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Jordi Masó DDD 8.555856 Jordi Masó was born in Granollers, near Barcelona, in 1967. He studied at the Conservatory there with Josep M. Roger, at the Barcelona School of Music with the pianist Albert Attenelle, and at the Royal Academy of Music of Mario London with Christopher Elton and Nelly Akopian, graduating in 1992 with the DipRAM, the highest distinction of the academy. He won first prizes in many National and International competitions in Spain and has performed extensively in most European countries and in the United States in piano recitals and in chamber music concerts. CASTELNUOVO-TEDESCO With a repertoire of more than thirty concertos from Mozart to the contemporary, Jordi Masó is regularly invited to play with the most important Spanish orchestras. His wide repertoire, covering all periods and styles, with special Piano Music emphasis on music of the twentieth century, has brought first performances of many piano works by the foremost Spanish composers. His many acclaimed recordings include the 1993 world première recording of the complete Cipressi ¥ Il raggio verde ¥ Epigrafe ¥ Cantico works for piano of Roberto Gerhard (Marco Polo 8.223867), from 1997 to 2000 four discs with the complete piano music by Frederic Mompou (Naxos 8.554332, 8,554448, 8.554570 and 8.554727), and two recordings with music by Josep Soler and Joaquim Homs (Marco Polo 8.225083 and 8.225099). He is now recording the complete piano Jordi Masó music by Joaquín Turina for Naxos. He has also recorded for other major companies. Since 1993 he has been professor at the Granollers Conservatory and, since 1996, a member of the contemporary music group Barcelona 216, which won the Barcelona City Prize for music in 2000. In 2002 he was appointed professor at the leading music school in Catalonia, the ESMUC.

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Mario Castelnuovo-Tedesco (1895-1968) 1937. Once again Castelnuovo-Tedesco depicts the sea, Vasari in his life of the painter. Epigrafe, written in Piano Music here in the terms of a fairy-story, in which the mermaid 1922, is in a musical language that by now is familiar. encounters the growing amatory difficulties usual to her It is here followed by the prize-winning Cantico, Op.19, The Italian composer, critic and pianist Mario (The Merchant of Venice) won the La Scala Concorso kind, before the serene conclusion. To this the five little of 1920, a piece written Per una statuetta di Castelnuovo-Tedesco derived his family name from the internazionale Campari prize and was given its first waltzes of Passatempi, Op.54, offer a light-hearted S.Bernadino di Niccolò dell’Arca (For a statuette of St Spanish district of Castilla Nueva, from which his performance in Florence in 1961 at the Maggio contrast, the first an off-key Un poco mosso, leading to Bernardino by Niccolò dell’Arca), music that rises to a ancestors had been expelled in 1492, with the scattering musicale. His interest in Shakespeare is further a second in burlesque mood. The third waltz is imbued final dynamic climax in its reflection of the work of the of Sephardim throughout the Mediterranean world. suggested by his series of Shakespeare overtures, his with melancholy and the fourth is pastoral in feeling. fifteenth century artist. Born in Florence in 1895, he was introduced to music Shakespeare songs (Marco Polo 8.223729), and his The dances end with a mock-Viennese waltz. by his mother and in 1908 entered the Cherubini opera All’s well that ends well. Other works show his Vitalba e Biancospino, Op.21, of 1921 takes its Conservatory in Florence. He completed his piano wide literary interests, from an opera based on Oscar starting-point from the story of the two plants of the Keith Anderson studies with Del Valle de Paz in 1914, and had become Wilde’s The Importance of Being Earnest to the ballet title, specifically the clematis and the common a composition pupil of Ildebrando Pizzetti two years The Birthday of the Infanta, music for Pirandello’s I hawthorn, as so often suggesting the composer’s facility (For much of the biographical information on earlier, graduating in 1918. He then studied privately giganti della montagna and settings of Schiller, Keats, in improvisation. The earlier Questo fu il carro della Castelnuovo-Tedesco I am indebted to the article by for the diploma in composition at Bologna Wordsworth, Shelley, Heine and Petrarch. In 1946 he Morte, Op.2, was written in 1913, suggested by the Mila De Santis in Musik in Geschichte und Gegenwart, Conservatory. He owed much to Pizzetti, who was had become an American citizen and until his death in Trionfi della Morte by Piero di Cosimo, as described by Personenteil Bd.IV, Bärenreiter, 2000.) instrumental in introducing him to leading 1968 he taught at the then Los Angeles Conservatory, contemporary composers, including Alfredo Casella, where his pupils included Henry Mancini, Jerry who included Castelnuovo-Tedesco’s 1916 Il raggio Goldsmith, John T. Williams and André Previn. verde in his piano recitals. Cipressi, Op.17, later transcribed by the composer In the period between the wars Castelnuovo- for orchestra, is an evocative piece, suggested by the Tedesco established himself as a pianist, appearing as a cypress trees at Usigliano, where he spent many soloist, accompanist and participant in chamber music, summers, staying at the Villa Forti. In 1924 he married and as a critic for various musical journals. In 1920 he Clara Forti, but the Forti family properties did not won the prize offered by Il pianoforte for the best piano survive the depredations after 1938. Il raggio verde, composition with his Cantico, Op.19. His compositions Op.9, written in 1916, suggests the influence of were also heard abroad, notably at the festivals of the Debussy or Ravel in its musical language. The gently ISCM. After the racial legislation of 1938 and with the reflective Alghe, Op.12, composed in 1919, has a support of Heifetz, Toscanini and Albert Spalding, and delicate simplicity in its suggestions of the sea, again with the assurance of employment, he moved to with suggestions of contemporary French writing. I America. From 1940 to 1956 he worked for various film naviganti, Op.13, dates from the same year and is in a studios in Hollywood, contributing to some 250 largely similar mood. These three works form a trilogy productions. At the same time he continued his own of sea-pieces. Lucertolina, written in 1916, evokes the work as a composer, with a series of some seventy creature of the title, the little lizard, later included in a works of all kinds, including oratorios and cantatas, Sonata zoologica. songs, operas, concertos, guitar music and compositions La sirenetta e il pesce turchino, Op.18, the sea fable for the piano. His 1959 opera Il mercante di Venezia of the little mermaid, was the basis of a later ballet in

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Mario Castelnuovo-Tedesco (1895-1968) 1937. Once again Castelnuovo-Tedesco depicts the sea, Vasari in his life of the painter. Epigrafe, written in Piano Music here in the terms of a fairy-story, in which the mermaid 1922, is in a musical language that by now is familiar. encounters the growing amatory difficulties usual to her It is here followed by the prize-winning Cantico, Op.19, The Italian composer, critic and pianist Mario (The Merchant of Venice) won the La Scala Concorso kind, before the serene conclusion. To this the five little of 1920, a piece written Per una statuetta di Castelnuovo-Tedesco derived his family name from the internazionale Campari prize and was given its first waltzes of Passatempi, Op.54, offer a light-hearted S.Bernadino di Niccolò dell’Arca (For a statuette of St Spanish district of Castilla Nueva, from which his performance in Florence in 1961 at the Maggio contrast, the first an off-key Un poco mosso, leading to Bernardino by Niccolò dell’Arca), music that rises to a ancestors had been expelled in 1492, with the scattering musicale. His interest in Shakespeare is further a second in burlesque mood. The third waltz is imbued final dynamic climax in its reflection of the work of the of Sephardim throughout the Mediterranean world. suggested by his series of Shakespeare overtures, his with melancholy and the fourth is pastoral in feeling. fifteenth century artist. Born in Florence in 1895, he was introduced to music Shakespeare songs (Marco Polo 8.223729), and his The dances end with a mock-Viennese waltz. by his mother and in 1908 entered the Cherubini opera All’s well that ends well. Other works show his Vitalba e Biancospino, Op.21, of 1921 takes its Conservatory in Florence. He completed his piano wide literary interests, from an opera based on Oscar starting-point from the story of the two plants of the Keith Anderson studies with Del Valle de Paz in 1914, and had become Wilde’s The Importance of Being Earnest to the ballet title, specifically the clematis and the common a composition pupil of Ildebrando Pizzetti two years The Birthday of the Infanta, music for Pirandello’s I hawthorn, as so often suggesting the composer’s facility (For much of the biographical information on earlier, graduating in 1918. He then studied privately giganti della montagna and settings of Schiller, Keats, in improvisation. The earlier Questo fu il carro della Castelnuovo-Tedesco I am indebted to the article by for the diploma in composition at Bologna Wordsworth, Shelley, Heine and Petrarch. In 1946 he Morte, Op.2, was written in 1913, suggested by the Mila De Santis in Musik in Geschichte und Gegenwart, Conservatory. He owed much to Pizzetti, who was had become an American citizen and until his death in Trionfi della Morte by Piero di Cosimo, as described by Personenteil Bd.IV, Bärenreiter, 2000.) instrumental in introducing him to leading 1968 he taught at the then Los Angeles Conservatory, contemporary composers, including Alfredo Casella, where his pupils included Henry Mancini, Jerry who included Castelnuovo-Tedesco’s 1916 Il raggio Goldsmith, John T. Williams and André Previn. verde in his piano recitals. Cipressi, Op.17, later transcribed by the composer In the period between the wars Castelnuovo- for orchestra, is an evocative piece, suggested by the Tedesco established himself as a pianist, appearing as a cypress trees at Usigliano, where he spent many soloist, accompanist and participant in chamber music, summers, staying at the Villa Forti. In 1924 he married and as a critic for various musical journals. In 1920 he Clara Forti, but the Forti family properties did not won the prize offered by Il pianoforte for the best piano survive the depredations after 1938. Il raggio verde, composition with his Cantico, Op.19. His compositions Op.9, written in 1916, suggests the influence of were also heard abroad, notably at the festivals of the Debussy or Ravel in its musical language. The gently ISCM. After the racial legislation of 1938 and with the reflective Alghe, Op.12, composed in 1919, has a support of Heifetz, Toscanini and Albert Spalding, and delicate simplicity in its suggestions of the sea, again with the assurance of employment, he moved to with suggestions of contemporary French writing. I America. From 1940 to 1956 he worked for various film naviganti, Op.13, dates from the same year and is in a studios in Hollywood, contributing to some 250 largely similar mood. These three works form a trilogy productions. At the same time he continued his own of sea-pieces. Lucertolina, written in 1916, evokes the work as a composer, with a series of some seventy creature of the title, the little lizard, later included in a works of all kinds, including oratorios and cantatas, Sonata zoologica. songs, operas, concertos, guitar music and compositions La sirenetta e il pesce turchino, Op.18, the sea fable for the piano. His 1959 opera Il mercante di Venezia of the little mermaid, was the basis of a later ballet in

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Jordi Masó DDD 8.555856 Jordi Masó was born in Granollers, near Barcelona, in 1967. He studied at the Conservatory there with Josep M. Roger, at the Barcelona School of Music with the pianist Albert Attenelle, and at the Royal Academy of Music of Mario London with Christopher Elton and Nelly Akopian, graduating in 1992 with the DipRAM, the highest distinction of the academy. He won first prizes in many National and International competitions in Spain and has performed extensively in most European countries and in the United States in piano recitals and in chamber music concerts. CASTELNUOVO-TEDESCO With a repertoire of more than thirty concertos from Mozart to the contemporary, Jordi Masó is regularly invited to play with the most important Spanish orchestras. His wide repertoire, covering all periods and styles, with special Piano Music emphasis on music of the twentieth century, has brought first performances of many piano works by the foremost Spanish composers. His many acclaimed recordings include the 1993 world première recording of the complete Cipressi ¥ Il raggio verde ¥ Epigrafe ¥ Cantico works for piano of Roberto Gerhard (Marco Polo 8.223867), from 1997 to 2000 four discs with the complete piano music by Frederic Mompou (Naxos 8.554332, 8,554448, 8.554570 and 8.554727), and two recordings with music by Josep Soler and Joaquim Homs (Marco Polo 8.225083 and 8.225099). He is now recording the complete piano Jordi Masó music by Joaquín Turina for Naxos. He has also recorded for other major companies. Since 1993 he has been professor at the Granollers Conservatory and, since 1996, a member of the contemporary music group Barcelona 216, which won the Barcelona City Prize for music in 2000. In 2002 he was appointed professor at the leading music school in Catalonia, the ESMUC.

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CMYK N AXOS A pupil of Pizzetti, the Italian composer, critic and pianist, Mario Castelnuovo-Tedesco is today better known for his guitar works and film scores. From 1940 to 1956 he worked for various film studios in Hollywood, contributing to some 250 productions, and in 1946

8.555856 he became an American citizen. These highly evocative and atmospheric piano works of his youth, which include depictions of flora and fauna, pastimes and the sea, suggest the DDD

lyricism of Pizzetti and the impressionism of Debussy and Ravel. CASTELNUOVO-TEDESCO: 8.555856

Mario Playing Time CASTELNUOVO-TEDESCO 66:52 (1895-1968)

Piano Music Piano 1 Cipressi, Op. 17 (1920) 8:23 9 III- Un poco malinconico 1:30 2 Il raggio verde, Op. 9 (1916) 6:03 0 IV- Serenamente - 3 Alghe, Op. 12 (1919) 4:33 quasi campestre 1:12 4 I naviganti, Op. 13 (1919) 6:10 ! V- Con brio alla 5 Lucertolina (1916) 1:20 Viennese - Coda 2:04

6 La Sirenetta e il pesce @ Vitalba e Biancospino, www.naxos.com Made inCanada Booklet notesinEnglish h

turchino, Op. 18 (1920) 8:20 Op. 21 (1921) 6:18 & g # Questo fu il carro Piano Music Passatempi, Op. 54 (1928) 7:06 2003 HNHInternationalLtd. (Five Little Waltzes) della Morte, Op. 2 (1913) 5:17 7 I- Un poco mosso 0:46 $ Epigrafe, Op. 25 (1922) 5:40 8 II- Un poco burlesco 1:35 % Cantico, Op. 19 (1920) 6:54

CASTELNUOVO-TEDESCO: Jordi Masó, Piano

Recorded at the ‘Auditorium’, Jafre, Spain, on the 26th and 27th June 2002 8.555856 Producer and Engineer: Miquel Roger ¥ Publishers: Forlivesi (Firenze) ¥ Booklet Notes: Keith Anderson Recording sponsored by ‘Associació per la Promoció i Difusió de la Música Contemporània’ (Barcelona) Cover Picture: River Arno at sunset near Santa Trinità bridge, Florence, Italy by Antonio Fontanesi (1818-82) (The Art Archive / Galleria d'Arte Moderna Florence / Dagli Orti) AXOS N