SOUNDS OF SPAIN & THE AMERICAS SOUNDS OF SPAIN & and seascapes of the Asturias region in THE AMERICAS northern Spain, the inspiration for the piece 1 Asturias (Leyenda), Op. 232, No. 1 Isaac Albéniz (1860-1909) [4.09] was almost definitely the music of Andalucia Transcribed by Xavier Turull Asturias (Leyenda) in the south of the country, and specifically Isaac Albéniz, transcribed by Xavier Turull that Romani/Moorish mixture of music we Suite Popular Española Manuel de Falla (1876-1946) 2 El Paño Moruno [2.22] call Flamenco. 3 Nana [3.08] Asturias, (originally titled Preludio) written in 4 Canción [9.41] the early 1890s is one of the best-loved and The opening section of the piece immediately 5 Polo [1.28] most recognisable guitar pieces of all time. evokes the Flamenco guitar with a rapidly 6 Asturiana [2.33] It was originally composed for piano however alternating pedal note and bass line melody, 7 Jota [3.07] and though transcribed by many guitarists the rhythm itself suggesting a Bulerias – a type of song from the Flamenco repertoire. 8 Canción de Cuna Para Dormir a un Negrito Xavier Montsalvatge (1912-2002) [2.46] (including Francisco Tárrega, who composed the from Cinco Canciones Negras Recuerdos de la Alhambra which also features The theme builds in intensity, punctuated by on this recording) it only arrived in its present vicious accented chords and building into a 9 Danse Espagnole, No.5 ‘Andaluza’ Enrique Granados (1867-1916) [4.11] form after the great Andres Segovia arranged complex double-stopped passage before it 0 Recuerdos de la Alhambra Francisco Tárrega (1852-1909) [3.56] it. We are then fortunate that its journey did gives way to a final flourish that diminuendos arr. Ruggiero Ricci not end there and Xavier Turull, a Catalan to a high harmonic. This sets the scene for violinist and composer, arranged a rather the first slow section, a sparse, religious and q Campiña Andaluza Sabicas [Agustín Castellón Campos] (1912-1990) [4.00] fiery version of the piece for violin solo. solemn melody evoking the music of the Cuatro Estaciones Porteñas Ástor Piazzolla (1921-1992) Catholic church that seems to transform itself w Primavera Porteña [4.20] The piece appeared in various collections of a few bars later into a cante jondo, an e Verano Porteño [4.07] short Spanish pieces, but it was only in improvised phrase such as would be sung r Otoño Porteño [5.07] 1911, after Albéniz had died, that the German by a Flamenco singer. Throughout this section t Invierno Porteño [3.29] publisher Hofmeister published a collection the juxtaposition of Christian and Moorish Total timings: [51.31] called Suite Española and changed the name religion and culture on Spanish music is of the piece from Preludio to Asturias apparent, with unexpected G sharps adding SEBASTIAN SEE-SCHIERENBERG VIOLIN (Leyenda). The name however is misleading. Arabic flavours to the harmony. This leads RAMON RUIZ GUITAR Although the dramatic character of the piece into a brief dance section written in the style SOPHIA LISOVSKAYA PIANO may indeed evoke the lonely windswept land of a Malagueña, another Flamenco style, before www.signumrecords.com - 3 - returning to the solemn religious theme again. The character of the first movement, ‘El Paño accented rhythms provide driving energy, and Playing together we soon realised that A Da Capo follows bringing us back to the Moruno’ (the Stained Cloth) originates from this is overlaid with intense declamatory violin approaching the suite would require a special first rapid opening section, even more urgent the South of Spain, the song inflected with phrases. The movement ends with a violent and way of working. Flamenco musicians don’t and fiery than before, until the piece closes Moorish and Flamenco character and dramatic flourish. like using music, they learn from imitation with a final hymn-like slow section, which again dramatically Gypsy flavoured. The movement when very young and constantly improvise. And slowly transforms itself into a Moorish-flavoured alternates between a dark, rhythmic melody ‘Asturiana’ takes us to the far North of Spain, and classical musicians don’t like improvising! melody line executed with ricochet bowing. passed between the piano bass line and to the other extreme of the previous movement. Our only solution was to spend many afternoons A glissando to a questioning high harmonic an answering violin pizzicato, followed by Desolate, sparse harmony and melody evoke together reinventing this piece through a finally allows the piece to dissipate into the intense and almost strained melodic sections cold windswept landscapes of the region. process of experimentation. One of our many ether, the last note a single lonely pizzicato. that imitate the style of the Flamenco singers challenges was to highlight and enhance the of Andalucia. The piece ends with ‘Jota’, a noisy, colourful Flamenco influences in this piece without Suite Popular Española and joyful dance from the streets of the detracting from what Manuel de Falla so Manuel de Falla Following this comes ‘Nana’, a gentle Aragon region of Spain. Traditionally the beautifully created already. I think we have lullaby marked Calmo e Sostenuto, with the dance incorporates the use of castanets, and at least managed to add something authentic. Manuel de Falla was, together with Albéniz violin instructed to play mormorato. The marked Allegro Vivo the movement is energetic The vocals that Ramon sings to open the ‘Nana’ and Granados, one of the three great Spanish accompaniment, slowly turning through cycles and bustling. Interspersed with slower, romantic are those that his own Grandmother sang him composers to draw inspiration from and be of harmony, supports a hushed violin melody and seemingly improvised sections, the piece to sleep with. The Intense Flamenco strumming greatly influenced by the popular music of which is seemingly calm and yet quietly anxious. closes with a warm slow section that gently techniques added in ‘Polo’ he still uses when Spain. Born in Cádiz in 1876, he composed ends our Spanish journey. performing in the Flamenco venues in Seville. the Siete Canciones Populares Españolas for The popular folk song ‘Canción’ follows, with The sparse chords in ‘Asturiana’ highlight the voice and piano in 1914. The original piece a gently undulating accompaniment and Thoughts on recording Suite Popular Española. intense loneliness of the harmony. And the consists of a set of seven short songs which sunny melodic line. The theme builds into a colourful strumming and rhythmic effects we takes the listener on a journey through fortissimo melody of boisterous chords before the Having lived in Spain for a number of years, added in the final ‘Jota’ evoke the castanets the different regions of Spain. Later, this movement ends gently. and performing the Suite with both piano and and footwork of dancers that you can see set of miniatures was transcribed for the violin guitar accompaniment many times, it seemed performing in the Fiestas of Spain today. by Paul Kochanski. The set was renamed This prepares us for the shock and high a natural step when meeting the wonderful Combined with the beautifully played piano in its instrumental version as Suite Popular drama of ‘Polo’ which personifies the fiery Flamenco guitarist Ramon Ruiz to try and part we hope we have managed to bring Española, containing six songs of the character of the Flamenco style of Southern create our own version of this piece. something new to a piece that celebrates the original seven. Spain. Rapid note repetitions and syncopated incredible melting pot of culture that is Spain. - 4 - - 5 - Canción de Cuna Para Dormir a un Negrito notation in this version: the only amendment The melody is passed to the piano as the The piece was further arranged by the great from Cinco Canciones Negras by I made was to put some brief melodic figures violin replies with answering phrases and violinist Ruggiero Ricci and is known for its Xavier Montsalvatge an octave higher to create more tonal colour decorates with gentle bird-song flourishes. fiendish technical demands on the violinist. contrast here and there, but not so much as The dark piano rhythm then reignites and the The tremolo guitar technique is replaced by The Cinco Canciones Negras, or Five Black to disturb a sleepy child and his gently violin joins again, this time an octave higher the equally demanding ricochet bowing Songs were composed in 1945 and the singing mother… for added intensity. Again the fanfare builds technique, where the bow is thrown at the string Catalan composer Xavier Montsalvatge owed and subsides before finally the tension, with to create a tremolo effect while the bass much of his international fame to this one Danse Espagnole an added G sharp in the last violin chord, line melody is bowed between the groups of outstanding work. Out of the five, the song Enrique Granados relaxes and finally dissipates. ricochet notes. presented here which can be translated as ‘a Lullaby to Sleep a Black Child’ is the best The Danse Espagnole composed by Enrique Recuerdos de la Alhambra Campiña Andaluza by Sabicas known. Originally composed for mezzo-soprano Granados is the fifth of a set called the 12 Francisco Tárrega, arranged by Ruggiero Ricci and piano, it was later arranged for voice Danzas Españolas Op. 37 which was composed Sabicas (Agustín Castellón Campos) was born and orchestra by the composer. The set of in 1890. The 12 Danzas were originally The Spanish composer and guitarist Francisco in 1912 and was a Flamenco guitarist of five pieces is based on poems, music and composed for piano but this particular Tárrega was born on 21 November 1852, in Romani origin. He was born in the Spanish rhythms of the West Indies.