111314 bk Segovia8 EU 4/15/08 11:31 AM Page 5 Pujol on 2nd December, 1922. The genesis of this work music is dedicated Por y para Andrés Segovia (‘for and progression – a regression, therefore – with which the made a significant contribution to the guitar repertoire owes much to Miguel Llobet who requested Falla for a because of Andrés Segovia’). work begins, it makes one want to laugh.. with the Sonatina forming the centrepiece of that guitar work. The right moment arrived when Henri The original notes for Segovia’s recording Segovia changed his mind about at least two of the achievement. The first movement, Allegretto (in A Prunières, editor of the Revue Musicale, asked Falla to observed: In the first Allegro, Catalonian sentiment Preludes including the one which ‘imitates Bach’ major), follows straightforward sonata form, with two ANDRÉS SEGOVIA write an article for a special issue of his journal being predominates and the Largo motif recurs as the second (Prelude No. 3), as Nos 1 and 3 became a perennial part delightful themes setting the scene for the lyrical prepared in memory of Claude Debussy, who had died theme. The middle section is a slow evocative Andante of his repertoire. Prelude No. 1 in E minor, a Homage to development which follows. The slow movement, 1950s American Recordings in 1918. Falla wrote the article and added this piece as a cantabile and the third section a lively Allegro Assai. the Brazilian Country Dweller, begins with a cello-like Andante (in D major), is a superb example of Torroba’s musical homage. (Other contributors to this memorial The composition begins with heavy chords, reminiscent bass theme of great beauty, accompanied by chords on reflective moods. The final Allegro is a brilliant tour de were Bartók, Dukas, Goossens, Malipiero, Ravel, perhaps of the opening of J.S. Bach’s Chaconne. The the open strings. A middle section offers contrasting force interrupted only by a few moments of an Andante Volume 6 Roussel, Satie, Schmitt and Stravinsky.) Falla also opening theme is taken up in a later cantando molto vivacity. Prelude No. 3 in A minor, a Homage to Bach, section, as if to pause momentarily before proceeding to arranged the piece for piano and later orchestrated it as section and subjected to a number of modulations. Of is divided into two parts. The first section consists of the vivid climax. Torroba’s guitar music sounds natural the second movement of his suite, Homenajes. The particular interest is the Spanish nature of each section, lines of rising patterns contrasted against weighty and effervescent on the instrument, yet beneath the ÉS SEG DR OV guitar version was edited by Llobet. characterized by rapid scale passages, flamenco-like chords across the strings. This is followed by a surface are many technical difficulties. N IA Homenaje, “Le Tombeau de Claude Debussy”, an ornamentation, strummed chords, and vigorous profoundly expressive section which fully exploits the Madroños (Strawberry Trees) is the composer’s A austerely elegiac work in habanera rhythm, shows a rhythmic fragments. tone colours of the guitar in gently undulating slow personal homage to the city of Madrid, which takes as clear indebtedness to the flamenco guitar with its rapid Heitor Villa-Lobos, the great Brazilian composer, semiquavers, punctuated by chords. its symbol the image of a bear and a strawberry tree. scale runs and arpeggios. The score is marked with produced a vast body of works for orchestra, choirs and Étude No. 8, in the key of C sharp minor, begins The catchy theme is imitative of the animated cries of many expression signs in a particularly detailed manner. piano but it is his guitar music that has often received with a melody in the bass, accompanied by intricate street vendors. Nocturno, published by Schott in 1926, Just before the end, Debussy’s prelude Soirée dans the widest admiration. His remarkable capacity for slow chords on the strings above. This theme is then evokes the Spanish night. After a snatch of flamenco Grenade is quoted. The composition is now regarded as writing memorable themes congruent with the heard in the treble, accompanied by rhythmic chant and two bell-like harmonics, rapid arpeggios and one of the most emotionally charged solo guitar works instrument’s natural patterns enabled him to develop a arpeggiated chords. Étude No. 1, in E minor, represents quick fragments of melody create mysteriously and Segovia’s interpretation represents a highly unique personal style. Villa-Lobos first met Segovia in the guitarist’s ultimate right hand arpeggio study and conflicting moods of darkness and colour. A middle significant historical performance. Paris in 1924 and five years later dedicated his Douze was described by Abel Carlevaro, a close friend of section resolves into patterns of song punctuated by Carlos Pedrell, born at Minas, Uruguay, was the Études (1929) to the Maestro. Segovia’s preface to the Villa-Lobos, as ‘an atmosphere of harmonic resonance, brisk chords and concluding with five dramatic nephew of Felipe Pedrell (1841-1922), the great Catalan twelve studies comments that ‘Villa-Lobos has made a each note joining the other in an overall effect’. harmonics before the pianissimo recall of the opening musicologist. Having studied in Paris under Vincent gift to the guitar’s history of the fruits of his talents as Recalling the symmetries of J.S. Bach, the study has a themes. Serenata burlesca, published in 1928, begins as d’Indy and in Barcelona with his uncle, Pedrell later vigorous and as wise as that of Scarlatti and Chopin’. repetitive right hand figuration set against left hand a kind of musical joke, small scampering passages of moved to Buenos Aires where he was appointed as a Étude No. 7 has been described by the Brazilian evolving chordal patterns. scale runs being contrasted against staccato chords. This 1 national inspector of music. The last years of his life virtuoso, Turibio Santos, as ‘a study in virtuosity par Federico Moreno Torroba, as Segovia wrote in his is followed by a lyrical middle section, though wit and 95 gs were spent in Paris. Guitarreo is a light-hearted excellence’. Opening with brilliant scale runs, the study autobiography, became the first ‘composer who was not humour are never far beneath the surface. 2, in 19 ord bagatelle with many brilliant scale runs and incisive moves on to broken chords supporting a melody played a guitarist’ to write works for him. Torroba, originally 54 & 1956 Rec harmonics. A contrasting central section features a entirely on the first string. After this lyrical section, the well known for writing zarzuelas (light operas), Graham Wade lively new theme over rhythmic chords, concluding rapid scales return followed by an exciting finale with achieved further international renown through (author of A New Look at Segovia, His Life, His Music, with a rapid downward passage before the reprise. strident chordal progressions and trills. Segovia’s performances of his guitar works of which Vols 1 & 2 (with Gerard Garno), Segovia - A Segovia’s edition was published in 1928 with two other The Five Preludes of Villa-Lobos (originally six in there are well over fifty pieces. Sonatina, one of Celebration, Maestro Segovia, Traditions of the Robert Schumann • César Franck • Johannes Brahms pieces by Pedrell, Lamento and Página romántica. number but one was lost), composed during the summer Torroba’s most acclaimed solos, reveals the composer’s Classical Guitar, A Concise History of the Classic Joan Manén (1883-1971), born in Barcelona, was a of 1940, are some of the most cherished works in the skill in encapsulating the moods and rhythms of Spain. Guitar, etc.) Edvard Grieg • Alexander Scriabin • Miguel Llobet Catalan violinist and composer. An infant prodigy, he repertoire. Yet Segovia at first did not like them. In a Building on nineteenth century traditions, Torroba made his concert debut in Latin America at the age of letter to Manuel Ponce on 22nd October, 1940, he Manuel de Falla • Carlos Pedrell • Joan Manén nine, and a European début in 1898. Over the years he wrote: [Villa-Lobos] came to the house supplied with made five world tours as a violin virtuoso. His six preludes for guitar dedicated to me...Among the two Heitor Villa-Lobos • Federico Moreno Torroba compositions include operas and other stage works, from this last batch, there is one, which he himself vocal, and instrumental pieces. Fantasía-Sonata was attempted to play, of lethal boredom. It attempts to published in the Schott/Segovia editions in 1930. The imitate Bach and by the third cycle of a descending 8.111314 5 6 8.111314 111314 bk Segovia8 EU 4/15/08 11:31 AM Page 2 Great Guitarists • Andrés Segovia (1893-1987) FEDERICO MORENO TORROBA (1891-1982) ) Nocturno 3:30 every nuance of sound and colour being uniquely Alexander Scriabin (1872-1915), Russian exploited in delicately refined interpretations. composer and pianist, was a genius of harmonic 1950s American Recordings, Volume 6 Sonatina DECCA DL 9733 / Brunswick AXTL 1070, ^ Allegretto 3:43 matrix MG 3684 • Recorded April 1954 Robert Schumann’s Romanza is an arrangement by innovation whose preferred medium was the piano. In Segovia of the song Frühlingsgrüss (Spring Greeting) this tiny Prelude, Op. 16, No.4, from a set of five ROBERT SCHUMANN (1810-1856) MANUEL DE FALLA (1876-1946) & Andante 4:09 ¡ Serenata burlesca 2:55 * from Songs for the Young, Op. 9, text by the poet, Preludes (1894-1895), the charm and intensity of his 1 Romanza (from Lieder-Album für die Jugend, 8 Homenaje, ‘Le Tombeau de Claude Debussy’ 2:38 Allegro 3:36 DECCA DL 9734 / Brunswick AXA 4504, Hoffmann von Fallersleben: music is communicated through the guitar.