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BEST LOVED Classical Guitar Music Gorgeous Guitar Best Loved Classical Guitar Music Gorgeous Guitar BEST LOVED classical guitar music Gorgeous Guitar Best loved classical guitar music 1 Astor PIAZZOLLA (1921–1992) 11 Leo BROUWER (b. 1939) Libretango 4:16 El Decameron negro – 4:44 Victor Villadangos (8.555721) II. La huida de los amantes (‘The Flight of the Lovers’) Elena Papandreou (8.554553) 2 Isaac ALBÉNIZ (1860–1909) Suite española No. 1, Op. 47 – 6:21 12 Fernando SOR (1778–1839) No. 5. Asturias (Leyenda) (Spain) 24 Studies, Op. 31, ‘Leçons progressives’ – 2:54 Norbert Kraft (8.553999) No. 12 in D minor Norbert Kraft (8.573624) 3 Jorge MOREL (b. 1931) Danza Brasilera 2:33 13 Fedrico Moreno TORROBA (1891–1982) Celil Refik Kaya (8.573514) Aires de La Mancha – Jerigonza 1:46 Pepe Romero (8.573255) 4 Francisco TÁRREGA (1852–1909) Capricho árabe 4:09 14 Manuel de FALLA (1876–1946) Ana Vidovi (8.554563) El amor brujo – Danza ritual del fuego 3:43 (arr. two guitars) 5 Stanley MYERS (1930–1993) Duo Gruber and Maklar (8.573592) Cavatina 3:31 Norbert Kraft (8.553999) 15 Manuel PONCE (1882–1948) Estrellita 2:21 6 Heitor VILLA-LOBOS (1887–1959) Adam Holzman (8.553832) Choros No. 1 4:35 Andrea Bissoli (8.573116) 16 Francisco TÁRREGA Recuerdos de la Alhambra 4:03 7 Joaquín RODRIGO (1901–1999) Irina Kulikova (8.572717) 3 Piezas españolas – No. 1. ‘Fandango’ 3:54 Dale Kavanagh (8.551388) 17 Johann Sebastian BACH (1685–1750) Violin Partita No. 1 in B minor, BWV 1002 – 3:21 8 Agustín BARRIOS MANGORÉ (1885–1944) VII. Bourrée (arr. guitar) Un Sueño en la Floresta 6:54 Volker Höh (8.551286) Antigoni Goni (8.553774) 18 Agustín BARRIOS MANGORÉ 9 Carlo DOMENICONI (b. 1947) La Catedral – II. Andante Religioso 2:19 Koyunbaba Suite, Op. 9 – IV. Presto 4:00 Alí Arango (8.574111) Celil Refik Kaya (8.573675) 19 Nicolò PAGANINI (1782–1840) 10 Francisco TÁRREGA 24 Caprices, Op. 1 (arr. guitar) – 5:18 Gran Vals 3:19 No. 24 in A minor Mats Bergstrom (8.572365) Marco Tamayo (8.557598) Total Timing: 75:25 8.578176 2 Gorgeous Guitar Best loved classical guitar music The guitar, or in particular the acoustic or and the 17th century saw a fashion for the classical guitar, is in many ways a perfect Baroque guitar which was made with double- instrument. It is very light and portable, and can string courses like a mandolin. It was only by be used for strumming the chords of a simple the middle of the 18th century that the character song to the kind of technical and expressive of the guitar developed in its bass range and heights found in the music in this programme. playing technique to the extent that it began to Like the piano it can function as a melodic resemble the instrument that we know today, instrument in its own right while at the same time and the Romantic guitar at the turn of the 19th providing its own accompaniment, and even century saw the earliest examples of the six- though its sound is relatively soft it has sufficient string configuration in use in modern guitars. projection to work well in the concert hall, the Much experimentation by guitar makers has intimacy of its timbres drawing the listener in resulted in an instrument that hides a good deal and being a large part of its charm. of sophisticated design under its simple exterior, The very earliest origins of the modern with its sound enhanced by a range of struts, guitar are still the subject of debate, but brackets and joinery capable of delivering plucked guitar-like instruments can be seen in the refined musicality and expressive range artworks from ancient Egyptian and southern available to the modern player. Mesopotamian civilisations. Round-backed It is known that Franz Schubert had no instruments of the lute family such as the piano in his work room, but that he owned at tanbur and setar are more direct descendants least one guitar. This might seem trivial, but of these examples and are still played in this examining this fact a little further reveals some region. The history of the guitar in Europe can points of interest about a period and place in be traced to the Renaissance, by which time its which the guitar had greater significance than familiar curved sidewalls were already taking almost any other instrument. The heyday of the shape. The 15th and early 16th century saw guitar in Western Europe was during the early the development of the vihuela in Spain, which 19th century, with important centres in Paris was shaped like a guitar but tuned like a lute, and Vienna. A guitar was much cheaper than 3 8.578176 a piano and easier to maintain, and with its Berlioz was of the opinion that only a good gentle sound was ideal for the salons of the guitar player could write good guitar music, and upper classes, who in any case were inclined much of the music in this programme was indeed to withdraw into their luxurious homes during composed by musicians who were virtuoso the turmoil and unrest of the Napoleonic guitarists themselves. There are several names period. Schubert’s Vienna was fertile ground that have proven influential in the repertoire for virtuoso guitarists, and Viennese instrument and style of performance most commonly seen maker Johann Georg Stauffer (1778–1853) on the modern concert stage. Fernando Sor became renowned for his innovative approach (1778–1839) is the earliest represented here; to guitar design. He invented a new mechanical a multi-faceted musician who was considered system for tuning the strings, which up to that the greatest guitarist of his day. His studies and point had been done with wooden pegs much lessons are still in print and very much in use like a violin. He made the instrument more by players today. Alongside his contemporary compact and with a narrower waist and shorter Mauro Giuliani (1781–1829), Sor is one of a strings, used different woods such as mahogany, number of 18th and early 19th century player- experimented with various kinds of varnish and composers who established a repertory of veneer, and searched for improved sound by ambitiously large and easier small-scale works changing the position of internal strengthening for the guitar both in solo and in chamber music bars and struts. These new instruments took over settings. Francisco Tárrega (1852–1909) laid from old-fashioned models and were of course the foundations for the 20th century classical much sought after by professional virtuosos guitar and was responsible for increasing and amateurs alike. Schubert himself owned interest and popularity in the instrument through a Stauffer instrument made in 1815. Political his performing style, original compositions and unrest in the mid-1800s curtailed cultural transcriptions of already existing music. Tárrega activity and led to the demise of that particular agreed to teach the young and self-taught phase of the guitar’s popularity in Vienna, but Andrés Segovia (1893–1987) but died before these and other moments of technical advance they could meet. Segovia went on to become in the history of the guitar have all left their one of the greatest guitarists of all time, but mark, leading to the instruments we see and his musical legacy went far beyond his superb hear today. performances. His influence spread to Central 8.578176 4 and South America, inspiring composers such 1 Piazzolla: Libertango (arr. ??? for guitar) as Manuel Ponce (1882–1948) and Heitor Astor Piazzolla (1921–1992) holds a Villa-Lobos (1887–1959) to write for the unique position in the history of the Tango. guitar. Segovia’s transcriptions of Classical and He transformed it from its traditional roots Baroque works also brought the guitar ever into Nuevo Tango, a style that incorporates further into the mainstream of the concert circuit, elements of jazz and classical music and the innumerable works he commissioned to deepen the expressive range of this from leading composers has created an entire dance form, making it suitable for the world of new repertoire. concert stage. In one of his most famous Contemporary composers have a rich compositions, the title Libertango combines tradition on which to build, and plenty of Libertad (Spanish for ‘liberty’) and Tango, space for innovation and a wealth of virtuoso symbolising this break from those old performers hungry for new music when it comes forms, and this piece is now often taken to to writing for the guitar. Numerous international represent liberty in general. guitar competitions commission new works as part of their requirements for participants, and 2 Albéniz: Suite española No. 1, Op. 47 – Cuban composer Leo Brouwer (b. 1939) has No. 5. Asturias (Leyenda) created virtually a one-man guitar revolution (arr. N. Kraft for guitar) with innovative solo works and unique projects The soul of the guitar is often thought of that include music for large guitar ensembles as residing in Spain, and perhaps the most brought together at festivals, including one popular Spanish music is that composed festival in his name. The practice of arranging by Isaac Albéniz (1860–1909). Albéniz pre-existing music for guitar and making it in fact wrote no music for the guitar, but accessible to ever more players and audiences clearly had his national instrument in his follows a long tradition that still continues, as ‘mind's' ear’ when composing for the can be heard on this album. The expressive piano, and his Suite española is now often range and depth of the guitar gives it a unique played in transcriptions for guitar. Inspired musical voice that speaks to people with a by various regions or cities, these pieces charm and directness that has held it in ever evoke Spain’s haunting and mysterious greater affection all over the world.
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