– Obras Españolas


1.- Introducción y Fandango

2.- Andante
3.- Minuetto

4.- Nocturno
5.- Serenata Andaluza

6.- Evocación y fuga con Taranta

7.- Estudio sin Luz


8.- La Tedezco
9.- Las Quejas
10.- La Caridad
11.- Recuerdos Tristes
12.- Los Ojos de Pepa

13.- Las tres rosas (Fantasia Flamenca)- Luz y Sombra-El Rito-Bulerias



INTRODUCTION AND FANDANGO – Luigi Boccherini (1743 – 1805)

Despite its heavy orchestral and chamber works, the Tuscan Luigi Boccherini barely known except by his very famous Minaeto Quintet Op. 11 in E major, 0.275’0, at most, for his Concerto for cello and orchestra 0482 And at night in Madrid. His music, framed in the gallant style is simple, colorful and striking melodic component. Special relevance has its chamber music production which has room not only more or less common combinations as the trio or string quartet, but new groups. In the case of quintets for guitar and strings, which were not covered by Boccherini in his catalog of works, because it was more ancient transcripts own composions.

Fandango, beautiful display of españolismo Boccherini, belongs to one of these quintets; in particular, the fourth, dating from 1788.

Concerto in Do Major – Antonio Soler (1729 – 1783)

Catalan Antonio Soler, a distinguished disciple of Domenico Scarlatti and choirmaster of San Lorenzo del Escorial, from 1753 until his death, is the leading Spanish composer of the eighteenth century and the most representative figure that brings Spain after the death of Antonio Cabezon, literature for instruments prior to piano key. Among his writings that have come down to us, in addition to its rich religious music and the splendid and numerous sonatas for key, they highlight the Six concertos for two bodies, the first of which, in C major, is contained in this CD, adapted by Francisco Cuenca.


NIGHT AND SERENATA ANDALUZA – Manuel de Falla (1876 – 1946)

Fallescas these pieces belong to the first stylistic period composer from Cadiz; that to which Gerardo Diego was referring to in his «Premanuel Antefalla» Written in 1896 the first, and in 1899, the second, his style, close to lounge music and an pintoresquista conventional andalucismo, respectively, is far from that nationalism universal ambition to inspire subsequent PAN de Falla. ‘But what the beauty of his melodies and the soft romantic breath given off these pages, make them have a place in the repertoire of performers.


Evocation and fugue with TARANTA – Francisco Cuenca (1964)

Evocation and run with taranta Francisco Cuenca guitar is a work inspired by a theme of Ukrainian composer Anatoly Chevchenco. Structured in two movements, the first single and impressionistic character, introduces a runoff with taranta page Free contrapuntal structure in which materials and expressive episodes alternate, decorated them in the Flemish taranta, whose ultimate manifestation is reached the final coda.


STUDY WITHOUT LIGHT – Andres Segovia (1893 – 1987)

The Linares Andres Segovia has gone down in Spanish musical history as its most universal artist, and the history of the guitar as a key to understand the extraordinary development and dissemination of this instrument in this century reference.

Study without light is a beautiful and melancholy page composed of eminent teacher at a particularly dramatic moment of his life when a retinal detachment was about to leave permanently blind.


FIVE Contradanzas – Manuel Saumell (1817 – 1870)

This record is complete with the version that Chaviano Flowers guitarist and composer has made piano and guitar for five quadrilles of Manuel Saumell, a leading figure of the Cuban music of the past century and one of the architects of the nationalist school. Specifically, the quadrilles of Saumell wrote forty five · · they set the style of the folk genre, learned while collecting the unmistakable flavor of Creole in Caribbean music. Own titles rebel expressive intent of these beautiful melodies neorromántico court.


THREE ROSES (Flemish Fantasy) – Miguel Angel Gutierrez (1958)

Miguel Angel Gutierrez is a composer very personal language, which overlaps traditional harmonic and melodic elements of classical guitar in an aesthetic of flamenco roots; compositional language that is representative of his fantasy The three roses, work conceived originally for two guitars, between 1983 and 1984.

According to the author, he was inspired by the Gypsy wedding ritual. Hence its three constituent parts: Light and shadow, environmental recreation; The rite, evoking the highlight of the wedding; and Bulerías, celebration and joy after the celebration. 

Juan Miguel Moreno Calderón.