Duo Cuenca

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L.BIGAZZI (1959)
1. Preludio pour un enfant
2. Formentera

KATSUITO INOUE (1962)
3. Danza Japonesa “Sakura”

ANÓNIMO
4. Ay Giz

FRANCISCO CUENCA (1964)
Beirut
5. El Rouche
6. Hambra (Danza)

ANÓNIMO
7. Romance
(Versión: Katsuito Inoue)

ERIK MARCHELIE
8. Les Nuits Andalouses
9. Berceuse Pour Olivier
10. Nazca

FRANCISCO CUENCA
Aznur (a mi hermana Mariconchi)
(Homenaje a Tárrega y Albéniz)
11. Santo Domingo (Evocación Tárrega)
12. El Rincón del Cante (Granaína Albéniz)
13. La Puente
(Danza festiva y Guajira del Rio de Oro)

Tweets

CUENCA DUO

Anton Diabelli (1781-1858)

It was a remarkable character who greatly influenced the music of his time. Not so much as a composer. As music editor. Endowed with a remarkable intuition to detect and lead market trends, he founded a publishing house in which financed the publication of a lot of serious music with the money obtained from the sale of songs and dances fashionable.

Diabelli published Schubert, one of its best assets comerciales- and even some pieces of Beethoven.

Lucky man ideas. He made fifty composers to write so many variations on the theme of a waltz he had composed. The work, completed in 1824, was a huge bestseller. Because remember the sound of our century galaxy sometimes we do forget-that until the birth of the phonograph. the dissemination of music is mainly done through scores that were played in private rooms or illustrated in the popular cafes, especially in Vienna.

Diabelli and subsequent partners came to edit almost twenty five thousand scores. Some of them, such as collections for guitar and piano. entitled respectively Philomele für die für das Philomele Guitarre and Piano, piano or solo or duo Euterpe were very popular for many decades. Another of his achievements. referring to theatrical pop songs, Sammlung Neueste komischer Thearergesange total reached 429 volumes: a success beyond doubt.

However, Diabelli was a musician of solid training and accused musicality. Born in Mattsee near Salzburg. He studied with his father Nicolaus Diabelli, who had Italianate its original name, Demon. At nine he became a choirboy at the Chapel of Salzburg, where he received lessons from Michael Haydn. After studying at the University of that city he spent time in a convent. probably as a Cistercian novice. From 1802, after hanging habits, he settled in Vienna, where -along with his outstanding work as editor-taught piano and guitar, instruments that dominated with great talent. As a composer, he wrote all sorts of works: operas. scenic music, an enormous amount of religious music (seventeen masses) and dances for orchestra. But above all, he made countless arrangements, orchestrations and medleys of the most diverse nature. And, of course, also composed for guitar and piano.

Such is the case of the Grand Sonata Brillante. A piece that shines a prominent instrumental virtuosity. Very much in the style of the time, it is not titled simply sonata, but adds an adjective in front, large, and another behind, bright: that the author’s intention is made clear from the title of the piece itself.

Diabelli there makes use of all the resources of seasoned composer who writes for an instrument that dominates. Some critics see in his songwriting clear rnfluencias his master Michael Haydn and Biedermeier aesthetics that deprived in Vienna at the time.

In any case, it is a work that, in his kindness, wants to be spectacular. written to the glory of the interpreter.

 

Enrique Granados (1867-1916)

 

It is by Albéniz, Falla and Turina. one of the four pillars on which rests the beautiful building of the Spanish nationalist music.

Excellent pianist, a pupil of Pedrell composition -patriarca doubt that nationalism studied in Paris with Bériot. In 1889 he gave his first recital, opening a brilliant career as a concert pianist who completed, as a teacher, to create a very own piano style that has endured through generations in his Academy in Barcelona, ​​which led to his death by Frank Marshall, He has talents like Alicia de Larrocha and Rosa Sabater.

His piano work focuses on two monumental cycles: Goyescas (1911), later turned into an opera (after whose successful premiere at the Metropolitan in New York, the composer would die, when reached the boat he was traveling by a torpedo in the Channel) and the Spanish Dance.

The Spanish dances were composed between 1892 and 1900. Of these stressed Antonio Ruiz Pipo “high quality and, although they had many influences from Grieg -then very popular among the Spanish- public Schumann and Liszt, his nationalist personality was able to mix these influences into something very distinctive “.

When composers such as Massenet, Saint Saëns, Cesar Cui and Grieg himself premiered showed their satisfaction, both for its delicate delicacy, and because it showed a new direction for the Spanish, shared music in the salon pieces by fellow Isaac Albeniz .

It is curious that in the Dances, Granados is not engaged in harmonizing folk songs acquis. His melodies are original, but are imbued with popular character. There Granados, as later will Bartok, although with different intentions and uneven result, imagine a folklore of its own, which he feels deeply linked. and spray a peculiar romanticism, always with a landmark nostalgia.

Of the twelve who writes, you have selected four for this CD. When I set performing version for guitar duo and piano, I found it difficult to remove me to the excellent interpretations that have been made of them in the two separate instruments: the piano, for which they were created, and guitar, for which they were transcribed by excellent teachers. The challenge was to find a good balance between the two instruments sound volume so different. But it was very funny how the music of Granados own I was driving in my work, from its intrinsic quality, able to suggest so many things.

The dances are recorded here:

The third, dedicated to Joaquín Vancells, in D major, full of insistence and splits, almost minimalist; the fourth, also called Villanesca, one of the most popular cyclones in G major, with a song and its chorus, polyphonic hiding delicious suggestions; the sixth in D major, known as Aragon for its central couplet, fully jotero court; and tenth, in G major, dedicated to Her Royal Highness Princess Isabel de Borbon, perhaps most of all guitar’s own original version for piano solo.

 

Francisco Cuenca (1964)

 

Guitarist and composer originally wrote -work guitar and piano Damascus in 2001, inspired by the ancient capital of the Umayyads. The composition is dedicated to her mother, Carmen Morales Wheats.

In Damascus, the author plays with two theme music blocks, cleverly combining, which appear typical elements of Andalusian music, so steeped in Arab influence.

The work begins with a brief statement, announcing the harmonic and rhythmic aspects that will appear on its course, to introduce a -tranquilo- movement in which both the main melodic instruments alternate scheme and blend to further enhance, if possible, persistent and stubborn inner rhythm involved.

The second thematic block, alive and rhythmic movement, is developing materials first, taking the rate as a determinant of its progression.

Finally, a mysterious harmonic guitar along with some delicate piano chords give way to the recapitulation of the first block, although both harmonic and timbral differences.

Write Semioesferas in the tropical heat of Manila in June 1998, yielding to the friendly insistence of guitarist Josep Henriquez, who has walked my music, especially my Variations propos d’un bateau qui s’endort – worldwide.

Often when you advertise on programs confusion occurs with the title, instead of Semioesferas Hemispheres. I will explain the difference. A hemisphere would be half of a sphere. that is to say. starting as an orange slashed in half: an image that does not help me, because I’ve tried is that music. in this piece, roll back and forth without stopping, as would a sphere on an irregular plane.

Instead, a semiosphere is different. It is a term coined by the semiotician Lotman, which has been widely used my good friend Jorge Lozano to determine that semiotic space outside which is not possible existence of semiotic concept. And this is what I want in my composition: play with a ball full of meanings, while rolling, it remains completely closed, as containing the energy of my own musical ideas, which will become the energy required to rotate. turn and turn without stopping. Almost obsessive mind. With one exception, one jog: when the guitar is left alone, expanding on a flamenco lament, as for breath in the meantime turn.

The original version of Semioesferas, written for guitar and string orchestra, was commissioned by the International Music Festival of Granollers (Barcelona), which was released in 1999 with the Chamber Orchestra of the Conservatory Josep Maria Ruera under my own direction, with Josep Henriquez solo. As such, it has been performed several times in Spain, USA and the Philippines.

Shortly later, Paco and José Manuel Cuenca commissioned me this new version for piano and guitar before being recorded on this CD, they have already played through the world.

The work is dedicated to my daughter Marit, both manileña sweetened my life.

 

Delfín Calomé