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LUCÍA
DE LA TERRAZA (“ZAPATEADO“/ TAP DANCE)
The sevillan Gualberto García composed
this work for Lucía Martínez Treviño, member of the orchestra “La Orden
de la Terraza“, who records it by playing the tenor laúd. The work has
originally been written for two plectrum instruments and it is clearly
based on a tap-danced flamenco, although it also includes some inspired,
modern harmonies. The rhythmic melody passes cleverly from instrument
to instrument, offering a great variety of sounds.
THREE
PIECES: RÁFAGAS, TORIJA, LA SEGUIDILLA.
Although Moreno Torroba was a famous composer
for his “zarzuelas”
(Spanish operettas), he also wrote some inspiring works for guitar, collaborating
with Andrés de Segovia. "Ráfagas" is
a brief piece belonging to the quartet for guitars and it dates from his
last period (1976). "Torija"
is part of the suite
"Castles of Spain", and it is one of the most beautiful
melodies ever written by Torroba for this instrument. "The
Seguidilla", originally written for guitar,
it is a popular manchegan seguidilla belonging
to a collection called “Aires de la Mancha“.
NÁJERA
The riojan José Fernández Rojas wrote this work for symphonic orchestra
and later on he adapted it for “La Orden de la Terraza“. "La
Judería" presents a topic of Moorish character that is developed
and sharply contrasted to a completely lyrical one, evoking the Arab past
of the city of Nájera. "El
Castillo" begins with a slow part, played by three instruments
that gives way to two popular topics of
Nájera: “Las Vueltas“, popular melody
played at the feasts
of Saint John and Saint Peter, and another piece of music whose origin
goes back to Fernando's coronation ceremony
in the city of Nájera. The score, later on arranged for four voices,
presents a very rhythmic ending.
DOS
DANZAS: DANZA DE LA PASTORA, DANZA DE LA GITANA
Ernesto Halffter, the only direct follower of Falla, and one of
the well- known musicians of the Generation of the 27,
wrote the ballet "Sonatina" for piano in 1928. We have
selected the two best-known pieces. He wrote this ballet influenced by
the neoclassical tendency of the 20th century and
the study of the most relevant harpsichord players of the 18th
century. This work is full
of typically Spanish elements, melodic and rhythmic, as well as Baroque
principles, for the treatment of the keyboard, just in the same way Scarlatti
used to do it.
LA
ORACIÓN DEL TORERO
This work, originally written for plectrum quartet, was composed
by Turina in 1925 after meeting “The Aguilar
Quartet." Once again, Turina knows how to paint beautifully
the sevillan atmosphere: the bullfighter, who is about to start bullfighting,
is praying at the chapel. Meanwhile, the public's distant clamour
is heard mixing with the calm of the chapel. The bullfighter's prayer
is comforted by a delicate and strict pianissimo. This work was later
on adapted for string quartet and string orchestra, being one of the best
pieces that he has ever composed.
HOEDOWN
Aaron
Copland was a successful composer and educationalist. He managed to
create the North American music pattern, used again and again in
western movies. This music pattern is the image of the enormous variety
of influences that build
this country. This piece is a dance belonging to the ballet "Rodeo",
one of the author's most popular
works. He uses American sonorous material whose origin seems to be
an Irish dance called "Bonyparte."
STEAMY
STEAMING: ON THE WAVES
This work was composed in 1998 at the request of the Club of Mandolin
of the University of Trade of Kobe. "This
piece shows the energy of a steam ship colliding with the sea and producing
foam. Lying down on the waves, I listen attentively to the lullaby by
Neptune and can see the slight light beyond the haze “. This is the
way the composer describes this poetic second movement with a brilliant
cadenza before the new appearance.
AN
AMERICAN IN PARIS -extract-
We move to the American continent but staying in Europe at the
same time. Gershwin, one
of the American driving force of the American musical, using a kind of
symphonic jazz, writes the sound track of the movie: "An American
in Paris" (1928), directed by Vincent Minelli. Gershwin himself explained
the meaning of his work: “ My purpose
is to present the impressions of an American who visits Paris. While he
is walking around the city, he listens to different street noises and
he absorbs the French atmosphere... " . To reach his aim, he
uses rhythms and American popular topics with material from different
countries. We have chosen a brief selection of this work that shows all
this, with a deep feeling
of blues in the background.
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