Remembranzas De Mi Guitarra TROY1600 [4:11] [2:49] [4:58] [2:57] [3:02] [2:43] [2:32] Madrid Prélude No

r em em b ranzas de m i g u itar ra

WWW.ALBANYRECORDS.COM TROY1600 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © 2015 ALBANY RECORDS MADE IN THE USA DDD r WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. E nric M adriguer a g u i t a enric madriguera remembranzas de mi guitarra TROY1600 [4:11] [2:49] [4:58] [2:57] [3:02] [2:43] [2:32] Madrid Prélude No. 2 in E major Prélude No. 2 in A minor Prélude No. 3 in Prélude No. 4 in E minor Prélude No. 5 in D major Regino Sainz de la Maza Peternera El Vito Total Time = 68:05 Heitor Villa-Lobos 419 Cinq Préludes, W E minor Prélude No. 1 in 24 25 26 27 29 23 From 28 a

i [2:21] [2:54] [2:58] [2:25] [2:21] [1:48] [3:56] [2:27] [2:11] [2:04] [3:21]

a m

DDD

Four Pieces n

i r

Remembranza (to Olga) Remembranza (to Vladimir Bobri) Divertimento (to Eddie Healy, guitar II Manuel M. Ponce Vals (Waltz) Trópico Rumba Mario Castelnuovo Tedesco Tonadilla sopra Andrés Segovia Robert Xavier Rodríguez Three Lullabies (trans. Enric Manriguera) Nana, niño, nana Long Quiet Night Lulla A Bear Tango Amor Andrés Segovia (Daily Studies) Estudios Diarios (to Manuel Ponce) Oracion (Prayer) r

A n

b E U 13 14 15 19 20 21 12 E from 16 17 18 22

H m T

e m

MADE I e

RDS r [:39] [:45] [:59] [1:20] [1:06] [1:43] ECO R Y 5 ALBAN 201

WWW.ALBANYRECORDS.COM ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © Barcelona, Catalonia TROY1600 Danza (anon.) Gagiarda (anon.) Bach-Gounod, arr. Tárrega Ave Maria [2:16] Miguel Llobet El Mestre [3:24] Catalan Folksongs, arr. Llobet La Nit Nadal [1:18] El noi de la mare [1:41] Paquita Madriguera Humorada [1:51] Bianco fiore (Cesare Negri) Bianco fiore (Cesare Se io Maccorgo (anon.) Saltarello (Vincenzo Galilei) Six Lute Pieces of the Renaissance Six Lute Pieces of (trans. Oscar Chilesotti) Vaghe (anon.) WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. 3 4 2 5 6 1

From 7 8 9 10 11

TROY1600 enric madriguera enric remembranzas de mi guitarra mi de remembranzas

This recording grew out of a concert I gave at the Segovia Museum in Linares, Spain in November the first concerto for guitar and orchestra in the twentieth century. Castelnuovo Tedesco’s Fantasia of 2013. Having had the opportunity to study with Segovia as a youth and to receive his influence for Guitar and Piano is dedicated to the couple who gave the work its premier. into the early years of my career, I felt that the program should take the form of homage to him. We In addition to Segovia’s compelling personality and consummate skill, what made Segovia all have someone to thank as a model, and Segovia is clearly one for me. Segovia claimed that he stand alone was his fundamental belief that the future of the classical guitar would rest upon was self-taught. Still he had examples of transcription and composition from the likes of the great the establishment of an important body of repertory composed not only by guitarists, but also Francisco Tárrega and Tárrega’s student, Miguel Llobet, both of whom are included in this recording. by the exponents of the larger symphonic world. Segovia mastered this great challenge, and he My program begins in Segovian fashion with Six Lute Pieces of the Renaissance provided commissioned and inspired guitar concert repertoire from a wide variety of distinguished composers. by musicologist Oscar Chillesoti and published by Segovia’s friend Sophocles Pappas. The dances This Segovian frame of mind was responsible for the repertory that propelled his eight-decade are beautifully set for the guitar and create a perspective on the guitar as the heir to the noble career, and it created a benchmark for others to follow. In our own time, the Italian guitarist Oscar instruments of the Renaissance: the European lute and, in Spain, the Vihuela. Ghiglia, and Americans Eliot Fisk and Christopher Parkening come to mind as the students of Tárrega transcribed the Bach-Gounod Ave Maria for the guitar. It was Tárrega’s goal to expand Segovia who have also had a significant impact by encouraging new guitar concert repertoire. the guitar repertoire via his own compositions, arrangements, and transcriptions. Tárrega and his The Manuel Ponce pieces that I perform are extracted from the Four Pieces published by Schott student Miguel Llobet followed the same practice of programming mainly their own compositions and in the 1940’s. While Segovia favored the Vals and Mazurka, which are decidedly European, I opted to arrangements. On this recording we have Llobet’s creative settings of Catalan folk melodies: El noi include the Vals, along with Tropico and Rumba. The set displays the varied musical character and de la mare, La nit nadal, and El mestre. The first two are seasonal Christmas songs and Llobets’s temperament of Maestro Ponce. Ponce and Villa-Lobos were classmates, and both traveled to Paris El Mestre is homage to Llobet’s teacher Francisco Tárrega. via scholarships from their respective countries of Mexico and Brazil. Ponce and Villa Lobos came to My Aunt Paquita Madriguera, the composer of know each other as students in the class of the French master Paul Dukas. Humorada, was a protégé of the great pianist-composer of Unlike his predecessors, throughout his career Segovia refrained from performing his own Barcelona, Enric Granados. Paquita had a notable career compositions. Three Daily Studies by Segovia show the depth of his music. Oracion (prayer) is as a pianist, performing the solos of Albeniz and Granados, homage to his life-long friend M.M. Ponce, and Remembranza (Remembrance) is dedicated to concerti by Grieg, Schumann, Castelnuovo Tedesco, and Olga Coello, the Brazilian singer who played a musical and a romantic role in his life. Divertimento Manuel Ponce. Paquita became the second wife of Andrés for Two Guitars is dedicated to Vladimir Bobri. As an illustrator, Bobri designed numerous album Segovia, and via this marriage I have a familial tie to the covers for Segovia in his heyday in New York City. Bobri created the album covers for the wonderful Maestro. In addition to her notable solo career, Paquita recordings he made for Decca Records with the producer Israel Horowitz, and to which I listened as performed numerous guitar and piano concerts with Segovia. a youth. I perform the Divertimento with Eddie Healy, a former student, and now a colleague of mine. She collaborated with Segovia and their intimate circle We believe this to be the first recording of the Three Studies as a set just as Segovia published them. of composer friends in preparing repertory for symphonic Eddie performed on a Rozas guitar, and I used the “Segovia guitar” from the collection of Russell public debut and in developing repertory for the duo. The duo Cleveland for the Segovia compositions on this project. I thus performed music composed by Segovia performed guitar and piano reductions of Ponce’s Concerto on one of Segovia’s own concert guitars. del Sur, and Castelnuovo Tedesco’s Concerto in D, which is The Cinq Preludes of Villa-Lobos are all homages: The first prelude is dedicated to the Enric Madriguera holds the Russell Cleveland Director of Brazilian folk, the second to street musicians, the third to Bach—as Villa-Lobos believed himself Guitar Studies endowed professorship at the University a twentieth century reincarnation of the German master, the fourth to the Amazon, and the fifth to of Texas at Dallas. Dr. Madriguera is also a Professor of the culture and “polite society” of early twentieth century Rio de Janeiro. Villa-Lobos combines the Aesthetic Studies in the graduate program of the School sounds and rhythms of Brazil within his own impressionistic musical and guitaristic palate. of Arts and Humanities. As both a performer and educator The Tonadilla sopra Andrés Segovia by Castelnuovo Tedesco is a soggetto cavato on Segovia’s of the guitar Madriguera has traveled to and presented name. The letters are linked to the chromatic scale from A to A, ingeniously generating two melodies in five continents during the span of his career. His solo both representative of Segovia’s first and last name. Each melody is developed in a free lyric style recording Old World/New World has been well received at with numerous modulations from the opening notes in the key of D. The closing section presents an home and abroad. Germany’s Gitarre und Laute states that insistent variation of the second “Segovia theme” melody in the tonic key of D with a sixteenth note his playing is “eloquent,” while Classical Guitar of London pedal point accompaniment to reach a rousing climax. liked Madriguera’s “passionate playing” of Spanish and Robert Xavier Rodríguez is a leading exponent of the lyric contemporary music of our day and Latin American music. Enric Madriguera has performed the Distinguished Professor of Music at the University of Texas at Dallas. Rodriguez has been the and recorded with Voices of Change on Voces Americanas, Composer in Residence for both the Dallas and San Antonio Symphony Orchestras. “Pueblo Mulatto” by Tania Leon, and “Frida” Concert Suite I have known Maestro Rodríguez since 1978, and for these years he has been for me a mentor, by Robert X. Rodríguez. Enric performed widely and recorded friend, and valued colleague. I am pleased to present his Three Lullabies, which I transcribed, with his late wife Sabine Madriguera (born Sabine Rabe and his Tango Amor, which is original for the guitar. Just as Segovia set as a goal for successive Berlin, Germany 1/28/70, d. Garland, Texas 2/22/12) to generations of guitarist to add to the repertoire of the guitar, so the Three Lullabies and Tango Amor, whom this recording is dedicated. which I have premiered, are my contribution to that goal. The Tango Amor is dedicated to Abby Kratz In 2008 Dr. Madriguera was appointed as Director of Guitar Studies and faculty member to and was commissioned by Dr. Dennis Kratz on the occasion of their fiftieth wedding anniversary. This the ChamberArt Festival. Held annually, the ChamberArt Festival is an international summer festival is the debut recording of these works for solo guitar. in Madrid, Spain. In November, Dr. Madriguera will make his second appearance at the Andrés The recording closes with Peternera and El Vito, Spanish folk-inspired music composed by Segovia Festival at Linares, Spain where he will present his new CD Remembranza. Enric Madriguera Regino Sainz de la Maza a contemporary of Segovia, a composer, a guitarist, and a teacher of note, regularly performs, teaches, and judges in Mexico, Spain, Ecuador, and throughout South America. in Spain and beyond. Composer Joaquin Rodrigo dedicated his first and arguably most well-known work for guitar and orchestra the Concerto de Aranjuez to Regino Sainz de la Maza. Sainz de la Maza premiered the work with orchestra in Madrid. As a youth I had the opportunity to perform in the master class with Maestro Regino Sainz de la Maza at the First International Festival of Granada in 1973. —Enric Madriguera ACKNOWLEDGMENTS Recording location: CakeMix Recording, Dallas Texas Producer and Engineer: Bruce Faulconer Guitars: Ignacio Rozas signature model #140 anno 1992 is played by Enric Madriguera on the recording with the exception of the Segovia compositions the Estudios Diarios (Daily Studies), where one hears The “Segovia” Jose Ramirez signature model #3330, from the collection of Russell Cleveland, anno 1969. An Ignacio Rozas signature model, anno 1994 #180 of Eddie Healy is heard on Divertimento. Cover Image: Enric Madriguera playing for Segovia in Santiago de Compostela c. 1970

PUBLISHERS Six Lute Pieces of the Renaissance & Remembranza (Segovia): Columbia Music From Madrid (Saenz de la Maza), El Mestre (Llobet) & Ave Maria (Tárrega): Union Musica, Madrid Cinq Préludes (Villa-Lobos): Max Eschig/Theodore Presser Three Lullabies & Tango Amor (Rodríguez): G. Schirmer Vals (Ponce): Schott Tropico & Rumba (Ponce): manuscripts

Thanks to UT Dallas School of Arts and Humanities, Dennis Kratz Dean for their support of this project. Thanks to Russell Cleveland for his sponsorship and the loan of his “Segovia” Ramirez guitar. Thanks to Eddie Healy for his contribution to this project. Thanks to Bruce Faulconer for his judicious recording and editing advice. My thanks to family for support and helping with photo selection for the booklet. Thanks to Loriann Jones for her advice and editing support for the text of this project.