-Amanecer en granada

amanecer-en-granada-hermanos-cuenca

spotify-connect

itunes-logo

PRIMITIVO BUENDÍA PICÓ (1968)
Perfumes de Andalucía
1. I.Niña Miranda
2. II. Sueño Gitano
3. III. Milagros la gitanilla
4. IV. Taconeo y duende flamenco
5. V. Carmen la pertenera

ERIK MARCHELIE (1957)
6. Preludo antojadizo
7. Dialogue
8. Linares

DAVID R.MONTAÑÉS (1983)
9. Al-Hamara

L. BIGAZZI & M.COLONNA (1959)
10. Annecy
11. Cèzanne

KÔICHI KISHI (1909-1937)
12. Taketori Monogatari

FRANCISCO CUENCA (1964)
13. Taketori Monogatari

ÁNGEL BARRIOS (1882-1964)
14. Amanecer en Granada

Tweets

DAYBREAK IN GRANADA

Musician job … and heart, between staves and full scores, they went being lost days of life. And one day my gaze fixed on a staff that, without knowing how, between mine had fallen. Albeniz: Quick Seguidillas read my sight; with the image of the notes still in my brain, bizarre forms of places that once saw, filled my imagination. And it was Cadiz, San Fernando, the Guadalquivir, the Alhambra, The lively Andalusian blue sea and what he saw (…) then I’m in Paris, in London, worldwide. Knight of art and poetry, I believe that indicated by fate to bring a new music new (…) And give some to mean any person, without anyone to see me one morning, before the day, armed with my guitar, through the back door of my carmen, with great joy and exultation was beginning my desire.

And tells Angel Barrios (1882-1954), with some poetic tone, his determination to spread the new Spanish music around the world. In 1907 he creates the Trio Iberia (guitar, lute, mandolin) with which will lead to the concert halls of Paris and London works by Albéniz, Alonso, Breton, Chapí. Chueca, Caballero and Barrios own. Spanish popular music infused with elements in the aesthetics of neopopularismo also collected Juan Ramon Jimenez, Antonio Machado and Federico Garcia Lorca in his poetry.

Daybreak in Granada translates into popular tunes magical moment that awakens the Alhambra. That moment when Angel Barrios with his guitar under his arm, left the house of Don Antonio Barrios, painter. tacaor and flamenco singer in the heart of the Alhambra.

Sunrise in Granada is also the title of the piece that completes this journey duo Cuenca, inviting us to delight the sounds of popular music interlaced with the guitar and the piano, the two instruments Angel Barrios. This duo, as he had done before the trio Iberia, the Spanish music spreads in other countries (France, Italy, Japan …) with great admiration of public and composers who dedicate them some of the scores that make this recording. Both the performers and creators of works, share the fascination with popular music is the raw material of this sonic journey.

PRIMITIVO BUENDÍA PICÓ (1968)

 Perfumes of Andalusia

Among the popular music of Andalusia, prominently those performed for bullfights (bullfighting pasodobles) or Easter (processional marches), with which Primitivo Buendia Picó(1968) has won several awards place. Perfumes suite in Andalusia, dedicated to Cuenca brothers, however, delves into the richness of the melodies and rhythms of flamenco styles, performing a folk dance group in the manner of the Baroque suite. “Girl Miranda” starts with the beating of the covered strings of the guitar, marking the beat of a tanguillo. Chords on the piano, the guitar sings the theme, returning again and again, intertwined with the piano, until a coda that becomes sometimes teasing, reminding us that tanguillo is the rhythm of carnivals murgas Cadiz.

In “Gypsy Dream”, after a rhythmic introduction descending melodic motif characteristic of the seguiriya, which becomes alive at times appears. A surprise ending brings us to the central Adagio, where, almost hypnotic, repetitive figuration of the zambra presents the piano melody of oriental color takes up the guitar, full of ornaments, ending with a reminder of the initial seguiriya.

“Miracles the gypsy” is a Baleria that begins with a slow chordal introduction. The piano marks the beat, on the guitar makes a rhythmic, simple, popular theme, ending with the strumming of chords. The middle section is characterized by alternating piano-guitar passages Iirismo beautiful. Around the beginning it serves to end an increasingly faster coda. as befits the commotion and joy of this dance.

In “Taconeo and Flemish elf” becomes the seguiriya with redoubled chords and the lament of the guitar. Follows a passage of great beauty with deployment of chords on the guitar and piano comments. In the central part sings the variations of melody, full of lively rhythmic guitar. Roll back the initial chords, melodies and sounds modal lament a strong finish.

The suite ends with “Carmen Petenera”, which pinpoints the guitar a motif that says the piano. It varies and is of great beauty in adding melodies and counter melodies. Enter the central section plane, more rhythmic, the varying range “lemon · the guitar and piano. Reaching a central climax. To lend a shot at the end. They return the two parts of the work. Lyricism. Timbral richness and rhythm to condense all the elements in this suite. The Basin Brothers, piano and guitar, simple, direct Interpreters are shown, without artifice, their inner rhythms and melodies of the flamenco suite. a connection between two instruments is achieved difficult tonal lace and a captivating sound surrounds us.

ERIK MARCHELIE (1957)

The combination of the guitar sound with other instruments has also starred in the work of Erik Marchelie (1957) Among other sets. Marchelie has composed works for guitar with flute. Cello. mandolin. oboe, string quartet and piano, dedicating the brothers Cuenca works included in this recording. ‘Capricious Prelude “(2011) and left to guess its title, is an almost improvisational piece on a subject, in which different rhythms and colors are appearing. Very connected with Latin American music, milonga and Piazzola. They rotate the instruments in the center to reach a set of harmonic guitar and spacious sounds on the piano, and return to the rhythmic richness of principle. “Dialogue” (2013) presents a lyrical theme in third on the guitar, which became non-conversation switch from one instrument to another. In the middle there is a dialogue in which rhythm section is varied and accelerates it. Finally in the quiet tone of the beginning, now a canon in which the instruments are followed, reaching undoubtedly the agreement. Linares (2011) is an evocation of the Andalusian city, birthplace of the great guitar maestro Andrés Segovia. The habanera rhythm gives a nostalgic to start the work, singing and accompanying Exchanges between the two instruments, exploring the sounds of both tone. Contrast faster section, by way of variation, returning gradually to the habanera rhythm with echoes of Spanish pieces evocation of the French masters, especially of Maurice Ravel.

Lyricism and longing are the protagonists of these works Marchelie, where the performers sing and dance accompanying the sound of Latin American rhythms, from the last colonies, which are associated with late romantic century Spanish poetry.

DAVID R. MONTAÑÉS (1983)

Popular music is also present in the work of David R Montañés (1983). that his training as a composer within the academic tradition unites his interest in literature and the alternative f11úsica “Al-Hamara” is inspired by a verse the poet and musician Andalusian Ibn Al-Hamara (s Xl ca AD.):

When sleep slut

He thought to nest in my ward,

eyelashes and saw terrified him what network.

It is a hypnotic work in which repetitive passages that connect the listener by the persistence of melodic and rhythmic elements occur. Modal sonorities and ornamentation of the melody sometimes remind the Andalusian world. In the central part predominates sonic exploration on piano and guitar, there comes a melody on guitar. rapid figurations of the piano, which accelerate with ostinato repetitions. The reasons are torn between lyricism and rhythmic agitation with which ends the work.

L. BICAZZI & M. COLONNA

Other popular music, such as jazz-rock and fusion. captivate the pianist and composer Luciana Bigazzi (1959), which unto the guitarist Maurizio Colonna (1959), form a duo of performers and composers. “Annecy” (Ed. Berben, 2005) was inspired by the French mountain town and lake of glacial origin. It is a quiet work that attempts to portray the beauty of the landscape. The piano chords give way to a surprising entry guitar achieves a great combination of beautiful sound. They return 105 piú slow opening chords, as a coda. “Cezanne” (1998) is a homage to the great French post-Impressionist painter. We found repetitive designs, sonic richness and a subtle motifs, entwined by the piano and guitar. Gradually gain more presence in the middle. dominated by the piano, to return to the start tonal delicacy.

The interpretation of these works shows a delicacy and care conjunction with the sonic result that is suggestive and magical. We are located on 105 landscapes of the French city or to the paintings by Cezanne with a power of evocation sound never ceases to amaze.

KÔICHI KISHI (1909-1937)

The importance of sound, timbre and instruments in our Western tradition comes from the influence of distant music, which occupies a privileged place East and Japanese music Kôichl Kishi (1909-1937) was a Japanese violinist who completed his training at the Conservatory of Geneva and Berlin. He studied composition with Paul Hindemith and conducting with Wilhelm Furtwängler, arriving to direct the Berlin Philharmonic in 1934 was

very interested in publicizing Japanese culture in Europe, away from the exoticism, and his music remains melodic elements and Japanese sound with Western procedures.

Taketori Monogatari “(1933) is a work for violin and piano, transcribed for guitar and piano by Takeshi Tezuka. It is based on the legend of the Bamboo Cutter, also known as” Princess Kaguya “considered the oldest folk tale that is preserved ( ca. s. X). It tells the story of a girl found by an old man in a stalk of bamboo bright As you get older you love the Emperor himself, but could not marry because he had to return to his home … she was the daughter of the moon. The magical symbolism of the story becomes oriental sounds, with ornate pentatonic melodies that weave the story between the plane and the guitar. In the middle section shown in staccato chords, becoming the most rhythmic and imaginative sound and harmonically story ends with a Back to the tune of principle, more nostalgic yet, and a coda that insists on the eastern sounds. The work became a kind of symbol of triumph of Japanese culture, and was performed in 1949 in celebration of the first grant a Japanese Nobel (Hideki Yukawa. award physics).

Again the interpretation of Cuenca brothers affects the intimate relationship between the two instruments, making music together, neither is the protagonist or the accompanying Both contribute equally to sing the melodies and create a distant and exotic soundscape.

 FRANCISCO CUENCA (1964)

The fascination with popular music, flamenco, oriental music or Japan has led Francisco Cuenca (1964), this recording interpreter, to develop a compositional side with several pieces for guitar and other guitar and piano as “Damascus ( 2002), ‘Abyla “(200S), Kamakura (2007) or Taranta In” Dream in Granada “dedicated to his brother Jose Manuel alternating the most flamenco tones, manners, wailing guitar, with a faster section that sings the piano. In a kind of mirror, back to the beginning, which starts ornamented melody on guitar, modal color. seizing on a single sound the essence of Arabic music. flamenco and East.

ÁNGEL BARRIOS (1882-1964)

Ends this journey through popular music and Granada in the figure of Angel Barrios (1882- 1964), composer and guitarist. who she was born and lived in a former Arab cistern in the heart of the Alhambra, authentic cultural and intellectual hotbed that now houses his museum.

He was a musician of exceptional talent and training, which also served institutional tasks of great importance to music at City Hall, the Conservatory and the University of Granada. As Ramón Sobrino (. “The piano works by Angel Barrios: the value of a legacy,” 2014) states, Barrios is the composer par excellence of the Granada, which is inspired by folk songs seeking its essence, with an elegant script and virtuous. Also permeates the Flemish, who played his father, and sometimes evokes the exotic in works related to the Arab world.

“Sunrise in Granada” begins with the upper register piano evoking the bells of the Torre de la Vela at dawn. Above them the guitar makes a modal melody that goes ornate commenting on piano. In the middle section the piano makes a plea chords, which is followed by guitar, accelerating up to a tremolo, which leads to a final song that reminds us of the central couplet “Rondeña” Iberia suite by Albéniz presented by the piano. Ends with a coda in quicker and cadences tremolos, which synthesize all of the material of the work, Guitar and piano come together in this way to sing, to evoke distant sounds, perhaps landscapes. The Cuenca brothers give each song a freshness and simplicity that directly transmitted to the viewer lyricism and emotion of flamenco, oriental or Hispanic music create a variety of colors where they appear different rhythms, performed with precision, balancing both instruments. Sometimes it seems to guess, among the sounds of vibrating strings of the guitar and the piano, a slight haze that surrounds the Alhambra in Granada at dawn.