Segovia And The Guitar

 

Fantasia – Sonata

Segovia And The Guitar

Compositions by Luys de Narvaez, Alessandro and Domenico Scarlatti, Espla, Manén

Cover Photo by George Joseph

Decca Records - Gold Label Series

DL 9931

1960

From the back cover: ANDRÉS SEGOVIA was born in 1893, in Linares, in the renowned locale of Andalucia. A short time after his birth, his family took up residence in Granada, where Segovia spent his childhood years. Here, in the fabled land of the Moorish kings, the boy was steeped in a great artistic tradition, and at quite an early age, he began to show promise of what was to mature as the outstanding talent in his field. At the age of fourteen, he made his first public appearance as a serious artist in Granada, and a year later, repeated his earlier success, this time in Barcelona. Shortly afterwards, Segovia toured throughout Spain, and, at the close of the First World War, con- certized extensively in South America. He made his Paris debut in 1924, a concert. attended by distinguished luminaries from the spheres of music, art, and literature. It was a brilliant performance and both public and critics were entranced. This accolade resulted in increased demands for further appearances, and few years elapsed before his art was heard throughout the world.

Segovia believes that the final step in the guitar's ascension to uncontested prominence in the musical galaxy will be its recognition as one of the integral solo instruments of the orchestra. Of the great composers who have labored in this cause, the following can be named: Castelnuovo-Tedesco has written two concerti, a sere- nade and a guitar quintet to exploit the virtuosity of the instrument. Manuel Ponce's Concerto of the South met with great success at its first performance in Montevideo. Villa-Lobos composed Fantasia Concertante for guitar and orchestra, Tansman a work called Homage à Manuel de Falla and Hans Haug, the Swiss composer, has written a work called Concertina, which won first prize at the International Con- test at Siena in 1952.

Side One:

1. Canción del Emperador (sobre "Mille Regretz" de Josquin) Variations on "Guárdame las vacas"

(Luys de Narváez-in modern notation by Pujol)

Josquin's "Mille Regretz" is said to have been the favorite song of the Emperor Charles V. The Canción del Emperador consists of variations on Josquin's song, written for the vihuela (the ancestor of the modern guitar) by Luys de Narváez. This renowned Spanish lutenist of the 16th century introduced the variation form into Spanish music, and published a book of tablature (1538), from which both pieces recorded here are taken. The second piece is a set of delightful variations on an anonymous vocal theme, "Guárdame las vacas"-"Keep watch on the cows." The modern notation of both pieces is by Emilio Pujol.

2. Two Pieces for Lute: Song and Galliard (Dowland)

John Dowland's importance in the history of music is that of a composer of songs. In his lifetime (1563-1626) he was better known as a great lute player, unrivalled in all of Europe, and a highly skilled singer. The Song, recorded here, melancholy in feeling and full of rhythmic interest, was originally written for voice transcription of his song for lute alone, in the form of a galliard. The Song is especially remarkable for the richness of its secondary voices. The fresh, charming Galliard (a Central European court dance) that follows was written for lute, and transcribed by Andrés Segovia.

3. Preambulo and Gavota (Alessandro Scarlatti)

These two piano pieces of Alessandro Scarlatti (1660-1725) were found, to- gether with two others, in the Conservatory of Naples some twenty years ago; they form a part of a suite. In the slow introduction of the Preambulo the bold contrary movement of voices is particularly striking; the middle section is a rapid fugato movement. The Gavota is an especially ingratiating, melodious short piece. The transcriptions are by Andrés Segovia.

4. Sonata (Longo #352) (Domenico Scarlatti)

Domenico Scarlatti (1685-1757), the son of Alessandro, often regarded as the father of modern piano-playing, spent many years in Spain, where he was in royal service. He was, of course, influenced by Spanish rhythm and feeling, and this short Sonata in C minor, in one movement, is filled with Spanish atmosphere. Andrés Segovia, who transcribed the work for guitar, believes the slower tempo, which he favors over that of most pianists, to be more faithful to the Spanish character of the piece.

5. Dos Impresiones Levantinas (Oscar Esplá)

Oscar Esplá (1889- ), a modern Spanish composer belonging to the group of de Falla and Turina, is a native of Alicante, one of the south-eastern provinces of Spain that are known collectively as Levante. Outstanding among his works are the compositions for piano. These two Impresiones Levantinas are short miniatures, that conjure up the atmosphere of the Levante and capture the spirit of Alicante. Andrés Segovia plays his own transcriptions.

Side Two:

Fantasia-Sonata (Joan Manén)

Joan (Catalan version of Juan) Manén (1883- ), the contemporary Spanish violinist and composer, inscribed this Fantasia-Sonata "Por y para Andrés Segovia" ("For and because of Andrés Segovia"). It opens with a Largo of languid atmosphere and distinctly Spanish character. In the first Allegro of the Sonata, Catalonian sentiment predominates, and the Largo motif recurs as the second theme. The middle section is a slow, evocative Andante cantabile, and the third section a lively Allegro assai, with a beautiful, characteristic little melody that again embodies the flavor and essence of Spain that dominates the whole work. The opening Largo theme returns to close the piece.