guajira 5:36 7 Fandango 3:51 C 8 Passacaglia 4:53 Please see page 2 of the booklet for a 9 Zapateado 3:25 more detailed track list M 8.572843 Recorded at St John Chrysostom Church, Newmarket, Ontario, Canada, 11–14 April 2011 8.572843 Producers: Norbert Kraft & Bonnie Silver • Engineer & Editor: Norbert Kraft • Booklet notes: Graham Wade Y Guitar: Simon Marty, Australia • Strings: Savarez Corum-Blue • Publishers: Chester (3); Chanterelle (4–6); Schott Music (7–9); Manuel Lopez-Quiroga y Miquel, Rafael de Leon y Arias de Saavedra y Salvador Valverde, K Madrid (10–12); M. Eschig (14–16) • Photo of Anabel Montesinos by Christian Kathrein