– Recital español para piano & guitarra

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ANTONIO SOLER (1729-1783)
TRES PIEZAS
1.- Minueto (Variaciones I y II)
2.- Andante
3.- Allegro

ENRIQUE GRANADOS (1867-1916)
DOS DANZAS ESPAÑOLAS
4.- nº 2 Oriental
5.- nº5 Andaluza

MANUEL DE FALLA (1876-1946)
6.- Vals Caprichoso
7.- Danza del Molinero

MIGUEL ANGEL GUTIERREZ
8.- Soleá
JOAQUÍN RODRIGO
9.- Adagio del Concierto de Aranjuez
FLORES CHAVIANO
SUITE DE PIEZAS POPULARES
10.- Preludio
11.- Sonera II
12.- Tango a piazzola
13.- Andaluza
14.- Cubanita

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SPANISH RECITAL FOR PIANO & GUITARRA

Antonio Soler (1729-1783)

Among the surviving works of the Father Soler include “Six concertos for two bound bodies”. The Andante (sostenuto) and Allegro, which open our disco, belong to the second one, while the fourth Minuettos are. We could consider them as avant-garde work in his time and who enter classicism.

 

Enrique Granados (1867-1916)

Granados music, like that of l. Albéniz, he was part of the guitar repertoire through transcriptions. Clearly, these authors españolismo comes alive when brought to the guitar. The two pieces of Granados that we include here, Bellydance and No. 5, now in version for piano and guitar, achieve seamless integration of both instruments in the East, the guitar supports the piano with arpeggiated chords that enhance harmony and enrich the expression . Dance No. 5 (Andalusian), with its beautiful melody known as fresh as ever, seems to float in the air in this wonderful version.

 

Manuel de Falla (1876-1946)

The personality of Manuel de Falla stands out from other Spanish composers of his time; to him the renewal of the musical language in the twentieth century Spain is due.

Waltz Dance Caprice and Miller are two very different samples from the same author: In the Vals found a failure influenced by the Viennese or Parisian dance. La Danza del Molinero (belongs to Three Cornered Hat) shows a music with a strength and a style own andalucismo Falla. The difference between each piece is well marked with the wonderful duo interpretation realioza Cuenca Morales, giving the right touch and the right character to each of them.

Flores Chaviano

 

Miguel Ángel Guiterrez (1958)

It structured around the traditional way, going beyond the typical harmonic and melodic language, combining both technical and expressive aspects of the classical guitar and the flamenco. Soleá is then expressed in its fundamental elements; that is, “the”, “exit”, “the walk”, “the couplet, ‘” brush “,” closures or shots’ and, of course, in the strum, ranging from the euphoric beginning, by melancholic moments, almost misty until the angry “final uprooting”.

Originally composed for solo guitar, this version was made by the author at the request of the interpreters.

Miguel Angel Gutierrez

 

Joaquín Rodrigo (1902)

Little can be said of this beautiful musical page that has not already been said. The presented version for piano and guitar is original author. It serves piano melodic development support holding the guitar.

Flores Chaviano (1946)

“The Popular Dance Suite,” written in 1994, was released by its dedicatory, the brothers Cuenca Morales in Caracas on November 2 of that year. In its five parts, it evokes the popular taste of the music of Andalusia, Argentina and Cuba.

Prelude uses melodic elements that are developed later in dances that follow. Sonera, based on the rhythm of ‘are’ Cuban, diluted at times to make way for a freer melody.

Piazzola tango whose first eight bars belong to this shaper of the Argentine tango intended as a tribute to it.

Andalusia is an attempt to penetrate into that wonderful world of flamenco, which lines move in an environment of maximum flexibility.

Cubanita, brightest and perhaps the best known of my pieces, is a favorite of young guitarists today given the pace that it overflows.

Flores Chaviano