Various Artists - Spanish Guitar Music / Various - COMPACT DISCS [CD]
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The strumming stylings of flamenco and other forms of Spanish musicality flavor this album of classical numbers. Virtuosos such as Friedemann Wuttke, Rita Honti, David Lorenz and others provide hours of unforgettable entertainment might just inspire a trip to Seville. Album Tracks 1. Suite Espanola No. 1, Op. 47 V. Asturias 2. 12 Danzas Espanolas (Spanish Dances), Op. 37 No. 5. Andaluza (Arr. for Guitar) 3. Introduction 4. Variations 1-5 - Finale 5. Guitar Sonata No. 1 in D Major, Op. 14, Gran Solo 6. Maxixe Choro 7. I. Allegro 8. II. Andante 9. III. Allegro Vivo 10. Serenata Espanola (Spanish Serenade) 11. 4 Mazurkas No. 1 in G minor, Adelita 12. Mallorca, Barcarolle, Op. 202 13. Duets, Op. 34 I. Cantabile 14. Prelude in E Major, Lagrima 15. Suite Espanola No. 1, Op. 47 III. Sevilla 16. Recuerdos de Viaje, Op. 71 VI. Rumores de la Caleta
- GenreClassicalDescriptionThe strumming stylings of flamenco and other forms of Spanish musicality flavor this album of classical numbers. Virtuosos such as Friedemann Wuttke, Rita Honti, David Lorenz and others provide hours of unforgettable entertainment might just inspire a trip to Seville. Album Tracks 1. Suite Espanola No. 1, Op. 47 V. Asturias 2. 12 Danzas Espanolas (Spanish Dances), Op. 37 No. 5. Andaluza (Arr. for Guitar) 3. Introduction 4. Variations 1-5 - Finale 5. Guitar Sonata No. 1 in D Major, Op. 14, Gran Solo 6. Maxixe Choro 7. I. Allegro 8. II. Andante 9. III. Allegro Vivo 10. Serenata Espanola (Spanish Serenade) 11. 4 Mazurkas No. 1 in G minor, Adelita 12. Mallorca, Barcarolle, Op. 202 13. Duets, Op. 34 I. Cantabile 14. Prelude in E Major, Lagrima 15. Suite Espanola No. 1, Op. 47 III. Sevilla 16. Recuerdos de Viaje, Op. 71 VI. Rumores de la CaletaArtistVarious ArtistsTitleSpanish Guitar Music / VariousFormatCDLabelProfil - G Haenssler
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The music of Spain retains it's exotic attraction, with it's individual blend of regional and national elements, influenced by the colorful traditions of the country and of it's former colonies. It was in the nineteenth century, with the growth of nationalism, politically and culturally, that Spanish musical identity became established internationally as something apart from the main European cultural traditions of which Spain had for centuries formed apart. It was natural that something of this fascination with things Spanish should make an early appearance in neighboring France. The French composer Emmanuel Chabrier had spent the early part of his career as a civil servant, resigning his position only in 1880 in order to devote himself to music. Chabrier lacked the thorough training of the Conservatoire, but had been able to study music with some assiduity as a private pupil of a number of teachers of distinction, while mixing socially with a circle of well known musicians, painters and writers. In 1881 Charles Lamoureux made him chorus director and organizing secretary for the new concerts that he was promoting in Paris, his first professional musical employment. It was a journey to Spain in 1882 that aroused Chabrier's interest in the music of that country. Returning to Paris, he composed a fantasia for piano, based on the melodies he had collected, and played it through to Lamoureux, who encouraged him to orchestrate it. The result was the orchestral rhapsody España, first performed under Lamoureux on 6th November 1883. Chabrier won immediate fame, although his continuing operatic ambitions never brought him the success that he wanted. España, a vivid evocation of Spain, uses the contrasting elements of the jota and the malagueña in a colorfully orchestrated work. Manuel de Falla, born in Cádiz in 1876, was the leading Spanish composer of his generation, writing
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