John Feeley, Legend, DVD & CD Presentation of Spanish Guitar Classics

At the turn of this century, a resurgence of nationalism occurred in Spanish music that involved the use of many native rhythms and modal patterns. The modern Spanish school is characterised by its adoption of these nationalistic idioms. Issac Albeniz composed the Suite Espanola in 1885 and Leyenda (Asturias) comes from this suite. It is an evocation of Southern Spain based on Flamenco rhythms, folk melodies and a beautiful romantic language. The titles of many works by Albeniz are evocative of Spanish place-names. Such a piece is Torre Bermeja which also reflects the influence of Spanish gypsy music. Transcriptions of these piano works for the guitar might be thought of as simply returning to their source. Francisco Tarrega (1852-1909) born in Castellon, was an important guitar virtuoso, composer and teacher. Caprichio Arabe is an example of the composer’s fascination with modal scales. It glances back in time to days when Arabic culture flourished in Spain. Recuerdos de la Alhambra (memories of the Alhambra) contains a beautifully haunting melody evoking an image of the sun-drenched Alhambra. Both Lagrima and Marieta explore the colours of the guitar, emotion fused with a romantic harmonic language, tinged with a Spanish essence and a ‘Chopin-esque’ quality.

Legend John Feeley Spanish Classical Guitar

Federico Moreno Torroba (1891-1982) began to produce works in collaboration with Segovia. Torroba’s sonatina (1953), is a varied work containing many themes. The mood is distinctly Spanish, incorporating flamenco rhythms, melody and harmony.

LUYS DE NARVAEZ (1500-c-1555) a native of Granada was Vihuelist to King Philipe 11. A noted performer, he was renowned for his four voice polyphonic improvisation. CANCION DEL EMPERADOUR (song of the Emperor) is an intabulation or adaptation of Josquin de Prez’s Mille Regretz, its flowing melody reminiscent of Courtly life in renaissance Spain.

Romance (anon,) is a haunting and much loved Spanish folk melody, presented here in a new arrangement.

Little is known about MATEO ALBENIZ (d.1831) other than the fact that he was a church organist. SONATA, printed in 1790 is the only surviving composition by the composer. It is presumed that it was written for the harpsichord, as it is similar in language and form to the sonatas of Dominico Scarlatti.

During the French invasion of 1808, guitarist and composer Fernando Sor (1778-1839) like many Spanish intellectuals, accepted an administrative post under the French. When they retreated in 1813 he was obliged to leave. After a short stay in Paris, Sor moved to London and began publishing pieces for the guitar. His style was largely influenced by three composers: Moretti, Mozart and Hayden, a testament to the disassociation with his native Spain. Sor returned to Paris and remained there until his death in 1839. His output includes Operas, Ballets and many works for Solo Guitar. The Introduction, Theme and Variations Op.9 on a theme by Mozart, was published in London in 1821. It remains Sor’s most famous work , comprising an introduction, theme, five variations and a finale on the air O Cara Harmonica from Mozart’s Magic Flute. The Fantasie op.7 (dedicated to Ignace Playel) has a long, slow introduction, which is highly charged with emotional content. The theme and variations that follow are beautifully fashioned for the guitar.

The Majorcan composer and guitarist BARTOLOME CALAYTAYUD wrote many charming miniatures for the guitar. The GAVOTA, one of his better-known works is typical of the immediacy of his music.

Although the variety of plucked instruments in the middle ages spread from the Middle East to Europe, the guitar was an indigenour European development influenced by the Arabs. Instruments such as the Viola da Mano, Vihuela and Lute all influenced the early four course Rennaissance guitar, which retained a combination of features from each . The simplistic style of the four course guitar was immediate in its appeal, ousting the much loved Vihuela in Italy, France, England and Spain. The nature of the instrument suited plucked or strummed chords, the perfect instrument for vocal accompaniment. By the late 16th century the four course guitar fell out of favour due to an increased emphasis on polyphony and was replaced by the more ambitious five course guitar, an instrument that was attempting to secure individuality through its own unique design. The style, falling half way between Rasguado (strummed) and plucked style, failed to compete with the harpsichord and emerging piano and by the mid-18th century the guitar again fell out of favour. The transition from the five course guitar to the six string guitar in the late 18th century is hard to trace but the changes certainly occurred in an attempt to re-establish its former popularity. The guitar was similar in design to the modern guitar, the upper and lower bouts being somewhat reduced and the neck length was shorter, however, it too failed to win a place among concert instruments. The final transformation to the guitar came with Torres towards the end of the 19th century. He not only extended the strutting system but also increased the size of the instrument. In the present climate the guitar holds an enviable position. It has both strengthened its appeal for amateur music makers and secured an unprecedented stature on the concert platform.

On this CD the music is performed on a modern instrument, and represents the music of the Vihuela and the Guitar at its various stages of development.