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Montsalvatge Self Parafrasis Clarinet/piano

Xavier Montsalvatge (1912-2002) was a consummate Spanish composer who explored many 20th century styles including Impressionism, Serialism, Modernism, and Wagnerism, while maintaining a distinctive Catalan character. He first came to prominence in 1940, after the Spanish Civil War, and is seen to represent the “lost generation” which was active in the second half of the 1900’s. He helped to advance Spanish music from the Nationalistic style that dominated before the war, and began to introduce West Indian influences into European music. Self-Parafrasis for Clarinet and Piano was written around 1968, when Montsalvatge was just coming into the height of his compositional prowess. It is presented here in a high-quality glossy cover, and would make the perfect gift for any clarinettist.

Haendel: Air De La Suite X (Segovia) for Guitar

Alfonso X El Sabio: Cuatro Cantigas for Voice (Transc.Pedrell)

Mudarra Fantasia X Que Remeda El Arpa De Ludovico (tarrago) Guitar

Sixteenth century Spanish composer and vihuelist Alonso De Mudarra (also Alonso Mudarra) was born in Guadalajara, raised in aristocratic households, became a priest and later canon at Seville Cathedral in 1546 just before he published his vihuela book. The vihuela was a gut-Stringed instrument that has elements in common with the lute and Guitar. Mudarra published three volumes of music for the vihuela that comprised seventy-seven works and many innovations, including, in this piece, the first recorded use of folia, a musical framework. This Fantasia seeks to imitate the legendary harpist Ludovico, of the court of Ferdinand III of Aragon, using cross rhythms and chormaticism to recall the harp. Some performers choose to play this work at speed, recalling, perhaps, the 17th century definition of ‘folia’ as ‘mad’ and referring to a fast, noisy dance.

Alfonso X El Sabio: Rosa Das Rosas (Garcia Velasco) for Guitar

Varios: Seis Piezas Medievales Espanolas (GarciaVelasco) for Guitar

Marian Matrem Virginem (Del Llibre Vermell S Xiv)Muy Cureles Voces Dan (Anonimo S Xiv)Stella Splendens In Monte (Del Llibre Vermell S Xiv)Todo Lugar Mui Ben Podes Ser Defendudo (Cantiga Sta Mª Alfonso X)Viejo Romance [Heller, Stephen]

Turina Rapsodia Sinfonica F/s

Rapsodia Sinfonica (Op.66) was written in 1931 for Piano and String Orchestra. It is perhaps a little understated as a symphonic rhapsody, with the focus very much on vibrant Iberian flourishes and individual melodies than on forming a thick harmonic texture, making it a light and rather enjoyable work. Joaquin Turina (1882-1949) was a Spanish classical composer. Unlike his contemporaries, such as Granados and Falla, he wrote several chamber pieces, many of which are still performed today. He studied in Paris with Ravel and Debussy, whose influences can be heard throughout his works, as well as influences from traditional Andalusian music.

Isaac Albeniz: Pavana - Capricho Op.12 (Violin/Piano)

Pavana – Capricho is one of the last pieces from Isaac Albeniz ’s early period, before he turned to Spanish influences – a style that would characterise the rest of his compositions. In this earlier period Albeniz , who was a child prodigy on the Piano, composed ‘salon style’ music and experimented with traditional styles in the manner of Rameau, Bach, Beethoven, Chopin and Liszt. His shift towards Spanish music occurred after meeting the teacher and composer Felipe Pedrell, a leading figure in the development of nationalist Spanish music. Pavana-Capricho is graceful and light-hearted at the same time. The playfulness that arises from the alternating moods is best achieved when the proper technique and articulation is applied. Arranged for Violin and Piano, and with a performance time of ca. 3:30, this piece of Romantic chamber-music is a perfect addition to any concert programme.

Albeniz Pavana Capricho Op.12 Piano

Pavana – Capricho is one of the last pieces from Isaac Albeniz ’s early period, before he turned to Spanish influences – a style that would characterise the rest of his compositions. In this earlier period Albeniz , who was a child prodigy on the Piano, composed ‘salon style’ music and experimented with traditional styles in the manner of Rameau, Bach, Beethoven, Chopin and Liszt. His shift towards Spanish music occurred after meeting the teacher and composer Felipe Pedrell, a leading figure in the development of nationalist Spanish music. Pavana-Capricho is graceful and light-hearted at the same time. The playfulness that arises from the alternating moods is best achieved when the proper technique and articulation is applied. Arranged for the solo Piano, and with a performance time of ca. 3:30, this piece of Romantic solo music is a perfect addition to any concert programme.

Gimenez: La Boda De Luis Alonso No.4 Intermedio for Piano

Gerónimo Giménez was a Spanish conductor and composer, who dedicated his career to writing zarzuelas, such as La tempranica and La boda de Luis Alonso . Zarzuela is a Spanish lyric-dramatic genre that alternates between spoken and sung scenes, the latter incorporating operatic and popular song, as well as dance. In 1896, Giménez wrote ‘El baile de Luis Alonso’, based on a text by Javier de Burgos. Following the success of this piece, he set to music another sainete by Burgos with the same characters, which became one of his most famous works: Las bodas de Luis Alonso (1897). This energetic work is full of sweeping melodic lines and light, fast-moving bass lines. True to form, the piece has plenty of dramatic and comedic flair. The 4th movement of the late nineteenth century composer’s prime work, written originally for orchestra, is presented here in a whimsical and virtuoso Piano transcription. Performance time is approximately 6 minutes.