narciso yepes THE COMPLETE CONCERTO RECORDINGS narciso yepes THE COMPLETE CONCERTO RECORDINGS 2 JOAQUÍN RODRIGO (1901–1999) ANTONIO VIVALDI (1678–1741) Concierto de Aranjuez Concerto for Lute, 2 Violins and Basso Continuo in D major RV 93 for Guitar and Orchestra D-Dur · en ré majeur 1 1. Allegro con spirito 6:11 8 1. [Allegro giusto] 3:38 2 2. Adagio 11:28 9 2. Largo 4:55 3 3. Allegro gentile 4:58 10 3. Allegro 2:30 Fantasía para un gentilhombre Concerto for Viola d’amore, Lute, Strings Fantasy for a Gentleman · Fantasie für einen Edelmann · Fantaisie pour un gentilhomme and Basso Continuo in D minor RV 540 for Guitar and Small Orchestra d-Moll · en ré mineur 4 1. Villano y Ricercare. Adagietto – Andante moderato 4:58 arr. Gian Francesco Malipiero 5 2. Españoleta y Fanfare de la Caballería de Nápoles 9:44 11 1. Allegro 5:35 Adagio – Allegretto, molto ritmico 12 2. Largo 4:14 6 3. Danza de las hachas. Allegro con brio 2:08 13 3. Allegro 3:25 7 4. Canario. Allegro ma non troppo 5:06 Monique Frasca-Colombier violin Orquesta Sinfónica de Radiotelevisión Española Orchestre de Chambre Paul Kuentz ODÓN ALONSO PAUL KUENTZ 3 MAURO GIULIANI (1781–1829) ERNESTO HALFFTER (1905–1989) Concerto for Guitar and String Orchestra No. 1 in A major op. 30 Concerto for Guitar and Orchestra A-Dur · en la majeur 21 1. Fandango. Allegro moderato 10:26 Arr. Ennio Porrino & Mario Gangi 22 2. Fantasía alla madrigalesca. In tempo molto moderato ed espressivo 10:53 14 1. Allegro maestoso 9:15 23 3. Villanella tamburina 5:40 15 2. Andantino siciliano 6:21 16 3. Rondo. Alla polacca 7:39 Orquesta Sinfónica de Radiotelevisión Española ODÓN ALONSO English Chamber Orchestra LUIS ANTONIO GARCÍA NAVARRO MAURICE OHANA (1913–1992) Concierto: Tres gráficos para guitarra y orquesta SALVADOR BACARISSE (1898–1963) Concerto: Three Designs for Guitar and Orchestra Concertino for Guitar and Orchestra in A minor op. 72 Konzert: Drei Grafiken für Gitarre und Orchester a-Moll · en la mineur Concerto: Trois Graphiques pour guitare et orchestre 24 1. Gráfico de la farruca y cadencias 8:41 17 1. Allegro 7:47 25 2. Improvisación sobre un gráfico de la siguiriya 7:06 18 2. Romanza. Andante 6:19 26 3. Gráfico de la bulería y tiento 5:36 19 3. Scherzo. Allegretto 1:56 20 4. Rondo. Allegro ben misurato 5:35 London Symphony Orchestra RAFAEL FRÜHBECK DE BURGOS 4 ANTONIO RUIZ-PIPÓ (1934–1997) MARIO CASTELNUOVO-TEDESCO (1895–1968) Tablas para guitarra y orquesta Concerto for Guitar and Orchestra No. 1 in D major op. 99 Paintings for Guitar and Orchestra D-Dur · en ré majeur Gemälde für Gitarre und Orchester 34 1. Allegretto 6:31 Tableaux pour guitare et orchestre 35 2. Andantino alla romanza 7:11 27 1. Canto libre 8:23 36 3. Ritmico e cavalleresco – Quasi Andante – Tempo I 6:29 28 2. Scherzando 3:28 29 3. Elegía 5:59 London Symphony Orchestra 30 4. Molto vivace 7:50 LUIS ANTONIO GARCÍA NAVARRO London Symphony Orchestra RAFAEL FRÜHBECK DE BURGOS JOAQUÍN RODRIGO Fantasía para un gentilhombre HEITOR VILLA-LOBOS (1887–1959) for Guitar and Small Orchestra 37 1. Villano y Ricercare. Adagietto – Andante moderato 4:53 Concerto for Guitar and Small Orchestra 38 2. Españoleta y Fanfare de la Caballería de Nápoles 9:40 31 1. Allegro preciso 5:22 Adagio – Allegretto, molto ritmico 32 2. Andantino e Andante – Cadenza 8:12 39 3. Danza de las hachas. Allegro con brio 2:06 33 3. Allegretto non troppo 4:33 40 4. Canario. Allegro ma non troppo 4:56 English Chamber Orchestra LUIS ANTONIO GARCÍA NAVARRO 5 Concierto de Aranjuez for Guitar and Orchestra 41 1. Allegro con spirito 6:09 42 2. Adagio 11:14 43 3. Allegro gentile 5:13 Concierto madrigal for 2 Guitars and Orchestra 44 1. Fanfarre. Allegro marziale 1:59 45 2. Madrigal. Andante nostalgico 2:41 46 3. Entrada. Allegro vivace 1:51 47 4. “Pastorcico, tú que vienes, pastorcico, tú que vas”. Allegro vivace 1:36 48 5. Girardilla. Presto 1:46 49 6. Pastoral. Allegro 1:56 50 7. Fandango 2:23 51 8. Arieta. Andante nostalgico 6:22 52 9. Zapateado. Allegro vivace 6:05 53 10. Caccia a la española. Allegro vivace – Andante nostalgico 4:50 Godelieve Monden guitar II Philharmonia Orchestra LUIS ANTONIO GARCÍA NAVARRO 6 Narciso Yepes: The Complete Concerto Recordings he phenomenal technique and endearing per- considered such dexterity impossible on the T sonality of Narciso Yepes won him the admi- guitar, but Asencio insisted that “guitarists play ration of audiences throughout the world. The badly … They are not capable of executing a extraordinary range of his recorded repertoire legato and rapid scales … And if the guitar cannot continues as a lasting legacy of his artistry. achieve this? Then play another instrument.” Yepes was born on 14 November 1927 near Yepes devised new fingerings to achieve Asen- Lorca, in the region of Murcia in south-eastern cio’s requirements. The composer was amazed Spain. When he was only four years old, his and commented, “Then it is not the guitar at fault, father found him pretending to play the guitar it is guitarists!” on a walking stick and so bought a guitar for Armed with an increasingly formidable tech- him. In 1936 the family moved to Valencia, nique, Narciso Yepes gave his first concert at the where the boy received guitar lessons from Teatro Serrano, Valencia, in 1944. Briefly return- Rafael Balaguer, described in Domingo Prat’s ing to live in Lorca, he was able to play to Ataúlfo 1934 Diccionario de Guitarristas as a notable gui- Argenta, one of Spain’s most eminent conduc- tarist and a man of vast culture. Yepes’s other tors, who encouraged him to move to Madrid, teachers included the violinist Juan Alós and the which he did in 1946. The following year, Argenta composer Manuel Palau. introduced the young guitarist to the composer The most significant personality in Yepes’s Joaquín Rodrigo, who encouraged Yepes to study early life, however, was the composer Vicente his Concierto de Aranjuez. On 16 December 1947 Asencio, who was not impressed with guitarists’ Yepes performed the concerto in the Teatro ability to play scales and believed the instrument Español, Madrid, with Argenta conducting and in was inadequate in this respect, illustrating his the presence of the composer, who commented, point with fast scales on the piano. Yepes at first “The music, as I imagined it.” From this came 7 many other opportunities, including a concert in ardo Balada, Leo Brouwer, Jean Françaix, Ernesto union of guitar textures with orchestral sonorities miered by Segovia, its dedicatee, in Montevideo Geneva in January 1948 and further engage- Halffter, Federico Moreno Torroba, Maurice were quite revolutionary at the time of its compo- in 1939, the year of its composition. The first ments throughout Spain. His highly successful Ohana and Antonio Ruiz-Pipó, as well as Rodrigo. sition, but it has long since become a legendary movement, reminiscent of Boccherini, is followed Paris solo debut took place in 1950. After this Yepes gave his final recital on 1 March 1996, in celebration of Spanish romanticism, performed by a pastoral homage to the beauty of the com- Yepes studied for some time with various Pari- Santander, and died in Murcia on 3 May 1997. by all leading recitalists. Yepes’s recordings of it poser’s native Tuscany. The final movement is sian musicians, including the violinist George have been regarded for more than half a century more Spanish in mood. Yepes gives his own Enescu, the pianist Walter Gieseking and the ivaldi’s Concerto for Lute, 2 Violins and Bas- as some of the finest interepretations, profoundly superbly measured interpretation, quite different composer Nadia Boulanger. Vso Continuo, RV 93, and Concerto for Viola endorsed by the composer himself. from Segovia’s more rubato approach but equally In 1952 Yepes provided music for René Clé- d’amore, Lute, Strings and Basso Continuo, RV 540, Rodrigo wrote several more concertos enchanting. ment’s film Jeux interdits, a tale of two children, one have become immensely popular. The first adap- involving the guitar from the 1950s onwards, Another magnificent work, Heitor Villa- orphaned, during the Second World War. Yepes’s tations of these works for guitar were made by using this genre more than any other twentieth- Lobos’s Concerto for Guitar and Small Orchestra playing of the film’s main theme, Romance, and Emilio Pujol and modern recording technology century composer. Deploying themes from the evokes the melodic intensity and rhythmic fasci- other pieces on the soundtrack broadened his has enabled them to be expanded beyond the dances of Gaspar Sanz, the great Baroque guitar- nation of Brazilian popular music. It was originally international reputation, and from the mid 1950s intimate concept of eighteenth-century chamber ist of the seventeenth century, Fantasía para un written in 1951 as a Fantasía concertante, but Sego- onwards he steadily increased his global con- music into an expressive orchestral experience. gentilhombre (1954) was written as a homage to via, its dedicatee, initially refused to play it until certs, including his first tour of South America The history of the guitar concerto stretches Andrés Segovia, the “gentleman” of the work’s Villa-Lobos included a cadenza, and the expand- (1957), his Japanese debut (1960) and his first back to the early nineteenth century, Mauro title. A further profoundly innovative work was ed work was eventually premiered under its new appearance in the USA (1964). Some years later Giuliani’s Guitar Concerto op.