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Segovia Three Centuries of the Guitar

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Segovia Three Centuries of the Guitar DECCA GOLD LABEL RE CORDS . THREE CENTURIES OF THE GUITAR DL 10034 DL 10034 LONG PLAY 331/3 RPM S E G 0 V I A ·Three Centuries of the Guitar SIDE ONE whom the musical interest predominates, cannot fail "The fandango was a very popular dance in the 18th to be struck by the remarkable melodic grace and century; it was the dance botl1 of the nobility and the 1. Prelude and Allegro DE MURCIA beauty of the two Studies recorded here. masses. The 'Fandangos at candlelight' were very fa- mous occasions, and these reunions very often ended Santiago de Murcia, the composer of this Prelude and 4. Sonata "Homage to Boccherini" in brawls. The fandarrgo is a slow dance and sometimes Allegro, was a Spanish guitarist of the end of the 17th CASTELNUOVO-TEDESCO and beginning of the 18th centuries. His treatise on includes ballads which are sung. Its origin is uncertain, the guitar, brought out in 1714, was the last in which Mario Castelnuovo-Tedesco was born in Italy in 1895. though many experts claim the fandango is of Arabian tablature was used. The eminent composer of operas, orchestral, ballet, descent. film, choral, vocal and chamber music now makes his "Except in the trio of the central secti.:rn, this home in California. He wrote his Sonata "Homage to Fandango does not employ popular themes, but it is 2. Study No. 1 in C SOR Boccherini" in 1933 at the suggestion of Andres inspired by the 'sevillanas,' an extremely intricate in- 3. Study No. 9 in A minor SOR Segovia. The composer has said of this work: "The strumental folk dance. The melodic style reflects the Fernando Sor, the Spanish composer and guitarist, has Sonata is in four movements, but it is mainly in the gallantry and pomp of the 18th century in Spain and been called "the Beethoven of the guitar." The desig- first movement, Allegro con spirito, and in the Min- especially in Madrid." uetto, that one can find the graciousness which was so nation is apt in the sense that in Sor's hands the guitar SIDE TWO reached the peak of its development. As a composer characteristic of Boccherini. The Andantino, quasi can- 1. Passacaglia RON CALLI for his instrument, Sor raised guitar music to heights zone, on the other hand, refers to Boccherini's 'roman- which have not been surpassed. tic' mood, while the Finale: Vivo ed energico, high- 2. Gigua RON CALLI Born in Barcelona in 1780, Sor received his musical lights the bravura elements always present in his music." Gavotta RON CALLI education at the Montserrat Monastery. His early ac- Ludovico Roncalli was an Italian guitarist of the 17th S.Fandango RODRIGO tivities after leaving Montserrat were varied, and did century. The major work by which he is known today not foreshadow the splendor he achieved later as a Joaquin Rodrigo was born in 1902 near Valencia and is the "Capricci armonici sopra la chitarra Spagnola." master of the guitar. He became an officer in the army, pursued his early musical studies in that city. From The Passacaglia, transcribed from the tablature into but continued his studies in composition and absorbed 1927 to 1932 he studied with Paul Dukas in Paris, and modern notation, is taken from this work, which dates the music of Haydn and Mozart. He composed a suc- he returned to Paris later to undertake historical re- from 1692. The Gigua and Gavotta are from a "Suite cessful opera in two acts. There followed ballets, sym- search under the direction of Maurice Emmanuel and in G for Spanish Guitar." phonies, chamber music, church music. Later he moved Andre Pirro. Rodrigo settled in Madrid in 1939, the to London, where he first became prominent as a guitar year in which he first came to general attention with 3. Study No. 20 in C major SOR virtuoso. His fame spread, and he travelled all over his Concierto de Aranjuez for guitar. He has composed 4. Two Minuets SOR Europe, including Russia, the Mecca of all travelling concertos for piano, violin, cello, and harp, numerous This lively Study No . 20 and the two charming Minuets virtuosi at that time. songs and instrumental solo pieces, and a large-scale are three further examples of Sor's style and musical Sor's guitar compositions were not written as bra- choral work. Ausencias de Dulcinea, which was awarded quality. vura pieces. Though many of them were intended as the prize for a composition in honor of the four-hun- exercises and studies, they are works full of rich beauty dredth anniversary of the birth of Cervantes, observed 5. Spanish Dance No. 10 in G GRANADOS and melody. They were neglected for many decades in 1949. Senor Rodrigo is professor of the history of The fame of Enrique Granados, the great Spanish even up to our own times, when new interest in the music at the Central University of Madrid. pianist and composer ( 1867-1916), rests now largely instrument has again produced performers able to meet The composer has written of the Fandango: "The on his colorful piano works, of which the most widely their technical and musical demands. In his guitar work consists of three dances: Passacaglia, Fandango known are the twelve Danzas Espagnolas, inspired by studies Sor achieved what Andres Segovia has called and Zapateado, dedicated to Andres Segovia, and com- the rich Spanish folklore. Andres Segovia performs "the right balance between the pedagogical purpose posed a few weeks before the Fantasia para un gentil- here a highly effective transcription of Granados' and the natural musical beauty." The listener, for hombre ( 1954). Spanish Dance No. 10. Library of Congress Catalog Card Number: R 61-1042 OTHER DECCA GOLD LABEL RECORDS BY ANDRES SEGOVIA : PONCE: Concierto del Sur • RODRIGO: Fan- THE ART OF ANDRES SE.GOVIA • Works by MASTERS OF THE GUITAR: Compositions by AN ANDRES SEGOVIA PROGRAM • Works by tasia Para Un Gentilhombre •Andres Segovia, Bach, Cassado, Castelnuovo-Tedesco, Crespo, Sor and Tarrega • Andres Segovia, guitar. Bach, Brahms, Chopin, Gluck, Handel, Milan, guitar • Symphony of the Air, Enrique Jorda, Lauro, and Ponce. DL 9795 DL 9794 Paganini-Ponce, Schumann, Sor, Torroba, Conductor. DL 10027 and Villa-Lobos. DL 9647 ~~o,,i·~"'::'".;•\ __ T_H_l_S_l_S_A__ H_l_G_H_-_F_l _D_E_L_l_T_Y__ R_E_C_O_R_D_! _F_o_r_cp::__r_o-=-p_e_r_r_e.::....p_ro_d_u_c_t_io_n_u_s_e_R_l A_A_or_s_im_il_a_r_R_e_c_o_rd_C_o_m_p_e_n_s_a_to_r_se_t_ti_·n_g_. _ PROPER CARE OF THIS RECORD will prolong its life and increase your listening enjoyment: Keep in special protective envelope when not in use; avoid handling playing surface; wipe with soft, slightly damp cloth; set phono for proper needle and turntable speed; CHECK NEEDLE DECCA ~REQUENTLY FOR WEAR-IF DEFECTIVE IT CAN PERMANENTLY DAMAGE RECORD . Printed in U.S.A. Reoora's This DECCA Long Play Microgroove Record can be played only on 33113 RPM instruments. "Decca," "D" symbol, "Goid Label Series," " Hi-Fonic," "Deccalite:• and "New World Of Sound" are the registered trademarks of Decca Records, Inc. .
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