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FIRST PRIZE WINNER OF THE 2008 JOANN FALLETTA INTERNATIONAL GUITAR CONCERTO COMPETITION | MARCOSARTOR Seep TeTaLey OO OC x Red... the cotor of passion. Red... primary and primal. Red... the very color you see when you see the word, color. Color, a characteristic so distinguishing that you might not expect it to emanate from a purely acousti- cal medium. Unless, of course, you think of the guitar, From the rich lute and harp- sichord repertoire of Europe to the cultural turmoil of the Pampas of Argentina, few other instruments can capture the character and color of so many diverse cultures as vividly as the guitar. A colorful little orchestra unto itself, the guitar can sing and dance and weep and wail, especially when in the poetic hands of an artist the likes of Marco Sartor, First Prize winner of the 2008 JoAnn Falletta International Guitar Concerto Competition. One can hardly dispute the guitar’s role as the voice and soul of the Hispanic world and possibly even its very identity, South America is one of the planet’s most fecund regions for a culture that sings through the voice of the guitar, and in the case of famed guitarist/singer Abel Fleury (1903 ~ 1958), the pampean folklore sings its very best. From the portals of Caminito and the sultry barrios of Buenos Aires, this is music which is born of the marriage of song and dance — the optimism ‘of a new world being shattered by cultural and economic tur- ‘moil. This is music that seeks a home and never really finds it. The Milonga, backbone of the tango, radiated from Fleury’s fingertips and in folksongs that flowed from his voice in a num- ber of movies and in concert tours throughout Europe and ‘South America. The guitar has had many cous- ins, not the least of which was the lute. An icon of such a uniquely colorful place and time and a prolific composer for the lute, John Dowland (1563 - 1626) wrote music of tong beautiful lines that transcend the true pizzicato nature of his instrument. Intricate and crisp ornamentation was his signature imbedded in glorious melismas that are unmistakably vocal in style and direction, even though both of the works presented here are rooted in dance. His music blossomed with madrigalisms and served as the voice for the poetry of his contemporaries, changing moods as freely as he would change religions to gain favor with a new monarch. The Lachrimae Pavan — after "Flow my Tears”, one of the most popular songs of the day, is timeless. Sir John Smith was a nobleman who was knighted around 1590, placing the com- position of this work closely to that of the Lachrimae Pavan in the 1590's. Like Dowland, Manuel Maria Ponce (1882 ~ 1948) bridged two centuries in time and in music. He was a paintbrush that covered a canvas of colorful Central ‘American harmonies tightly held in a neoclassical frame. How anyone could have so master- fully massaged all of that Central American sentiment and color into perfectly crafted European classical structures is a marvel. It is hard to imagine a guitar repertoire absent the vast oeuvre of Manuel Ponce. From his volumes of Preludes, each work is a concise yet charac- teristically distinct and at times Profound thought, to his jewel- like sonatas and, of course, the Concierto del Sur, Ponce took inspiration from his people and his training, and his output for the guitar from Andres Segovia. The Sonata Iii, though, unmis- takably classical in structure, is filled with vibrant harmonies that give a characteristic Mexican inflection to the form. Son of the renowned Alessandro, contemporary of Bach and Handel (both were also born in 1685), Domenico Scarlatti was not only a product of a rich and complex musical period, he left a huge legacy of important and relevant work, mostly for keyboard, that is still popular to today. With a thirst for for- eign travel combined with life’s circumstances, he moved from Naples to Rome, to Lisbon to Seville and ultimately settled in Madrid, with several return trips to his native land in between. The plucked strings of the harpsichord and the sharp acciaccatura figures they ac- commodate are so suited to the guitar that Scarlatti’s music has been a fountain of inspira- tion for countless transcriptions that have become universally embraced as guitar repertoire. In the Baroque period, the recitative/aria was a de rigueur convention. British composer, Thomas Eastwood (1922 - 1999), in his Ballade-Phantasy, found this antecedent — consequence most suitable for his need for expression, but in reverse. Un- like Dowland, whose music radiated from his culture within, Eastwood found solace and inspiration from cultures foreign to him, with roots in classical theater and Greek mythology as well as the vibrant folklore of South America, most notably Brazil. Though, not a prolific writer for the guitar, his few works are very important con- tributions to the repertoire nonetheless. Music is the voice that reveals all that the senses perceive in cultural influences, including one’s friends and contempo- raries in life. Fernando Sor was a much celebrated guitar virtuoso. In the hands of an artist such as Sor, the guitar was not merely an instrument — it was an orchestra and yet beyond, an opera orchestra. Recent scholarship suggests that "Les Adieux” or"La Despedida”, was a farewell to Giovanni Paisiello upon Paisiello’s death shortly before Sor was to perform the work. One can imagine being seated in the opera house anxiously awaiting the curtains to open for the first act — this music is opera, it begins with an overture, orchestral to vocal to tutti, this is classic, signature Fernando Sor. "Asiana V” by Nikola Starcevic (b. 1980) won First Prize in the 2007 JoAnn Falletta Interna- tional Composition Competition for Guitar, It is a part of a Cycle Balkan region ee character- ‘epertoire presented lor, evokes red. The yes itself once again chael Aadriaceio Rec Cnc eC hoa snut a in a tence) CR ECU Ame eC ECC mea Cee uae easel eee D \ : a a Pm oer comnts a Ieee I MC Lam Le} TEC ute eee tts came Ta Pee) eo) ard aU uc) COE ira ee Ca rece MC MTC Lg aera eR etter a Plc Vmelitecit Meesale PIetsg CMa ic utes rer tia ali cs Caan (ola Terr mere MMU a cM} PUD re etter Cece CULL CMR Rees ep Crt) Ome stan] Cn Men Meee Tee ae a nimerson) WWW.FLEURDESON.COM Cena rae ee ON eee em ar eed Pe eae ne Me areca res eee Ce oan) ABEL-FEEURY (1903 - 1958) 1 Pegando la Vuelta (Gato) .. 2 — Relato (Preludio Criollo) ... 3 Real de Guitarreros (Floreos de Milonga) JOHN DOQWHAINID A563 - 1626) 4 Lachrimae Pavan... 5 Sir John Smith His Almaine... MANUEL PONGE (1882 - 1948) | Sonata Jif 6 — Allegro moderato . 7 ~~ Andante (Chanson) . 8 Allegro non troppo & DOMENICO SCARLATTI (1685 - 1757) | Three Sonatas (arr.Marco Saor 9 — Aminor, K.466, L118. 10 E minor, "Pastorale”, K.9, L.413 11 Amajor, K.209, L.428 . TOM EASTWOOD (1922 = 1999) 12-13 Ballade-Phantasy.. FERNANDO'SOR (1778 - 1839) 14 Les Adieux, Fantasy No. 6, Op.21 NIKOLA:STARGEVIC (b. 1980) | Editions‘Orphee: 15 Asiana V Executive Producers: Joanne Castellani and Michael Andriaccio. Total time | 65:30 Session Producers: Guitar made by Dake Traphagen + 2008, Bellingham, WA Joanne Castellani and Michael Andriaccio (A component ofthe First Prize of the 2008 Faltetta Competition) Recording Engineer: Photographie Production: Resario Romero David Dusman Graphic Design: Korey Downey » ESP, Inc. Editing: Fernando Serkhochian ‘Manufacturing: ESP, Inez+ Buffalo, NY | USA ‘Mastering: David Dusman at Special Thanks tot Fleur de Son Mastering » Buffalo,NY | USA Daniel Hart, Executive Director, Buffalo Phitharmonic Recorded at Kleinhans Music Hall Orchestra and Don Boswell, President and CEO, Buffalo, NY + August 1 and 2, 2009 Western New York Association for Public Broadcasting. MARCOSARTOR ABEL FLEURY (1903°1958) 4 Pegando la Vuélta (Gato) 7 4 Relato (Preludio Criollo) Real de Guitarreros (Floreos de Milonga) - naa DOWLAND (1563 - 1626) 4 Lachrimae Pavan... 5 Sir John Smith His Almaine MANUEL PONCE (1882 - 1948) | Sonata II! 6 Allegro moderato 7 Andante (Chanson) ... 8 — Allegro non troppo. DOMEN SCARLATTI (1685 - 1757) | Three Sonatas* 9 — Aminor, K.466, L.118 «....6-+++0 10 Eminor, “Pastorale”, K.9, L.413 44. Amajor, K.209, L.428......-+ TOM EASTWOOD (1922 - 199 12-13 Ballade-Phantasy. FERNANDO SOR (1778 - 1839) 14 Les Adieux, Fantasy No. 6, Op.21.. sseereeseissarseree oo NIKOLA STARCEVIC (b. 1980) | Editions Orphee: 15 Asiana V.... ‘ 3575.4:36 oreo Total time | 65:30 “(arranged by Marco Sartor)