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Wydawnictwo: Chandos
Nr katalogowy: CHAN 20278
Nośnik: 1 CD
Data wydania: sierpień 2023
EAN: 95115227824
64,00zł
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Epoka muzyczna: romantyzm, 20 wiek do 1960
Obszar (język): hiszpański
Instrumenty: gitara
Rodzaj: preludia

Tarrega / Albeniz / Mompou: Mystique

Chandos - CHAN 20278
Wykonawcy
Krzysztof Meisinger, guitar
Nagrody i rekomendacje
 
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Tárrega:
Capricho árabe

Albéniz:
Malaguena, Op. 165 No. 3
Prélude (‘Asturias’), Op. 232 No. 1

Mompou:
Suite compostelana

Domeniconi:
Variationen über ein anatolisches Volkslied, Op. 15
Koyunbaba, Op. 19
Before a phrase from the Gran vals by Francisco Tárrega unexpectedly shot to international fame as the Nokia ringtone, his most celebrated pieces included the Capricho árabe, composed in 1892. The piece is inspired by the mixture of Muslim Castilian and Christian cultures which had always been a feature of the Valencia region where Tárrega grew up. Tárrega’s friend and near-contemporary Isaac Albéniz was a virtuoso pianist who also played the guitar. Even though he evoked the guitar brilliantly on the piano, he never composed any music for the instrument. ‘Malaguena’ was first published in the collection Espana. Published in 1892 as ‘Prélude’, the piece widely known as ‘Asturias’ is also imbued with the spirit of southern Spain. Federico Mompou’s Suite compostelana was commissioned by Andrés Segovia and was published in 1964, the same year as Segovia’s first recording of the piece. The Italian guitarist and composer Carlo Domeniconi has drawn on several national traditions for his works, but has a particular interest in Turkish music which he has studied in depth. The Variationen über ein anatolisches Volkslied (Variations on an Anatolian Folksong) were composed in 1982 and are based on the song (türkü) ‘Uzun ince bir yoldayim’. Koyunbaba is a four-movement suite for guitar which started as an improvisation, and was then notated soon afterwards. The composer describes the score as ‘no more than a sketch’ and insists that players improvise in their performance – which Krzysztof Meisinger does to great effect with his additional ‘Invocazione’ at the start of the work.

Zobacz także:

  • HC 23017
  • AV 2254
  • BIS 233
  • FHR 139