57.

dubrovake ljetne igre

57th Dubrovnik Summer Festival
2006
Hrvatska Croatia

PETRIT EKU
gitara guitar

Atrij palae Sponza

Sponza Palace Atrium

26. srpnja 26 July

24.00 Midnight
Johann Sebastian Bach Iz 2. sonate u a - molu, BWV 1003
(obr./arr. Valter Depalj) From Sonata No. 2 in A minor, BWV 1003
Grave
Fugue

Giulio Regondi: Tri etide / Three Etudes

br. 1, u C-duru / No. 1 in C major (Moderato)
br. 6, u d-molu / No. 6 in D minor (Andante)
br. 10, u A-duru / No. 10 in A major
(Allegretto moderato)

Isaac Albniz: Malaguea (iz Odjeka iz zatona, op. 165 /

from The Echoes, Op. 165)
Sevilla (iz panjolske suite, op. 47 /
from Spanish Suite, Op. 47)

Agustn Pio Barros Mangor: La catedral

Preludio (Saudade)
Andante religioso
Allegro solemne

Boris Papandopulo: Ples br. 3 (iz Tri plesa za gitaru solo) /

Dance No. 3 (from The three dances)

Joaqun Rodrigo: Sonata giocosa

Allegro moderato
Andante moderato
Allegro

Petrit eku
Gitarist Petrit eku roen je godine
1985. godine u Prizrenu (Kosovo). U
rodnome je gradu zavrio osnovnu
glazbenu kolu i prva dva razreda
srednje kole kod Luana Sapunxhije.
Godine 2002. dolazi u Zagreb da
nastavi kolovanje u Glazbenoj
koli Pavla Markovca, u razredu
Xhevdeta Sahatxhije. Dobitnik je prve
nagrade na Dravnome natjecanju u
Dubrovniku (2003.) te prvih nagrada na
meunarodnim gitaristikim natjecanjima
Anna Amalia u Weimaru, Emilio Pujol
u Italiji i Andrs Segovia u Velbertu
(Njemaka). Godine 2004. predstavljao
je Hrvatsku na Natjecanju Europska
glazbena nagrada za mlade, gdje je
dobio prvu nagradu i posebnu nagradu
Hrvatskoga drutva skladatelja za
izvedbu djela hrvatskoga skladatelja. Ove
godine odrao je solistike koncerte u
Hrvatskoj te u Pritini i Weimaru. Nedavno
je bio dobitnikom nagrade publike na
Natjecanju Ivan Padovec u Zagrebu, a
na Meunarodnome natjecanju mladih
umjetnika Ferdo Livadi u Samoboru
jednoglasnom je odlukom irija osvojio
prvu nagradu. Dobitnik je Nagrade
Hrvatske glazbene mladei za najboljega
mladoga glazbenika Ivo Vuljevi (2005.)
Pohaao je umjetnike teajeve M.
Barrueca, Z. Dukia,A. Vidovi, C.
Marchionea, E. Muse i S. Tennanta, te
seminar komorne glazbe D. Gregoriana.
Ve dvije godine zaredom sudjeluje na
Ljetnoj koli STRINGS ONLY! u Zadru, u
sklopu koje je u crkvi Sv. Donata odrao
uspjele solistike nastupe. Nastupio je
uz Zagrebake soliste i suraivao sa
Zagrebakim kvartetom mladih s kojim
je koncertirao u Hrvatskoj, Njemakoj i
Italiji. Student je druge godine Muzike
akademije u Zagrebu, u razredu Darka
Petrinjaka.
Ciklus od est Sonata i Partita za violinu
solo (od BWV 1001 do 1006), to ih je
Johann Sebastian Bach (1685.-1750.)
stvorio u Cthenu godine 1720. na poticaj
svojega gospodara kneza Leopolda
koji je i sam bio strastven gusla,
moda je presudan mea u povijesti
instrumentalne glazbe. Nadahnutost
ljepote njegovih linija i bogatstvo sadraja
potjeu iz najdubljih glazbenih izvora.
Premda je violina, Bachovo omiljeno
glazbalo, kao najistiji simbol ljudskoga
(enskoga) glasa bila izravan prenosnik
dragocjenih zamisli, korijeni te glazbe lee
mnogo dublje, zapreteni su u apstraktnije
razloge. Zbog toga ne zauuje injenica
da ta djela, koja su u Bachovoj praksi
igrala i vanu pedagoku ulogu pri odgoju
vlastitih i tuih potomaka, gotovo od
svojeg postanka zanimaju izvoditelje i
drugih solistikih glazbala. Sam ih je Bach,
u skladu s uobiajenom praksom svojeg
doba, obraivao i transkribirao za razliite
instrumente. Tako je veeranja Druga
sonata (BWV 1003) ostala zabiljeena
i kao Sonata za embalo (BWV 964),
Trea partita (BWV 1006) kao Suita za
harfu (BWV 1006a), Fuga iz Prve sonate
(BWV 1001) kao Fuga za lutnju (BWV
1000) i Fuga za orgulje (BWV 539), a
Preludij iz Tree partite (BWV 1006/1) kao
Sinfonia za orkestar, ugraena najprije
u kantatu Herr Gott, Beherscher alle
Dinge (BWV 120 a), a potom preuzeta i
u kantati Wir danken dir, Gott (BWV 29).
Bachov uenik Johann Friedrich Agricola
(1720.-1774.) biljei da je majstor vrlo
esto izvodio violinske Sonate i Partite na
embalu, dodajui onoliko harmonija koliko
je nalazio potrebnim. Postoje, meutim, i
poznate obradbe tih djela od strane drugih
skladatelja. Meu njima su najpoznatije
verzije za tipkaka glazbala dviju Sonata
iz pera Bachovih sinova, kao i lutnjistika
inaica Fuge iz Prve sonate koju je
izradio jedan od majstorovih leipzikih
glazbenih suradnika. etverostavana
Druga sonata u a-molu, BWV 1003,
tipina je crkvena sonata u kojoj su stavci
poredani prema davno utvrenome
naelu kontrasta. Veeras se (u obradbi
Valtera Depalja) izvode dva njezina prva
stavka. Pravilno ukraavan polagani uvod
(Grave) tipian je odraz Bachove strogosti
priopene pod krinkom neto slobodnije
improvizacije, a jezgra itava djela Fuga,
koja je svojom tedljivou tonovima toliko
oduevila teoretiara i skladatelja Johanna
Matthesona (1681.-1764.), sasvim je
osobit prikaz njemakoga naina sviranja
na ianome glazbalu.
Talijanski gitarist i skladatelj Giulio
Regondi (1822.-1872.), roen u Genovi
od majke Njemice, bio je odgajan od oca
Talijana, nadarena gitarista, skladatelja
i baritona. Mladi Giulio pokazivao je
izniman talent za gitaru. U Parizu, u doba
slavnih gitaristikih majstora kakvi su bili
Sor, Carulli, Carcassi ili Molino, jo je kao
sedmogodinji djeak dobivao sjajne
kritike za svoje nastupe u gitaristikome
duu s ocem. Veliki panjolski virtuoz
Fernando Sor posvetio je svoju fantaziju
Souvenir dAmiti, op. 46 (iz 1831.)
mladome Regondiju, to daje naslutiti da
je i on sudjelovao u djeakovu odgoju
i prvim uspjesima. Ciklus od Deset
etida, od kojih se veeras izvode tri,
nije bio tiskan za skladateljeva ivota. S
iznimkom nekoliko uih fanatikih krugova
u Rusiji i Njemakoj, te skladbe ostale
su nepoznate veini gitarista, sve dok
Matanya Ophee nije godine 1990. objavio
svoje otkrie kopije (iz 1882.) izvornika
koju je godinu dana ranije bio pronaao
na podruju bivega SSSR-a. Premda
nemaju nadnevka nastanka, Etide
su, sudei po njihovu harmonijskome
stilu, najvjerojatnije kasna Regondijeva
djela. Veeranji izbor od triju moda
najuspjelijih ulomaka dostojno predstavlja
itavu seriju: vrhunski zadatci muzikalne
naravi u njima se uvjerljivo pretapaju s
virtuoznim tehnikim traenjima.
Najvie stvarateljske domete dosegnuo
je panjolski skladatelj i pijanist
Isaac Albniz (1860.-1909.) svojim
glasovirskim skladbama u kojima se
je potvrdio kao jedan od utemeljitelja
panjolskoga nacionalnog stila. Virtuozni
pijanistiki slog tih djela pod izravnim
je Lisztovim utjecajem, a panjolskim
koloritom proet izraz pribliava se u
svojoj zreloj fazi osebujnim tonskim
prelijevanjima francuskih impresionista.
Skupljene uglavnom u ciklusima efektnih
minijatura, te su lirske slike jarko obojenih
panjolskih krajolika nerijetko ispunjene
isprekidanim ritmovima narodnih
plesova i ustreptalim melodijama
cante flamenca. Nadasve dopadljiva
Malaguea, najpoznatiji ulomak iz
majstorova ciklusa Odjeci iz zatona,
op. 165 pored udesno u sebi prikrivene
energije, osobito se istie svojim ritmikim
eskapadama. Nadasve pak popularnu
Albnizovu glasovirsku panjolsku
suitu, op. 47 meu mnogobrojnim su
pokuajima najuspjelije za gitaru obradili
Francisco Trrega i Juan Salvat. Suitu u
izvornome obliku tvori pet stavaka, dok
su naknadno dodana jo tri. Veeras
se izvodi njezin moda najuspjeliji, trei
ulomak, trodijelna Sevilla ispunjena
karakteristinim plesnim ritmom iz okolice
toga grada, tonskim pokretom koji je
svijetom pronijela glazba popularnoga
flamenca.
Gitarist i skladatelj Augustn Pio Barros
Mangor roen je godine 1885. u
paragvajskome gradiu San Juan de
las Misiones u velikoj obitelji koja se je
osobito zanimala za glazbu i knjievnost.
Vrlo je rano poeo svirati gitaru. S trinaest
je godina, kao udo od djeteta, dobio
stipendiju za studij na nacionalnome
koledu na kojemu je pored glazbe
studirao matematiku, novinarstvo i
knjievnost. Nauio je etiri svjetska
jezika, a pored njih je govorio i guarani,
izvorni paragvajski. Pisao je poeziju,
uspjeno crtao i bio vrhunskim kaligrafom.
etrdeset je godina redovito nastupao u
18 latinoamerikih zemalja te u mnogim
europskim glazbenim sreditima, nerijetko
obuen u izvornu indijansku odoru. Bio je
velik improvizator, ali je imao i fantastine
radne sposobnosti, to mu je i omoguilo
da stvori preko 300 djela za gitaru,
koja su utrla put generacijama mlaih
stvaratelja. U tim djelima, kao to je sluaj
i s trima veeranjima minijaturama,
vjeto spaja rodno-folklorne s europsko-
klasinim i romantinim utjecajima;
nikada zadovoljan svojim radom esto
je mijenjao i obraivao vlastite skladbe,
pa za mnoge od njih postoji vie inaica.
Kao vrstan pedagog bio je dugogodinjim
profesorom gitare na Konzervatoriju u San
Salvadoru gdje je i umro godine 1944.
Katedrala, jedno od skladateljevih
najee izvoenih djela, djelomice je bilo
stvoreno godine 1921. u Montevideu, a u
dvostavanome obliku (Andante-Allegro)
bilo je snimljeno 1. kolovoza godine 1928.
Mnogo godina poslije skladatelj je djelu
dopisao nadasve uspio uvodni Preludij
kojim je majstorski zaokruio cjelinu to je
esto izvodio tijekom svoje karijere, zbog
njezine iznimne dopadljivosti vjerojatno
ee od svih drugih svojih ostvaraja.
Pria se da je autor u doba nastanka djela
stanovao u donjem dijelu Montevidea, u
hotelu nedaleko katedrale San Josa, te
je za vrijeme vjebanja esto sluao zvona
s njezina tornja. Iz toga se rodila zamisao
uvodne teme stavka Andante religioso.
Zatim skladatelj ulazi u katedralu te slua
orguljaa koji izvodi Bachovu glazbu, koju
u veeranjoj skladbi predstavljaju iroki,
smireni akordi. Nakon toga posjetitelj se
vraa na ulicu koja vrije od neunitive
snage kretanja i buke; taj dojam on
poslije prenosi u energina esnaestinska
arpeggia zavrnoga stavka (Allegro
solemne), u kojemu uporno ponavljani
tonovi jo jedanput, na drugi nain
zazivaju zvonjavu crkvenih zvona. Kasnije
dodan uvodni Preludij, s podnaslovom
Nostalgija, nastao je godine 1938. u
Havani, gdje majstor, opkoljen ivotnim
nedaama, od zdravstvenih do branih i
financijskih problema, ezne za radou i
svjetlom davnih dana. Cjelokupnu verziju
Katedrale skladatelj je (pra)izveo 25.
srpnja godine 1938. u San Salvadoru.
Tijekom svoje bogate kreativne prakse
hrvatski skladatelj Boris Papandopulo
(1906.-1991.) se je okuao u
svladavanju najraznolikijih glazbenih
oblika, od vokalne minijature, preko
komornih i instrumentalnih ostvaraja, do
simfonije, opere i oratorija. U svojemu
skladateljskom djelovanju Papandopulo
pokuava slijediti sve vanije smjernice
europske moderne, ali se pritom ne
odvaja od tradicionalnih formanata
glazbenih elija, od uvrijeena motiviko-
fakturalnog razvoja ili uhodanih zakona
melodijskoga kretanja. S vremenom u
taj opiran opus prodiru sve suvremeniji
prizvuci, pa se majstor ponekad
slui i osnovama dodekafonskoga
ili serijalnoga konstrukcionog izraza.
Premda gotovo svaki od ideoloko-
estetskih smjerova naega stoljea
shvaa kao podlogu, bazu o koju
e se otisnuti odlazei na nepoznat i
opasan put traenja njezina odjeka u
sebi samom, skladatelj se konano ne
priklanja ni jednoj stvarateljskoj koli.
Tako ni jedna doktrina nije trijumfirala
nad Papandopulom, ali ni on nije
zavladao niti nad jednim stvarateljskim
kredom; glazbena ideologija i estetika s
jedne strane i praktini, nadasve vjeti
muzikant Papandopulo s druge strane
odigrali su ivotnu partiju s neodluenim
ishodom. Pa ipak, na svojem putu prema
umjetnikoj zrelosti, pri sve intenzivnijemu
sadrajnom obogaivanju vlastite glazbe,
Papandopulo nije nikada napustio
osnovno naelo svojega stvarateljskoga
pristupa djelu: njegovo izgraivanje i
konano oblikovanje na temelju iste
glazbene supstancije. Ako bi pak trebalo
izrei nekakvu definiciju, onda bi sukus
Papandopulova opusa valjalo potraiti
u nekoj vrsti sinteze svih vanijih novih
glazbeno-svjetskih utjecaja s ritmiko-
melodijsko-harmonijskim znaajkama
hrvatskoga narodnog melosa.
Svoja Tri plesa za gitaru stvorio
je Papandopulo godine 1975. kao
ishod suradnje s gitaristom Marijanom
Makarom. Pri skladanju svih triju ulomka
skladateljevu su matu ponijeli folklorni
elementi iz junih dijelova nae domovine
koje on nikada ne citira doslovno, ali ih,
vjeto se sluei dosjetkom pretvorbe
i melodijsko-ritmikoga kontrasta,
neprestano mijenja, nadovezuje,
krati i proiruje. Iz svakoga takta (i) te
Papandopulove neodoljivo zaigrane
glazbe odzvanjaju neunitivi optimizam
i radost njegove ljudske i umjetnike
naravi.
Kroz nabrekle vene panjolske glazbe,
napisao je panjolski skladatelj Joaquin
Rodrigo (1901.- 1999.), iri se trajno
dubok i taman otkucaj izveden s
pomou udesnoga, nepostojeega,
fantastinoga, mnogolika glazbala koje
su strastvenom imaginacijom zamislili
i u mati fiksirali ljudi poput Albeniza,
Granadosa Y Campane, de Falle i Turine.
To je imaginarni divovski instrument koji
nosi krila harfe, srce golema glasovira i
duu gitare. Rodrigo, slijep od djetinjstva,
glazbu je uio u Valenciji, a kompoziciju
studirao kod Paula Dukasa na parikoj
cole Normale de Musique. U Parizu
se je sprijateljio s Manuelom de Fallom
i taj je susret odigrao presudnu ulogu
u njegovu stvarateljstvu. U francuskoj
je metropoli studirao i povijest glazbe
kod A. Pirroa i M. Emmanuela. Od
godine 1939. ivio je u Madridu gdje
je 1948. predavao povijest glazbe na
tamonjem Sveuilitu. Razmiljajui
o idealnome mjestu na kojemu bi se,
u evociranju prolosti, imala odigrati
glazba o kojoj govori u spomenutu citatu,
Rodrigo odabire Aranjuez, staro sjedite
panjolskih kraljeva, oazu u dolini izmeu
Madrida i Toleda, iju je rajsku divotu
opkoljenu tiinom i meditacijom nedalekih
voda Tagusa naslikao i Velzquez. To je
ono mjesto na kojemu je slavni kastrat
Farinelli zabavljao kraljevsku svitu kratkim
operama, serenadama, vatrometima,
nonim plovidbama oglazbljenih brodova,
usred fanfara i topovskih salva. Pa i sam
pjevao praen kraljevskim glasom ili
kraljiinim zahvatima na embalu. Mrak
je gutao panjolsku, ali u Aranjuezu se
ivjelo. Tri stoljea poslije Rodrigo, naivan
doljak iz Valencije, intiman poznavatelj
ostavtine panjolskih renesansnih
majstora, ne misli na tadanju stvarnost,
tek se sjea legende. Divei se de
Falli, na renesansni nain shvaajui
slobodu izraza i tehnike, on stvara
godine 1939. svoje najuspjelije djelo,
trostavani Concierto de Aranjuez za
gitaru i orkestar, jednu od najpopularnijih
i najizvoenijih panjolskih skladba svih
vremena, koja je od svoje praizvedbe
(11. prosinca 1940. u Madridu) do danas
doivjela sijaset interpretacija najveih
svjetskih gitarista, ali i najrazliitijih
obradba (meu kojima osobito
mjesto zauzima jazzistika adaptacija
antologijskoga srednjeg stavka,
nezaobilazan uradak Milesa Davisa i Gila
Evansa). Rodrigo je osim toga i autor
orkestralnih skladba (Zarabanda lejana y
Villancico, Homenaje a la Tempranica,
Soleriana), koncerata za glasovir, violinu,
violonelo, harfu i gitaru, te niza vokalnih i
komornih ostvaraja.
Trostavana Rodrigova gitaristika
Sonata giocosa nastala je mnogo
kasnije, no svi najprivlaniji elementi
iz majstorova ranije spomenuta,
najdopadljivijega djela prisutni su i u
njoj. Djelo posveeno Renati Tarrago
prva je Rodrigova sonata za gitaru,
iako je on taj oblik upotrebljavao ve i
ranije u svojim glasovirskim skladbama.
panjolski karakter skladbe prisutan
je ve u uvodnim taktovima prvoga
stavka (Allegro moderato u A-duru),
osobito u njegovoj osebujnoj melodijskoj
liniji. Sredinji drugi stavak (Andante
moderato), pisan u e-molu, melankolina
je meditacija nastala pod utjecajem
baroka. Zavrni Allegro vraa djelo u A-
dur; njegova je glavna melodija prekidana
specifino panjolskim metrikim
promjenama od 6/8-skoga u 3/4-ski
metar.
D. Detoni

Petrit eku
Guitarist Petrit eku (1985) was born
in Prizren, Kosovo, where he completed
the elementary and the first two years
of the secondary music school with
Luan Sapunxhija. In 2002 he moves to
Zagreb in order to continue his studies at
the Pavle Markovac Music School with
Xhevdet Sahatxhija. He is the winner of
the 1st Prize at the State Competition
in Dubrovnik, as well at the international
guitar competitions Anna Amalia in
Weimar, Emilio Pujol in Italy and Andrs
Segovia in Velbert, Germany. In 2004
he represented Croatia at the European
Youth Music Award competition, where
he won both the 1st Prize and the Special
Croatian Composers Society Award
for performing a piece by a Croatian
composer. This year he gave recitals in
Croatia, Pritina and Weimar. His recent
awards include the Audience Award at
the Ivan Padovec Competition in Zagreb,
the 1st Prize at the International Ferdo
Livadi Youth Competition in Samobor by
the unanimous jury decision, and the Ivo
Vuljevi Croatian Musical Youth Award for
the best young musician (2005). He has
attended master classes of M. Barruec,
Z. Duki,A. Vidovi, C. Marchione, E.
Musa and S. Tennant, and the chamber
music seminar by D. Dregorian. He has
attended the STRINGS ONLY! Summer
School in Zadar for two years, which
enabled him to give the acclaimed recitals
at St Donat Church. He has performed
with the Zagreb Soloists and the Zagreb
Youth Quartet in Croatia, Germany
and Italy. Presently he is a second year
student at the Zagreb Academy of Music
with Darko Petrinjak.
The cycle of six Sonatas and Partitas
for violin solo (from BWV 1001 to
1006) that Johann Sebastian Bach
(1685 - 1750) composed in Cthen in
1720 encouraged by his patron Prince
Leopold, who had been an enthusiastic
violin player, presents a crucial milestone
in the history of instrumental music.
The inspiring beauty of his lines and
the richness of the contents come from
the deepest music springs. Although
Bachs favourite instrument the violin,
as the purest symbol of human (female)
voice, was a direct transmitter of the
precious ideas, the roots of such music
go much deeper, and have more abstract
reasons. It is therefore not surprising that
these pieces, which also played major
educational role in Bachs teaching both
his own and other peoples offspring,
have never stopped to intrigue the
performers of other solo instruments
as well. In accordance with the usual
practice of the time, Bach himself
arranged and transcribed them for
various instruments. Thus Sonata No. 2
(BWV 1003) from tonights programme
was also recorded as Sonata for
harpsichord (BWV 964), Partita No. 3
(BW 1006) Suite for harp (BWV 1006a),
Fugue from Sonata No. 1 (BWV 1001) as
Fugue for lute (BWV 1000) and Fugue
for organ (BWV 539), and Prelude
from Partita No. 3 (BWV 1006/1) as
Symphony for orchestra, initially included
in cantata Herr Gott, Beherscher alle
Dinge (BWV 120 a), and later used in
cantata Wir danken dir, Gott (BWV 29).
Bachs pupil Johann Friedrich Agricola
(1720 - 1774) wrote that Bach had
very often performed violin sonatas and
partitas on the harpsichord, adding as
many harmonies as necessary. However,
there are also famous arrangements of
these pieces by other composers such as
the keyboard versions of the two Sonatas
made by Bachs sons, as well as the lute
version of the Fugue from Sonata No. 1
made by one of Bachs music associates
from Leipzig.
The four-movement Sonata No. 2 in A
minor, BWV 1003, is a typical church
sonata in which the movements are
arrayed according to the old contrast
principle. Its two first movements are
preformed tonight arranged by Valter
Depalj. The regularly ornamented slow
introduction (Grave) is a typical reflection
of Bachs strictness expressed under a
mask of somewhat freer improvisation.
The core of the entire piece, the Fugue,
which greatly impressed the music
theoretician and composer Johann
Mattheson (1681 - 1764) by its tonal
thriftiness, is a quite outstanding
illustration of the German way of
performing on a string instrument.
Italian guitarist and composer Giulio
Regondi (1822 - 1872), born in Genoa
by a German mother, was raised by his
Italian father, a talented guitar player,
composer and baritone. Giulio showed
an exceptional talent for the guitar at
an early age. While in Paris, at the time
of the famous guitar masters such as
Sor, Carulli, Carcassi and Molino, the
seven-year old Giulio received excellent
critics for his performances in a duo with
his father. The great Spanish virtuoso
Fernando Sor dedicated his fantasy
Souvenir dAmiti, Op. 46 (from 1831)
to the young Regondi, which implies that
he also had taken part in the Giulios
education and his first successes.
The Ten Etudes cycle, three of which
are being performed tonight, was not
printed in Regondis lifetime. With
an exception of several close fanatic
circles in Russia and Germany, the
pieces remained unknown to most of
the guitarists, until Matanya Ophee
announced his discovery of the 1882
copy of the original that he had found the
year before in the former USSR. Although
lacking the date of composing, the
Etudes are, according to their harmonic
style, most likely Regondis mature works.
The tonights choice of the three probably
finest fragments represents the entire
series in a worthy manner: the highest
musical tasks convincingly blend with the
virtuoso technical solutions.
The creativity of the Spanish composer
and pianist Isaac Albniz (1860 - 1909)
culminated in his piano pieces, which
affirmed him as one of the founders of
the Spanish national style. The virtuoso
piano idiom of these pieces in under
a direct influence of Liszt, whereas his
expression, imbued with the Spanish
tone colour in his mature phase, inclines
to the particular tonal nuances of the
French impressionists. Grouped mainly in
the cycles of effective miniatures, these
lyrical images of Spanish landscapes
in intensive colours are often filled with
the broken rhythm of folk dances and
temperamental melodies of cante
flamenco. In addition to its amazingly
hidden energy the attractive famous
fragment from Albniz cycle The
Echoes, Op. 165 is particular for its
rhythmic escapades. The best among
numerous guitar arrangements of Albniz
Spanish Suite, Op. 47 for piano are
Francisco Trrega and Juan Salvat.
The Suite originally consisted of five
movements, and the additional three
were added later. Tonight its third and
perhaps the finest movement is being
performed. The three-part Sevilla is filled
with the characteristic dance rhythm from
the surroundings of the city, the tonal
movement that became world famous
due to the popular flamenco music.
Augustin Pio Barros Mangor (1885)
was born in San Juan de las Misiones,
Paraguay, into a large family very much
interested in music and literature. He
began to play guitar at an early age. A
13-year-old child prodigy, he was granted
a scholarship to study at the National
College, where, in addition to music,
he majored in mathematic, journalism
and literature. Mangor learned the four
major languages, as well as Guarani and
original Paraguayan. He wrote poetry
and was very successful in drawing and
calligraphy. For forty years he extensively
performed in Latin America and Europe,
often wearing original Indian costume.
A great master of improvisation, he had
excellent working skills enabling him to
compose over 300 guitar pieces, which
trod the path for generations of young
composers. In such pieces, including the
three miniatures on tonights programme,
he skilfully combines his native folk
motives with the European classical
and romantic influences. Never satisfied
with his work, he often changed and
re-arranged his own pieces, many of
which have several versions. An excellent
pedagogue, he was a long time guitar
professor at the Music Conservatory in
San Salvador, where he died in 1944.
The Cathedral, one of Mangors most
often performed works, was partially
composed in Montevideo in 1921, and its
two movements (Andante-Allegro) were
recorded on 1 August 1928. Many years
later the composer added the brilliant
introductory Prelude and thus masterfully
completed the piece, which he probably
performed more often then his other
works because of its outstanding
attractiveness. In the time of composing
this piece Mangor is said to have lived
in the Montevideo down town, in a hotel
close to the Cathedral, and often listened
to its bells. They inspired him to compose
the introductory theme of the Andante
religioso movement. He used to enter the
Cathedral and listen to its organ player
performing Bach, represented by the
large and serene chords in the tonights
piece. Afterwards he returns to the street
seething with the movement and noise.
He later transfers this impression into
the energetic semi quaver arpeggios of
the final movement (Allegro solemne,
in which the persistently repeated tones
one more time, but in a different manner,
invoke the church bell sounds. The later
added introductory Prelude, subtitled
Nostalgia, was composed in 1938, in
Havana, where Mangor, facing all kinds
of difficulties including health, marriage
and financial problems, longs for the
joy and light of the time gone by. He
first performed the complete version of
the Cathedral on 25 July 1938 in San
Salvador.
During his rich creative practice, Croatian
composer Boris Papandopulo (1906-
1991) tried his skill in various music
forms, from vocal miniature, over
chamber and instrumental compositions,
up to symphony, opera and oratory. In
his first composing phase, before the
war, Papandopulo, carried away by his
youthful temperament, was infatuated
with the virtuoso treatment of musical
means of expression, polyphonic
play of tones, bright combination of
sounds, external decorativeness and
optimistic cheerfulness. In that creative
period particularly prominent is the
composers affinity for the baroque
motor rhythm and essential elements of
the neoclassical style. Archaic sounds
of some, at the time, anthological
works seem to inspect the very roots of
music, finding thereby the unavoidable
sources of ritual, move and dance. After
the World War II, Papandopulo tries to
follow some guidelines of the European
modernism, yet he does not disengage
himself from traditional formats of the
music cells, from conventional motif-
structural development, or established
laws of melodic flow. In time more
modern sounds gradually get through
this extensive opus and the master
sometimes also employs the basis of
dodecaphonic or serial structural phrase.
Although Papandopulo sees almost each
of the ideological-aesthetical directions
of our century as a basis from which
he will embark on an unknown and
dangerous search for its echoes within
himself, he nevertheless does not incline
to any of the creative schools. Thus no
doctrine triumphed over Papandopulo,
but he himself never triumphed over any
creative credo as well: the music ideology
and aesthetics, on one side, and the
practical and above all skilful musician
Papandopulo, on the other, played a
drawn life game. However, on his journey
towards artistic maturity, and an ever-
increasing content-relating enrichment
of his own music, Papandopulo never
neglected the basic principle of his
composing approach to the piece; its
elaboration and final moulding on the
basis of pure music substance. If a kind
of a definition is to be given anyway,
than the summary of Papandopulos
opus should be looked for in a kind of
a synthesis of all major world-music
influences with rhythmical-melodic-
harmonic features of Croatian folk melos.
Papandopulo composed his Three
dances for guitar in 1975 as a result
of his collaboration with the guitarist
Marijan Makar. All the three movements
were inspired by folk elements from the
south of Croatia, which he never quoted
literally. Skilfully employing the priciple
of transformation and melodic-rhythmic
contrast, he constantly changes, extends,
shortens and expands them. Each sound
of this irresistibly playful music resounds
with the indestructible optimism and joy
of Papandopulos human and artistic
nature.
A constantly deep and dark pulse
spreads through the swollen veins
of Spanish music, performed by a
miraculous, nonexistent, fantastic, many-
faceted instrument conjured up in the
passionate imagination of people like
Albniz, Granados Y Campina, de Falla
and Turina. wrote the Spanish composer
Joaquin Rodrigo (1901-1999). It is an
imaginary gigantic instrument with the
wings of the harp, the heart of a huge
piano and the soul of the guitar. Blind
from the childhood, Rodrigo studied
music in Valencia and composition with
Paul Dukas at the cole Normale de
Musique in Paris. His friendship with
Manuel de Falla that started there was
decisive for his creative work. He studied
music history with A. Pirro and M.
Emmanuel. From 1939 he lived in Madrid
and taught music history at the Madrid
University from 1948. His works include
orchestral pieces (Zarabanda lejana y
Villancico, Homenaje a la Tempranica,
Soleriana), concertos for piano, violin,
cello, harp and guitar and numerous
vocal and chamber pieces.
Rodrigos three-movement Sonata
giocosa for guitar was composed much
later, but it includes all the most attractive
elements from his finest piece mentioned
above. Dedicated to Renata Tarrago, this
is Rodrigos first guitar sonata, although
he had already used this music form in
his piano pieces. The Spanish character
of the piece is present already in the
introductory bars of the first movement
(Allegro moderato in A major), particularly
in its outstanding melodic line. The
central movement (Andante moderato),
in E minor is a melancholy meditation
influenced by Baroque. The final Allegro
brings the piece back to A major; its
main melody is interupted by the typically
Spanish metric shifts from 6/8 to 3/4
time.

D. Detoni