-Aromas de Andalucia

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FRANCISCO TÁRREGA
Versión: Katsuhito Inove
1.- Recuerdos de la Alhambra

FRANCISCO CUENCA
2. Taranta

MANUEL DE FALLA
3.- Danza del juego de amor

ISAAC ALBENIZ
Versión: Katsuhito Inove
4.- Granada
5.- Córdoba
6.- Sevilla

FRANCISCO CUENCA
Abyla
7.- Semblanza Meridiana
8.- Brisas del Hacho
9.- Recuerdo de San Amaro
10.- Danza de Bezú
11.- Aire Sefardí
12.- Nostalgia Caballa

FRANCISCO CUENCA
13.-. Kamakura

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AROMAS OF ANDALUSIA

MANUEL DE FALLA (1876-1946)

It was the first Spanish composer to create a real educated to take folk elements (flamenco singing, Flemish) and link with the sharpest forms instrumental music. Works like “El Amor Brujo” O “Nights in the Gardens of Spain” perfectly illustrate the ability of failure to convert the most genuinely Spanish inspiration in universal art.

“El Amor Brujo” is a pantomime ballet subtitled “Scenes Andalusian gypsy” written for the famous singer and dancer Pastora Imperio and his company. Melancholy and musically fiery passion consumed. Falla was inspired by legends and gypsy songs which Pastora Imperio ele mother narrated and sang. The “Dance Love Game”, chosen for this recording and adapted by Francisco Cuenca for guitar and piano, is the penultimate number of ballet in which the Roma, on a rhythmic and exotic atmosphere with a mysterious and intense accent, recrin1Ína her former lover has been seduced, and that serves to rid ele it and make it disappear forever.

 

FRANCISCO TÁRREGA (1852-1909)

 

Spanish guitarist and composer. Its exquisite and sober interpretation, together with the more refined technique, place Tarrega guitar as a fundamental bastion of revival of the nineteenth and twentieth centuries, and as an indispensable source for the technical study of the instrument. He wrote beautiful pages “Alborada”, “Capricho Arabe”, “Dream”, “Danza Mora”, “Variations on the Venice Carnival ele”, etc. But one of his most famous works is undoubtedly ” Recuerdos de la Alhambra “, in which a sweet melody played tremolo seems to come from the same courtyard of the palace of the Alhambra, with the mysterious sounds of their sources. This time it is presented with the correct version for guitar and piano of Japanese composer Katsuhito Inoue, on the original score of Tarrega write a harmony, by the piano, which complements and enriches it, giving it a symphonic and orchestral character .

 

ISAAC ALBENIZ (1860-1909)

 

Spanish composer and pianist. that set his sights on the Moorish Andalusia to write most of his works. Albéniz was erected as a pioneer of Spanish music of the early twentieth century and found its highest expression in keyboard music. Works such as “Suite Iberia”, “Spanish Suite” (to which they belong “Granada” and “Sevilla”) or “Songs of Spain” (“Córdoba”), breathe air a pleasant and refined popular lyricism to which He opposes a profuse and complex harmony, often inspired in the old ways. The three dances recorded on this CD, originally for piano, have been brilliantly adapted for guitar and piano by Katsuhito Inoue, combining the beauty of “Granada” silence “Córdoba” and the joy of “Sevilla“.

 

FRANCISCO CUENCA (1964)

 

Guitarist and composer, has devoted a considerable part of his compositional training to genuine chamber music “guitar and piano duo” jobs. Works such as “Damascus”, recorded in the previous D.C. Cuenca of the brothers, and this recording “Taranta”, “Abyla” and “Kamakura” complete catalog of original compositions for guitar and piano.

“TARANTA”, born in the depths of the mine shafts of Linares, the Union … to see the light with a pungent flavor, lead and silver. Melting pot, made gorges regret in the cold and dark gallery, eternal night. This work is dedicated to his father Francisco Cuenca Domínguez. The author draws on the first flamenco guitar flourishes that his father taught him in childhood, taking forms of flamenco singing or Flamenco (typical melodic and harmonic, rhythmic obstinati repetitions of tones), deepening it and giving the work of a harmonic, melodic and tín1brica wealth. “Taranta” is characterized by alternating between a solid and mysterious harmonic scheme which is based bitonality and certain flourishes, establishing an interesting contrast harmonies as typical aspect of this mining cante.

“ABYLA” dedicated to his great friend Francisco Javier Sanchez Ceuta ~ Paris is the historical and legendary name of Ceuta, bordering Morocco Spanish city. In it, Francisco Cuenca is inspired by the environment and natural beauty of this city as well as the richness of n1usical Arabic and Andalusian culture, creating a symbiosis, existing in nature, between the two and adding certain elements of Indian music and Sephardic, also present in the history of Ceuta.

The work consists of six dances and each evokes and is associated with some iconic landscape or cultural aspect of the rich historical panorama of the city. The first, “Semblanza Meridina” (Walls, strength, culture, history, witness of time before watchtower shelter young athletes today), puts us in the enigmatic sound environment in which the work is to be developed. The second, “Brisas del Hacho” (approaching the port perceive a sailor surrounding air, while keeping your gaze fixed on the Hacho Mame), two instruments alternate a beautiful melodic scheme supported by a persistent proflll1c1a harmony and rhythm. The third J “Remembrance of San Amaro” (San Amaro Park, missed both in time and space), guitar and piano merge “tremolando” creating a mysterious and distant sound atmosphere. The fourth, “Benzú Dance” (beach border Dead Woman … unique scenery, music friend), is characterized by a constant and stubborn guajira rhythm, full of energy and strength. In this dance, both in its ongoing dialogue instruments, highlighting augmented second intervals on the same rhythmic-melodic, and own design fundamental characteristic of Arabic music. the fifth, “Sephardic Air” (mosque, synagogue, churches, blue, white houses azoleas, dark complexion, white skin, oboes and palms …) begins a melodic guitar fragment is ornamented and above this, there arises a live, rhythmic dialogue between the two instruments. Finally, “Nostalgia Mackerel” (From back to front Hacho and Gibraltar), a subtle overtones of the guitar and the piano delicate harmony give way to the recapitulation of the main theme. On this occasion, this issue is presel1la some tonal variations, highlighting more, if possible, the initial melodic scheme.

“Kamakura” is the name of a historic city that sits near Tokyo. Francisco Cuenca visited this city in spring and was impressed by the beauty of a traditional Japanese landscape covered with white sheets of cherry. The work begins by creating an enigmatic Eastern Andalusian sound, followed by a first thematic block with impressionist elements. Later comes an austere song, Eastern air but little by little, the music flows as if it were a dialogue between East Village and an Andalusian village. Guitar and piano end up creating a brilliant climax. This work is dedicated to the pianist Yoko Takaki and guitarist Takeshi Tezuka.

TAKESHl TEZUKA