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. movement, carrying the title of ‘Andaluza’, is Villarreal, in the Province of Castellón. city of Pamplona, the city famous for its yearly commonly transcribed for Classical Guitar and ‘running of the bulls’. Thoughts on recording Canción de Cuna Para is also played as a duet for violin and piano. He composed Recuerdos de la Alhambra Dormir a un Negrito The version presented here was transcribed (translated as Memories of the Alhambra) Sabicas began playing guitar at the age of for violin and piano by the great Austrian for guitar in 1896 whilst in Granada, the 4 and gave his debut performance two years In a rehearsal at a festival in Spain, overlooking violinist Fritz Kreisler. Andalusian city famous for its magnificent later. During his career he formed important the glittering blue Mediterranean, and with Alhambra Palace and snowy mountainous musical partnerships with the leading singers a warm breeze coming through the windows, I The piece opens with a dark and slow, galloping backdrop of the Sierra Nevada. and dancers of the day and was instrumental started playing along with a pianist who was piano rhythm before the violin enters with a in introducing Flamenco to audiences outside practising this wonderful piece for a vocal sonorous melody in the lower register. With The piece is famed for the use of the guitar of Spain. Famed for his technical mastery performance later that week. The Lullaby rubato pulling back and forth between violin tremolo technique, wherein a single melody note he not only composed but also innovated on seemed to be almost written for violin, gently and piano, the melody builds to a fortissimo is plucked by the fingers in such rapid succession his instrument. This piece, the beautiful and warm, swaying, and with one note melting into fanfare like passage, before giving way to an that a long sustained melody is created while sunny sounding Campiña Andaluza demands the next. I have hardly changed the original innocent and beautifully simple slower section. another bass melody is played with the thumb. of the performer a fiendish array of technical

- 6 - - 7 - skills. Translated as Andalucian Countryside it His musical path was not without many Each movement describes a season in Buenos Our interpretation here of these tangos for describes scenes of the southernmost region of obstacles and difficulties however. His radical Aires, starting typically with a faster section violin and piano duo, as I believe Piazzolla Spain which is the home of Flamenco. and innovative style faced much opposition followed by a melancholic or Romantic section might have approved of, is a ‘work in progress’ and controversy in his home country. He was and then repeating the fast-slow pattern once and is so far a result of many hours spent Cuatro Estaciones Porteñas even labelled by traditionalists as the again. The energetic Primavera Porteña or together with my pianist playing, talking, Ástor Piazzolla ‘Great Assassin of Tango’, and in fact during Spring describes this notoriously windy season in improvising and exploring possibilities and his lifetime, he enjoyed most success in the city, Verano Porteño describes a sultry and new ideas (as with Manuel de Falla’s Suite Tango is a musical genre traditionally associated foreign lands, mainly in Europe and the US. oppressively humid summer, the Jazz-inspired Popular Española). I don’t think we have with dance and which originated not just in Otoño Porteño describes the arrival of the managed to ever play it in the same way Argentina, but also in Uruguay. The tango has There is no doubt however that he chilly foggy Buenos Aires Autumn, and the twice or even come close to agreeing on a large African influence as well as a fusion of revolutionised the world of Tango, creating his cold and dramatic Invierno Porteño describes a final version of this piece but I hope we different European music styles. own unique style and taking Tango out the city’s winter weather that blows in from have managed to capture some of the of the dingy clubs and bars and onto the Antarctica each year, with the first signs of excitement, longing, passion and rugged gritty The great Tango Master Ástor Piazzolla was a concert platform. warmth and a new beginning in the last few rhythm of this incredible and unique music prolific composer (he wrote over 3,000 pieces) hopeful bars of the movement. of Ástor Piazzolla. as well as a virtuoso bandoneón player. He The Cuatro Estaciones Porteñas, or The Four was born in 1921 in Mar del Plata, Argentina, Seasons of Buenos Aires, are a set of four Notes on recording the Cuatro Estaciones Porteñas Sebastian See-Schierenberg, October 2014 of Italian parents. He spent most of his tango compositions which were originally childhood in New York and immersed himself composed at different times but later formed The music of Piazzolla has long held a in its multicultural and diverse environments, into one suite. The pieces were written by fascination for me and I remember well when often hanging around the back doors of Jazz Piazzolla for performance by his own quintet I first discovered his music and attempted to clubs so as to hear the performers inside, which consisted of violin, piano, electric tackle his completely unique technical and it was the genre of Jazz, combined with guitar, double bass and bandoneón. The requirements, including pizzicato drum effects, the music of Bach which were to become the Seasons have been subsequently arranged for bow ‘whips’ and the rasping effect created most important influences on him and the various instruments. by playing on the wrong side of the bridge. development of his ‘Nuevo Tango’ style.

- 8 - - 9 - SEBASTIAN SEE-SCHIERENBERG project that will be documented and broadcast and Schools throughout Asia to give to over 3 million people in Burma by BBC masterclasses and recitals. Consistently described as emotional, beautiful, Media Action. passionate and idiomatic, the playing of Sebastian gratefully acknowledges the generous Sebastian See-Schierenberg has moved and Other recent international projects have included support and sponsorship he has received, touched audiences around the world. Recent recital tours of Taiwan, Singapore, Brunei particularly from the British Council, HSBC, performances have included recitals at the and Malaysia where he performed in such BP, INTI (Laureate International Group), USM, Palais des Beaux-Arts Brussels, the Konzerthaus prestigious venues as the Singapore Esplanade CESAG University Spain, the British High Berlin, and the Luxembourg Philharmonie, a and the Philharmonic Hall and Performing Commissions in Myanmar, Malaysia and series of concerts with eminent pianist Julian Arts Centre in Kuala Lumpur, a collaboration Brunei, and the Sir Vernon Ellis Foundation. Jacobson, and recitals with Debussy specialist with the University of the Illes Balears in Spain Noriko Ogawa. which delivered an international live-streaming project which resulted in his recitals being Sebastian heads a delivery team that broadcast live to thousands of students in organises and promotes numerous and diverse universities and schools all over the world, international projects. In 2014 Sebastian and a live performance of a score which he was active in Myanmar (Burma) on behalf of co-wrote for a production of Shakespeare’s his charity Live4Music and delivered a series Midsummer Night’s Dream at the historic of televised concerts in collaboration with the Strand Hotel in Myanmar. Ministry of Culture and the British Council there. He also started a violin programme for Throughout his performing career, Sebastian blind children from the deprived townships has always been committed to music education of Rangoon and was invited to lead them in and has held teaching posts at the Trinity a televised concert at the National Theatre of College of Music, London, Bowdoin Festival Rangoon. Sebastian is currently organising a USA, Lisbon Orchestral Academy and the project that will see the first young people’s Malaysian Philharmonic Music Chambers. He orchestra of Burma being formed. The orchestra is regularly invited by the leading Universities will be taken on a country wide tour by him, a

- 10 - - 11 - RAMON RUIZ the Royal Albert Hall, Southbank Centre and SOPHIA LISOVSKAYA Sadlers Wells. His growing reputation for Born in Granada, Ramón Ruiz is the UK’s collaborating with artists from different Sophia Lisovskaya was born in Moscow into leading Flamenco Guitarist and Composer. He backgrounds has led him to study Indian, Jazz a family of professional musicians and gave has performed in Spain’s leading flamenco and Latin American music. In addition to his her first public performance at the age of venues, specifically in Seville, and has performing activity he carries out regular six in Moscow’s Museum of Fine Art. Since collaborated with many of the top guitarists in Flamenco teaching and guitar workshops then she has continued to follow the grand the world. and performs with quintet Alcazaba. He has tradition of the old Russian School with a performed live at over 2,000 venues across lineage of professors leading directly back In 1997 he moved to London and produced Europe and his short film featuring his to the great figures of Neuhaus, Sofronitzky his first CD “Flamenco Havana” which was Flamenco group has achieved over 3 million and Scriabin. Regarding her debut CD released released on Naim Records. He has performed views on YouTube. on BIS, the American Record Guide said in London’s most prominent venues including she was “coming close to the standard set by Sofronitzky and Richter for these pieces” and said they were “outstanding performances.”

At the age of 13 she won first prize in the All Soviet Competition ‘New Names’ performing Chopin’s Second Piano Concerto with the former Ministry of Culture Symphony Orchestra. She studied at the Tchaikovsky Junior Conservatoire of Music and in 1994 won a scholarship to the Royal Academy of Music in London. Following this she won a scholarship from the Philharmonia Orchestra (London) in 1996.

- 12 - - 13 - Sophia has toured South America performing Her engagements in the UK in 2013 included a in Buenos Aires (Teatro de Colon) and venues performance of Beethoven’s Emperor Concerto in Rio de Janeiro and Sao Paulo. She has also with the Royal Philharmonic Orchestra and performed throughout Europe at venues such she will return to China after a successful as St James’s Palace, St John’s Smith Square tour to give further concerts and appear on and Wigmore Hall (London), the Vasteras the major TV channels there. Profits from the sale of this recording will support the Live4Music violin study programme at Concert Hall (Sweden), and Sala Verdi (Milan, the Kyeemindine School for Blind Children in Rangoon, Myanmar (Burma). for the Società dei Concerti). Her debut in the legendary Great Hall of the Moscow Conservatoire performing Bruch’s Double Piano Concerto with the Moscow State Chamber Orchestra in their Winter Proms season Live4Music is a UK registered charity (1150636). was received with critical acclaim. She has broadcast live on National Swedish Radio, BBC Recorded in Air Edel Studios, London, UK on 6 & 20 April 2013, and Rimshot Studios, Kent, UK on 2 April 214 Radio 3 and Moscow Radio. Engagements have Producer – Sebastian See-Schierenberg also included a concert to open the London Recording Engineer – Niall John Ascott, NJA Audio Festival Orchestra’s ‘Virtuoso Pianists’ concerto Mastering – John Webber, Air Studios series (performing Schumann’s Piano Concerto), Cover Image - © Pepo Hernandez a tour of Russia giving several performances Design and Artwork – Woven Design www.wovendesign.co.uk with the Novosibirsk Philharmonic Orchestra P 2015 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd © 2015 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd under maestro Katz for their 50th Year Jubilee Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright and will render the infringer liable to Concert, performances with the Queensland an action by law. Licences for public performances or broadcasting may be obtained from Phonographic Performance Ltd. All rights reserved. No part of this booklet may be reproduced, Orchestra Australia and performances in Latvia stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd. of Shostakovich’s Second Piano Concerto. SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK. +44 (0) 20 8997 4000 E-mail: [email protected] www.signumrecords.com

- 14 - - 15 - ALSO AVAILABLE on signumclassics

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Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 - 20 - CTP Template: CD_INL1 COLOURS Compact Disc Back Inlay CYAN MAGENTA Customer SignumClassics YELLOW Catalogue No.SIGCD405 BLACK Job Title: SOUNDS OF SPAIN & THE AMERICAS

SIGNUM CLASSICS

SIGCD405 SOUNDS OF SPAIN & THE AMERICAS

1 Asturias (Leyenda), Op. 232, No. 1 Isaac Albéniz (1860-1909) [4.09]

Transcribed by Xavier Turull SOUNDS OF SPAIN & THE AMERICAS AMERICAS THE & SPAIN OF SOUNDS Suite Popular Española Manuel de Falla (1876-1946) 2 El Paño Moruno [2.22] 3 Nana [3.08] 4 Canción [9.41] 5 Polo [1.28] 6 Asturiana [2.33] 7 Jota [3.07]

8 Canción de Cuna Para Dormir a un Negrito Xavier Montsalvatge (1912-2002) [2.46] from Cinco Canciones Negras

9 Danse Espagnole, No.5 ‘Andaluza’ Enrique Granados (1867-1916) [4.11] SEE-SCHIERENBERG / RUIZ / LISOVSKAYA

0 Recuerdos de la Alhambra Francisco Tárrega (1852-1909) [3.56] LISOVSKAYA / RUIZ / SEE-SCHIERENBERG arr. Ruggiero Ricci

q Campiña Andaluza Sabicas [Agustín Castellón Campos] (1912-1990) [4.00] Cuatro Estaciones Porteñas Ástor Piazzolla (1921-1992) w Primavera Porteña [4.20] e Verano Porteño [4.07] r Otoño Porteño [5.07] t Invierno Porteño [3.29]

Total timings: [51.31]

SEBASTIAN SEE-SCHIERENBERG VIOLIN

SOUNDS OF SPAIN & THE AMERICAS RAMON RUIZ GUITAR

SOPHIA LISOVSKAYA PIANO

LC15723

Signum Records Ltd, Suite 14, 21 Wadsworth SIGCD405

CLASSICS Road, Perivale, Middx UB6 7JD, United Kingdom. P 2015 Signum Records DDD SIGCD405 © 2015 Signum Records www.signumrecords.com 24 bit digital recording 6 35212 04052 2 SIGNUM