Le Rossignol Carlos Pedrell musical circles. Solo broadcasts for ABC LE ROSSIGNOL qf Página Romántica 1’30” radio, chamber music performances with principals from the Melbourne Francisco Tarrega , and teaching positions at both qg Lagrima 1’42” the Victorian College of the Arts, and the Margaret Lynch, qh Maria (Gavota) 1’50” University of Melbourne, are indicative of his contribution and commitment to the soprano guitar. qj Danza Espánola No. 5 4’56” Margaret and Peter Lynch have Peter Lynch, guitar performed extensively throughout Situated near Eltham, Victoria, Montsalvat Australia and this, their first recording, has much in common with a simple presents their artistry at its best. Giulio Caccini French provincial village. The rich “The song of the is a discourse, 1 Amarilli, mia bella 2’59” blend of architectural styles is superbly the song of the cello is an elegy, but complimented by the variety of artistic the song of the guitar is a song.” A more Philip Rosseter activities pursued here. perfect accompaniment to the human 2 What then is love but mourning? 2’47” Although the land was purchased in voice would be hard to imagine. 1934 by Justus Jorgensen, work did not By the late renaissance, the lute song John Dowland commence on the Great Hall (the site for had achieved a degree of perfection in 3 Come again! the present recording) until 1938. Then, style and form of no less significance than Sweet love doth now invite 2’31” as now, this magnificent building was the its nineteenth century counterpart, the focal point of a thriving artistic community. German . Mátyáa Seiber A recital by Margaret Lynch, soprano, Enjoying the favour of Elizabeth I, Philip Four French Folk Songs and Peter Lynch, guitar, is an intimate Rosseter (c 1575-1623) composed a large 4 Réveillez-vous 2’42” experience. Since their first duo recitals number of lute songs. The guitar adds a 5 J’ai descendu 2’52” in the early 70s, Margaret has researched rich, sonorous dimension to this poignant 6 Le Rossignol 3’25” and performed much of the original song. 7 Marguerite, elle est malade 1’00” repertoire for this exquisite combination, While England and the court of including works by Weber, Gitiliani, Elizabeth seemed reluctant Joaquin Rodrigo Britten, Musgrave and Rodrigo. Fostered to recognise John Dowland (1562-1626), he Three Spanish Songs and encouraged by studies. in London was regarded on 8 En Jerez de la Frontera 1’20” with noted baritone Trevor Ling, and the continent as one of the greatest 9 Adela 2’28” in Melbourne with the distinguished lutenists and q0 De ronda 0’46” soprano Loris Synan, her pure vocal style of the age. Both sombre and frivolous, his is beautifully suited to the melancholy songs are amongst Valentine Sawenko love songs which are to be heard in their the finest of the genre. qa Rhapsody 3’56” programmes. His son, Robert Dowland (1591-1641), Peter Lynch commenced the guitar at an published an anthology of English and Ernesto Cordero early age, his teachers including Bernard European lute songs in 1610. Entitled “A qs Cinco Preludios 7’17” Stahl, Susan Ellis and Sadie Bishop. After Musicall Banquet”, it contains one of the graduating from the Canberra School of most remarkable songs of the period, Hans Haug Music in 1974, he continued his studies Amarilli, mia bella, by Glulio Caccini (c qd AIba 4’40” in London with the celebrated guitarist, 1550-1610). Although several sources exist John Mills, and since his return in 1976, has for this song, the accompaniment realised earned a unique position in Melbourne’s here is wonderfully suited to this most haunting of vocal lines. and his compositional creativi ty. Studies serene yet passionate, while Maria The folk song arrangements of the in Puerto Rico, Spain and Italy have (almost certainly named after his wife) is a Hungarian Mátyás Seiber (1905- provided him with quite unique materials sensitive reflection of the baroque gavotte. 1960) are the most beautiful of their type with which to express his musical identity. At the very least, the artistic climate of in the repertoire. The guitar both imitates Melodic richness, rhythmic vitality and the late nineteenth century must and compliments the voice with inventive warm sonorities characterise these have been extraordinarily stimulating. It counterpoint and lush harmonies, wonderfully varied miniatures. is not surprising that Albeniz (who died in colouring the text in its every nuance. It The Swiss composer Hans Haug (1900- the same year as Tarrego) and Granados, seems most appropriate that these songs 1967) is perhaps better known for his embraced Tarregli in thit flowering of are here performed in surroundings so symphonic and chamber music. However, Spanish nationalism. The Danza Española similar to their country of origin. several significant works for solo guitar No. 5 of Enrique Granados (1867-1916) The works of Joaquin Rodrigo (b. 1902) came from his pen of which Alba (Dawn) is is here played in the transcription by are amongst the most significant and a haunting example. The musical language, (1878~1938), Tarrega’s most demanding in the literature of the guitar. although quite conventional, makes distinguished pupil. This prolific virtuoso These lesser known songs capture the imaginative use of chorale-like harmony, was the link between the dawn of the very soul of Rodrigo, and of Spain, with recitative, and arioso material within an revival and Andriés Segovia, without whom a sentimental song of unrequited love arch­form structure. this present recording, and most of the couched between exuberant, If the renaissance of the guitar in the repertoire herein, would not exist. rhythms. The unusual tuning of the sixth twentieth century is epitomised in the string to C sharp, is a superb piece of person of Andrds Segovia, it is no less Annotations © 1985 Peter Lynch orchestration in Adela. attributable to Tarrega, Granados (perhaps The nineteenth century was the age unwittingly) and lesser composers such as of the pianist-composer. While Chopin, Carlos Pedrell. Schumann and Liszt composed works that It was the great Spanish musicologist can justly be described as masterpieces, Felipe Pedrell (1841-1922) who recognised Sor, Giuliani, and Coste were popularising the importance of the guitar in his Recording engineer: Martin Wright guitar solos often of slight musical value, country’s musical heritage, and that the Montsalvat: jorgensen Family although fiercely demanding, technically. It musical personality of Tarrega was to Guitar: George Love, Surrey, England is little wonder that the piano succeeded be the inspiration of all that followed. Dedicated to Sarah where the guitar ultimately did not. It seems fitting therefore, that Felipe’s Happily, due to Tarrega and his nephew, Carlos Pedrell (1878~1941), disciples, the tradition of the guitarist- should compose a small, but nevertheless composer has been firmly re~established beautiful collection of pieces dedicated to and is nowhere more successful than in the Segovia. Seldom heard, Página Romántica P 1985 Move Records, Melbourne, works of Sawenko and Cordero. glimpses Spanish nostalgia at its most Australia Born of Ukrainian parents, Valentine intimate and lyrical. Sawenko studied at the Canberra School The works of Francisco Tarrega move.com.au of Music and at the Victorian College of (1852-1909), although perhaps slight in the Arts, graduating in 1982. His music is comparison to those of his compatriots essentially a blend of folkloric melody and Albeniz and Granados, nevertheless romantic harmony, beautifully tailored to display warmth, charm and craftsmanship the idiosyncrasies of the guitar. of the highest order. As if in the romantic The Puerto Rican guitarist Ernesto tradition of Chopin, he seems most at Cordero (b. 1946) has been acclaimed ease in the smaller forms, so characteristic internationally for both his performances of this period. Lagrima (Tear Drop) is