Carlos Pedrell
Angelo Gilardino
of cheap South-American guitar music, it is a refreshing pause to consider
the music of the past generation [...] Like his countryman Alfonso Broqua,
Pedrell wrote some beatiful pages for guitar which deserve a revival..."
Carlos Pedrell (1878-1941), Uruguayan-Argentinian composer of a French
culture, wrote a masterpiece for guitar, the tryptich entitled "Danzas de
las tres princesas cautivas (Zoraida, Doña Mencia, Betsabé) and a series of
other less powerful but significant pieces: "Danza Argentina",
Improvisacion", "Al atardecer, en los jardines de Arlaja", plus another
tryptich (less powerful than the Tres Danzas), already known for its
publication in the Schott/Segovia series: "Trois pièces" (Lamento, Pagina
Romantica, Guitarreo). Pedrell masterpiec is so far practically unavailable
in print: only the first item, "Zoraida", was published by Ricordi BA, in a
heavy edition by Emilio Pujol, now out of print; the other two dances were
printed in a sort of private publication, bearing neither the name of the
publisher nor the date of print, and they are unavailable; "Improvisacion"
and "Al atardecer" appeared, heavily edited, in guitar magazines. Starting
from the rescue, in the Segovia Archive, of the manuscript of an unknown
Pedrell's work, "Danza Argentina" (his former guitar piece written on 1924),
and of the manuscript of "Zoraida" and of "Al atardecer", I have taken the
responsibility of assembling all the Pedrell guitar music - except the
"Trois Pièces" published in the Schott/Segovia series - in a volume of "The
Andrés Segovia Archive" (Bèrben) so as to allow all serious guitarist to
make an acquaintance with this highly remarkable compositions. This book
will be published during 2004.
In the meanwhile, a young Italian concert player, Antonio Rugolo - a student
of Frédéric Zigante - has just recorded all of these works in a CD, with the
works of other significant composers from Argentina and Uruguay: Gilardo
Gilardi, Guido Santorsola...
AG
William Jennings
"Angelo Gilardino" <angelog...@tin.it> wrote in message
news:bofkes$1d8dqq$1...@ID-91010.news.uni-berlin.de...
> On GFA "Soundboard", Winter 1987-88, Matanya wrote: "In the current
frenzy
> of cheap South-American guitar music,
Exactly what cheap South American music are you talking about?
Names and titles please!
Che'
DCaswellUK
>Exactly what cheap South American music are you talking about?
>
Hello WDJ,
don't expect an answer on this. I had this discussion with AG many times: each
time we arrive at the question of who exactly he is talking about there is a
deafening silence.
It would seem that it is anyone who dares to write some music without first
having taken composition lessons.........and includes any adaptations of
fokloric music.
It used to include all the works of Astor Piazzolla, until he was challenged by
a famous Argentine guitarist!
Perhaps the maestro can take this opportunity to clarify his position once and
for all?
Chau che,
David
Richard White
dcasw...@aol.com (DCaswellUK) wrote:
A more careful reading of AG's post will reveal the 'offending phrase'
is a quote from another. Sounds to me that AG is rescuing Pedrell from
a form of obscurity, an act for which we might at least be grateful. We
read what we want to read. ;-)
Richard White
--
Visit me at: http://www.whitcopress.com
Newly Updated With Many Sample Scores and Sound Files (Mp3)
Hear Linda Ronstadt sing Richard White on
'A Merry Little Christmas' - Elektra #62572-2/4
William Jennings
"Richard White" <whitcono...@earthlink.net> wrote in message
news:071120030853218603%
A more careful reading of AG's post will reveal the 'offending phrase'
> is a quote from another. Sounds to me that AG is rescuing Pedrell from
> a form of obscurity, an act for which we might at least be grateful.
We
> read what we want to read. ;-)
>
>
Mr. Richard White assumes the message was not read carefully. The mutual
admiration society of Mo and Angie
requires co-signing of those sort of statements and was not missed in my
reading. Carlos Pedrell has been known
among informed guitarist of Argentina and Uruguay for many years.
I do agree with your statement " We read what we want to read. ;-)"
Che'
Antuco
Angelo:
Laurindo Almeida recorded these three pieces on a Capitol record (P8467)
many years ago.
According to the notes on the record cover , Zoraida was dedicated to
Segovia. Dona Mencia was dedicated to Emilio Pujol and Betsabe to Miguel
Llobet.
The music was published by RICORDI AMERICANA. Unfortunately, I only have the
music to ZORAIDA. Althought it was dedicated to Segovia the fingering is by
E. Pujol.
Years ago I played it. It definitely has a strong Moorish influence
Antuco
"Angelo Gilardino" <angelog...@tin.it> wrote in message
news:bofkes$1d8dqq$1...@ID-91010.news.uni-berlin.de...
Richard Spross
AG.
My folios say for Dona Mencia and Betasabe:
UNICOS EDITORES AUTORIZADOS
casa
Romero Fernandez
sucesores Jose Romero e hijos & sons
BUENOS AIRES ------ ROSARIO
Kind regards,
Richard Spross
Matanya Ophee
>>
>>Exactly what cheap South American music are you talking about?
>>
>
>Hello WDJ,
>don't expect an answer on this. I had this discussion with AG many times: each
>time we arrive at the question of who exactly he is talking about there is a
>deafening silence.
A stupid question by some one who cannot read. It was not AG who made
that statement, but it was me. In 1987, that is, 16 years ago. So the
question, properly, should be:
Exactly what cheap South American music were you talking about in
1987?
AG cannot possibly answer that question. This was said in introducing
the readers of Soundboard to the "Al atardecer, en los jardines de
Arlaja" by Pedrel. I happen to have on hand all the original editions
of this music. Also, just one year before, at the 1986 Tychy Festival,
I got to hear so many times this hackneyed Milonga by Jorge Cardozo,
all played equally bad by innocent young Polish guitarists, all
thinking that they are being really hip and not having a clue about
how a milonga should be played. In principle, _any_ music, bar none,
becomes cheap and hackneyed when repeated ad nauseam. And that was the
frame of mind I was in when encountering the music of Pedrel. Another
thing, which is also a matter of record in this NG, is that there was
a time that I considered the music of Barrios as cheap and tawdry.
After having heard Alexander Sergei Ramirez' recording, I changed my
mind and I publicly apologized here, in shame, for all the bad things
I said about Barrios in the past.
>It would seem that it is anyone who dares to write some music without first
>having taken composition lessons.........and includes any adaptations of
>fokloric music.
>It used to include all the works of Astor Piazzolla, until he was challenged by
>a famous Argentine guitarist!
That's bullshit of the first order. The works of Astor Piazzolla were
first published in their guitar permutation by Angelo Gilardino. The
famous Argentine guitarist, Roberto Aussel, is in fact a
johnny-come-lately to this music. See this for more details:
http://www.orphee.com/piazolla.htm
Since then, I have obtained a copy of and autograph manuscript of the
same 5 Pieces by Piazzolla, dedicated, in his autograph hand, to
Jean-Pierre Jumez.
Consider the implications of this.
Matanya Ophee
Editions Orphe'e, Inc.,
1240 Clubview Blvd. N.
Columbus, OH 43235-1226
614-846-9517
fax: 614-846-9794
http://www.orphee.com
http://www.orphee.com/rmcg/album-rmcg/album.html
http://www.savageclassical.com/rmcg/album-rmcg/album.html
William Jennings
"DCaswellUK" <dcasw...@aol.com> wrote in message
news:20031107074523...@mb-m16.aol.com...
The maestro is an object of comedy among many guitarist and students. I
have many private messages not only from the
maestro but a student I sent to him. I have no problems in opening that
can of worms but it's a pointless cause. Chiara was the first to open my
eyes to this and I ought to have listened to her from the beginning.
The maestro has become a great master like Mo...... in the art of
curating his own reputation.
In 1987 the " "Al atardecer en los jardines de Arlaja" by Carlos
Pedrell, nephew of Felipe Pedrell was published by who
might you guess ______, in Soundboard....ever hear anything else about
"Al atardecer en los jardines de Arlaja"?
Cheap South American music; A. Lauro , Jorge Morel , Jorge Cardoso , Leo
Brouwer , Heraclio Fernandez , Ariel Ramirez , Astor Piazzolla, Barrios
to name only a few and what is Marcos Vinicius doing heading up
classical guitar in Milan? http://www.marcosvinicius.it Milan, after
all is THE city in Italy
Che'
William Jennings
"Matanya Ophee" <m.o...@orphee.com> wrote in message
news:a6rnqvkp3g0clgsqs...@4ax.com...
> Since then, I have obtained a copy of and autograph manuscript of the
> same 5 Pieces by Piazzolla, dedicated, in his autograph hand, to
> Jean-Pierre Jumez.
I also have copies of this in hand manuscript that came from Paris.
Che'
William Jennings
> A stupid question by some one who cannot read. It was not AG who made
> that statement, but it was me. In 1987, that is, 16 years ago. So the
> question, properly, should be:
>
The statement and quote were as follows:
AG: "On GFA "Soundboard", Winter 1987-88, Matanya wrote: "In the current
frenzy
of cheap South-American guitar music"
Che'
Angelo Gilardino
"Antuco" <ant...@bellsouth.net> ha scritto nel messaggio
news:_4Qqb.40229$ns....@bignews4.bellsouth.net...
>
> Angelo:
>
> Laurindo Almeida recorded these three pieces on a Capitol record (P8467)
> many years ago.
> According to the notes on the record cover , Zoraida was dedicated to
> Segovia. Dona Mencia was dedicated to Emilio Pujol and Betsabe to Miguel
> Llobet.
Thankyou Antuco, I have that Almeida's old record (entitled "Danzas") and it
was my first source of knowledge of Pedrell masterpiece before I was able to
get the music in print.
>
> The music was published by RICORDI AMERICANA. Unfortunately, I only have
the
> music to ZORAIDA. Althought it was dedicated to Segovia the fingering is
by
> E. Pujol.
> Years ago I played it. It definitely has a strong Moorish influence
You are right. In fact, each of the three princesses represents one of the
three religion-cultures which coexisted in Spanish Middle Age: Sarracena
(Zoraida), Cristiana (Doña Mencia), Judaica (Betsabé).
AG
John Wasak
> A more careful reading of AG's post will reveal the 'offending phrase'
> is a quote from another. Sounds to me that AG is rescuing Pedrell from
> a form of obscurity, an act for which we might at least be grateful. We
> read what we want to read. ;-)
It's not so much *reading* but *arguing*. i.e., We argue what we want to
argue, regardless.
jw
John Wasak
news:ArydnUtGvqC...@texas.net...
Matanya and Angelo have reputations founded on actual reality. And that is
better than the useless and endless attempt at creating a reputation based
on pathetic cowboy posturing.
jw
Greg M. Silverman
>And that is better than the useless and endless attempt at creating a reputation based on pathetic cowboy posturing.
>
>
you think cowboy? I'm thinking more of a Hemmingway wannabe (with the
outdoorsy fisherman schtick and all that) that plays guitar and is
really one of the tribe.
unless you mean the guns blazing...
gms--
William Jennings
"John Wasak" <mr...@earthlink.net> wrote in message news:d6Tqb.15607
> Matanya and Angelo have reputations founded on actual reality. And
that is
> better than the useless and endless attempt at creating a reputation
based
> on pathetic cowboy posturing.
>
>
Not interested in creating a rep, selling anything or pathetic sock
puppet opinions.
Che'
John Wasak
Sock puppet? I think not Mr Che, just oone who calls it as he sees it.
jw
John Wasak
news:boguul$o3p$1...@lenny.tc.umn.edu...
> John Wasak wrote:
>
> >And that is better than the useless and endless attempt at creating a
reputation based on pathetic cowboy posturing.
> >
> >
>
> you think cowboy? I'm thinking more of a Hemmingway wannabe (with the
> outdoorsy fisherman schtick and all that) that plays guitar and is
> really one of the tribe.
>
That would be an insult to Hemmingway.
jw
Matanya Ophee
>Richard White <whitcono...@earthlink.net> wrote in message
>news:071120030853218603%whitcono...@earthlink.net...
>> A more careful reading of AG's post will reveal the 'offending phrase'
>> is a quote from another. Sounds to me that AG is rescuing Pedrell from
>> a form of obscurity, an act for which we might at least be grateful. We
>> read what we want to read. ;-)
>
>It's not so much *reading* but *arguing*. i.e., We argue what we want to
>argue, regardless.
There is full consensus here on this point....
Actually, I tried to resurrect this music already in 1987, which was
the reason I published one piece of it in Soundboard. I really wanted
to publish the whole lot of it back then, but seeing that one of the
Danzas was in print by Ricordi Americana, I suspected there might be
some legal issues beyond my limited means to solve, so I dropped the
idea.
The fact that no one had picked up El Ataradecer en los Jardines de
Arlaja since 1987, is not an indication that the piece is not good.
Traditionally, music published in magazines gets very little play time
from anybody, not matter what it was.
Angelo apparently managed to solve the legal issues in bringing this
music out, and with a small twinge of jealousy, I congratulate him for
doing it. Back in print, this music will get to be played a lot more
than it ever did during the composer's life time.
DCaswellUK
>first published in their guitar permutation by Angelo Gilardino. The
>famous Argentine guitarist, Roberto Aussel, is in fact a
>johnny-come-lately to this music.
Hello Matanya:
I'm sorry, I was not referring to Roberto Aussel. My argument with Angelo goes
back some time, all to do with what he considers 'rubbish' music. On this very
newsgroup some time ago he declared that most popular based guitar music was
'empty, dull, boring and useless'..I believe those were his exact words.(It
will be in the archive, if you care to look)
Naturally I asked him to say exactly whose music was included in this sweeping
statement...and he never responded. His silence was noted by several
colleagues....
These are facts, not 'bullshit' as you choose to call it.
I read his exchange with the Argentine maestro, after which he withdrew some of
his remarks about Piazzolla. Perhaps he can tell us his current thinking on
this matter?
I have no interest here, other than seeing 'popular' classical guitar music
properly evaluated. Its constant denigration from the likes of Angelo Gilardino
has to be challenged at every opportunity. Since some of what you publish falls
into this very category (popular or folkloric based music), it is a wonder that
you do not challenge his views yourself.
Sincerely,
David Caswell
Angelo Gilardino
"DCaswellUK" <dcasw...@aol.com> ha scritto nel messaggio
news:20031107162215...@mb-m12.aol.com...
> Hello Matanya:
> I'm sorry, I was not referring to Roberto Aussel. My argument with Angelo
goes
> back some time, all to do with what he considers 'rubbish' music. On this
very
> newsgroup some time ago he declared that most popular based guitar music
was
> 'empty, dull, boring and useless'..I believe those were his exact
words.(It
> will be in the archive, if you care to look)
> Naturally I asked him to say exactly whose music was included in this
sweeping
> statement...and he never responded. His silence was noted by several
> colleagues....
As all human beings who make music, I have my own preferences among the many
kinds of repertoires. In the realm of guitar music, I like the works which
show a high level of elaboration, and I do not like the works which are
simplistically, naively derivated from the popular music, with no
elaboration. I like much of the (non guitar) music composed in Europe,
after popular music sources, in the second half of 19th century within the
grounds of national schools, from the Russian to the Spanish one - the great
names of their authors do not need my quotations - and, in the 20th century,
the works of those composers who pushed their search in their respective
traditions to much a deeper level than that attained by their predecessors,
the Romantic masters: so I like Falla, Bartok, Kodaly, Copland, Villa-Lobos,
etc. and I do not like the guitar music written with simply arranging for
the instrument the songs and the dances as they sound on the road. This is
all: to have a taste is such a crime? The fact I like mentioning by names
the authors whom I like and I prefer avoiding to mention those which I do
not like is not something about which I owe explanations, neither to you nor
to you fellows, and when I decide to tell that I do not like a piece or an
author, I feel no need to miss my respect for his person. I can have a good
talk with an author whose music I don't like, and discovere that, his music
a part, we may have common grounds about poetry, paintings, visiting museums
or restaurants. Once for all, David, really?
> These are facts, not 'bullshit' as you choose to call it.
> I read his exchange with the Argentine maestro, after which he withdrew
some of
> his remarks about Piazzolla. Perhaps he can tell us his current thinking
on
> this matter?
I never included Piazzolla in the list of the naif composers, and I never
needed to withdraw any statement of mine at this subject: there was no
question between Eduardo Isaac and me at this subject, I just pointed out,
in a very friendly discussion with him, that my remarks about unsignificant
music did not include Piazzolla's, whose background as a composer is known
and evident in each of his works (I am not obliged to like his music
however), and there was no surprise from him for such a statement: he can
read music very well and he also reads very well my own music. If I had
considered Piazzolla's music the work of an amateur, I would not have taken
care of the publication of his "Cinco Piezas", why on earth?
> I have no interest here, other than seeing 'popular' classical guitar
music
> properly evaluated. Its constant denigration from the likes of Angelo
Gilardino
> has to be challenged at every opportunity. Since some of what you publish
falls
> into this very category (popular or folkloric based music), it is a wonder
that
> you do not challenge his views yourself.
I may have criticized the quality of some guitar music, and the musical
quality of their authors and players, but I have never denigrated anything
or anybody. Criticism is a civilized instrument of culture, which deals with
the ideas, the works and the actions, with no disrespect for the persons,
denigration is a low behaviour which takes the person as a target and tries
to offend, to humiliate, to insult him/her. I do not feel and need doing
this , and allow me to believe that I do not feel and need this because I am
happy with my musical life, satisfied with my professional situation,
hopeful and inspired for the works I have yet to do, and full of faith for
the future of my own music, that will survive me. If you feel with your
music as well as I do with mine, you will not bother about what Caronte,
Minosse, Cerbero and Pluto will bark about it. The maximun poet already
told the right words to them. I cani abbaiano, la carovana passa...
AG
Matanya Ophee
>
>I have no interest here, other than seeing 'popular' classical guitar music
>properly evaluated.
I am not sure I understand what you mean by "'popular' classical
guitar music." Classical music based on popular music? Like
Shostakovich's elaboration on Tea for Two?
> Its constant denigration from the likes of Angelo Gilardino
>has to be challenged at every opportunity.
Why?
> Since some of what you publish falls
>into this very category (popular or folkloric based music), it is a wonder that
>you do not challenge his views yourself.
I don't have to, and neither do you. Angelo is entitled to his likes
and dislikes, and so am I and so are you. If yours are different than
his, so what? who says you _have_ to challenge him? and for what
purpose? for pointing to him that his taste is not as refined as
yours? that he is wrong and you are right?
Personally, I appreciate Angelo for what he has to offer. I also
appreciate Cacho Tirao for _he_ has to offer, and if Angelo does not
appreciate Cacho Tirao, that has no bearing on me.
I am now very much involved with the music of Russian gypsies, most of
whom could not read or write music. Nikita Koshkin once expressed to
me the thought that he, personally, has no use for this music. Fine.
His taste, his choice. We differ. So what? I like Nikita's own music
very much. Other people do not. So what?
But one thing I will say, and I have said it many times before: the
question before us is the survival of classical guitar music, of
classical music, period. I share with Angelo the thought that before
we go fishing in popular music, we need to examine what we have in
front of us right in our own home. With the entire repertoire of the
classical guitar being ignored in favor of some 30-40 pieces, we have
not even begun to learn what we have.
This was posted in another thread a couple of days ago:
Jorge Morel: Sonatina
Luciano Berio: Sequenza XI; Alba
Tarrega: Capricho Arabe
INTERMISSION
Turina: Sevillana
Gerhard: Fantasia
Rodrigo: Invocation et Danse
Falla: Homenaje
Albeniz: Asturias
I cannot think of a more backwards looking choice of program than
this, no matter how well it is played. That's the problem we have.
John Wasak
> This was posted in another thread a couple of days ago:
>
> Jorge Morel: Sonatina
> Luciano Berio: Sequenza XI; Alba
> Tarrega: Capricho Arabe
> INTERMISSION
> Turina: Sevillana
> Gerhard: Fantasia
> Rodrigo: Invocation et Danse
> Falla: Homenaje
> Albeniz: Asturias
>
> I cannot think of a more backwards looking choice of program than
> this, no matter how well it is played. That's the problem we have.
>
One thing that struck me looking at this was the idea that after having
listened for about 17 minutes to Sequenza XI one is expected to shortly
downshift into Capricho Arabe! Maybe this would make more sense to me if
the Tarrega started after the intermission with maybe something like
Petrassi (Nunc? Suoni Notturni?) taking the place of Capricho Arabe after
the Berio and then ending at the intermission.....
jw
Terlizzi
Tarrega's piece. We will see what he makes of it.
I used to play the Sir Andrew Aguecheek from Henze's RWM coupled with a
transcription of E. Gaultier's Tombeau de Mezangeau. The juxtaposition worked
really well.
hey, just a minute ago I was listened to Ligeti's piano etudes. Now I am
listening to Boubacar Traore.
John Wasak
news:20031107194905...@mb-m10.aol.com...
> Probably he intends Alba to be the bridge between the Sequenza and the
> Tarrega's piece. We will see what he makes of it.
> I used to play the Sir Andrew Aguecheek from Henze's RWM coupled with a
> transcription of E. Gaultier's Tombeau de Mezangeau. The juxtaposition
worked
> really well.
> hey, just a minute ago I was listened to Ligeti's piano etudes. Now I am
> listening to Boubacar Traore.
>
Yeah, you've got a point. Seemingly strange segues are not unheard of, or
for that matter, necessarily unworkable. Just the Sequenza kinda' jumps out
at you form that list.
jw
Matanya Ophee
>Probably he intends Alba to be the bridge between the Sequenza and the
>Tarrega's piece. We will see what he makes of it.
>I used to play the Sir Andrew Aguecheek from Henze's RWM coupled with a
>transcription of E. Gaultier's Tombeau de Mezangeau. The juxtaposition worked
>really well.
>hey, just a minute ago I was listened to Ligeti's piano etudes. Now I am
>listening to Boubacar Traore.
What could be possibly be the magic in such a bridge? I will certainly
appreciate your thoughts after you heard it. But the main issue I have
with this program is that without exception, all the pieces in it are
war horses that we have heard a million times before, and that there
is thread that links all this pieces into something coherent.
Would I really bother going to hear yet another rendition of Asturias?
You know the answer to that.
Matanya Ophee
>But the main issue I have
>with this program is that without exception, all the pieces in it are
>war horses that we have heard a million times before, and that there
>is thread that links all this pieces into something coherent.
And that thread is the kind of programming that would appeal to record
labels for mass distribution. Watch out, another debut CD is about to
come out.
Greg M. Silverman
John Wasak wrote:
> Terlizzi <terl...@aol.com> wrote in message
> news:20031107194905...@mb-m10.aol.com...
> > Probably he intends Alba to be the bridge between the Sequenza and the
> > Tarrega's piece. We will see what he makes of it.
> > I used to play the Sir Andrew Aguecheek from Henze's RWM coupled with a
> > transcription of E. Gaultier's Tombeau de Mezangeau. The juxtaposition
> worked
> > really well.
> > hey, just a minute ago I was listened to Ligeti's piano etudes. Now I am
> > listening to Boubacar Traore.
> >
>
> Yeah, you've got a point. Seemingly strange segues are not unheard of, or
> for that matter, necessarily unworkable. Just the Sequenza kinda' jumps out
> at you form that list.
>
I've never heard the piece. any recommended recordings?
gms--
John Wasak
news:3FAC4C5F...@umn.edu...
> John Wasak wrote:
> > Yeah, you've got a point. Seemingly strange segues are not unheard of,
or
> > for that matter, necessarily unworkable. Just the Sequenza kinda' jumps
out
> > at you form that list.
> >
>
> I've never heard the piece. any recommended recordings?
>
> gms--
>
Well, there's Fisk's "Sequenza" CD (if it's still around). And there's one
I like by Franz Halasz.
jw
Bridgerec
>Jorge Morel: Sonatina
>Luciano Berio: Sequenza XI; Alba
>Tarrega: Capricho Arabe
>INTERMISSION
>Turina: Sevillana
>Gerhard: Fantasia
>Rodrigo: Invocation et Danse
>Falla: Homenaje
>Albeniz: Asturias
>I cannot think of a more backwards looking choice of program than
>this, no matter how well it is played. That's the problem we have.
--------------------------
Well, I certainly can think of one. Take away the two Berio pieces, the
Gerhard Fantasia, the Morel Sonatina, and substitute Sor Op. 9, the Villa-Lobos
Preludes, and Granados #5 etc., and it would be a hell of a lot more
"backwards looking".
ds
Terlizzi
>
>You know the answer to that.
Matanya,
You would have loved hearing me play Asturias this past summer on Broadway. I
accompanied 2 Spanish tap dancers at a festival called TapCity. It was loads
of fun.!!!
mark
Richard Spross
The above is at the bottom of the page.
To the left at the bottom of the page it says: Registrado y reservados
todos los
derechos.
It is true there is no date of publication.
However my copy was sold to the public in a now long gone classical guitar
shop in Carmel. Therefore the publisher existed and was exporting the remaining
two Danzas abroad.
Regards,
Richard Spross
Matanya Ophee
>
>>
>> My folios say for Dona Mencia and Betasabe:
>>
>> UNICOS EDITORES AUTORIZADOS
>>
>> casa
>>
>> Romero Fernandez
>>
>> sucesores Jose Romero e hijos & sons
>>
>> BUENOS AIRES ------ ROSARIO
>>
>> Kind regards,
>> Richard Spross
>
>The above is at the bottom of the page.
>
>To the left at the bottom of the page it says: Registrado y reservados
> todos los
>derechos.
>
>It is true there is no date of publication.
>However my copy was sold to the public in a now long gone classical guitar
>shop in Carmel. Therefore the publisher existed and was exporting the remaining
>two Danzas abroad.
Not necessarily. Romero y Fernandez were acquired by Ricordi Americana
in 1934. Who was exporting this extra stock is a good question. I
bought quite few of the R & F from Jim Forrest in the late 1970s. That
publisher was definitely no longer in business for many years.
Matanya Ophee
Question of degree, I suppose. Does not change the basic fact that
Jorge Morel: Sonatina, Tarrega: Capricho Arabe, Turina: Sevillana,
Rodrigo: Invocation et Danse, Falla: Homenaje, Albeniz: Asturias,
about 70% of the program, is Aranbabazola fodder, and you would not be
caught dead playing this kind of stuff in public. Again, it is not the
music itself that bothers me, but the sheer repetition of it. Enough
is enough and someone should tell this young man that this is not the
way to win friends and influence people, particularly those who write
reviews for major newspapers and whose attention a young budding
artist wishes to capture.
Matanya Ophee
I am sure it was, and I am sure I would have loved it too. It is all a
question of venue and purpose. Context is everything. Besides, it does
not matter to me what is being played, even if I was playing it
myself, as long as I get to watch these supple young bodies undulating
on stage....
Bridgerec
>Jorge Morel: Sonatina, Tarrega: Capricho Arabe, Turina: Sevillana,
>Rodrigo: Invocation et Danse, Falla: Homenaje, Albeniz: Asturias,
>about 70% of the program, is Aranbabazola fodder, and you would not be
>caught dead playing this kind of stuff in public. Again, it is not the
>music itself that bothers me, but the sheer repetition of it. Enough
>is enough and someone should tell this young man that this is not the
>way to win friends and influence people, particularly those who write
>reviews for major newspapers and whose attention a young budding
>artist wishes to capture.
This is wishful thinking, I'm afraid. The "major" newspapers in New York are
just as likely to review this program as a program of all-world premieres. I
know this from experience as a performer and a concert presenter. At the
present time, I'd estimate 99.5% of guitar recitals in NYC do not receive any
coverage. It used to be different, of course.
What is important for anyone who gets up on stage to perform is not "winning
friends and influencing people". What is important , is to play music that one
fully believes in and feels compelled to play. The young artist in question
performs a lot of new music and a lot of rarely played repertoire. The fact
that he chooses to play, for the most part, the great composers of his homeland
on a debut recital should be an occasion for celebration, not denigration.
ds
William Jennings
"Bridgerec" <brid...@aol.com> wrote in message
news:20031108023112...@mb-m14.aol.com...
>
> What is important for anyone who gets up on stage to perform is not
"winning
> friends and influencing people". What is important , is to play music
that one
> fully believes in and feels compelled to play.
This and the fact that you play one day a week for the old folks.
The young artist in question
> performs a lot of new music and a lot of rarely played repertoire. The
fact
> that he chooses to play, for the most part, the great composers of his
homeland
> on a debut recital should be an occasion for celebration, not
denigration.
Absolutely!
Che'
Matanya Ophee
> Again, it is not the
>>music itself that bothers me, but the sheer repetition of it. Enough
>>is enough and someone should tell this young man that this is not the
>>way to win friends and influence people, particularly those who write
>>reviews for major newspapers and whose attention a young budding
>>artist wishes to capture.
>
>This is wishful thinking, I'm afraid. The "major" newspapers in New York are
>just as likely to review this program as a program of all-world premieres. I
>know this from experience as a performer and a concert presenter. At the
>present time, I'd estimate 99.5% of guitar recitals in NYC do not receive any
>coverage.
I wasn't particularly referring to NY papers. A good friend of mine, a
chief editor of a major guitar magazine who specializes in reviewing
CDs, once told me that he gets so many debut CDs, that he must do a
basic triage in deciding what to listen to and possibly review, and
what to put at the bottom of the pile. The triage procedure is very
simple: if the CD contain even one war horse like Asturias, out she
goes.
I am leaving to morrow to the GFA festival. To survive a week of two,
three concerts a day, one must do the same kind of triage. Certain
concerts I will go to and applaud wildly, certain others I'll walk out
of at the intermission, and certain others I will not bother to
attend. Depends on the program. This kind of program, will be the best
argument for going over to that Argentinian restaurant and enjoy an
evening of empanadas and bife de lomo, no matter the reputation of the
player.
>It used to be different, of course.
Indeed. So what was it that caused New York reviewers to avoid guitar
recitals like the plague? You know the answer to that as well as I do.
>What is important for anyone who gets up on stage to perform is not "winning
>friends and influencing people". What is important , is to play music that one
>fully believes in and feels compelled to play.
Same difference.
>The young artist in question
>performs a lot of new music and a lot of rarely played repertoire. The fact
>that he chooses to play, for the most part, the great composers of his homeland
>on a debut recital should be an occasion for celebration, not denigration.
I generally urge young players of all nationalities to play the music
of their homeland. That's very commendable and should be encouraged.
The problem with this particular homeland is that it acquired a
hallowed position in the international guitar repertoire beginning
sometimes around 1910, and still continuing to our days. The funny
part is that young Spanish virtuosi like Margarita Escarpa, Ignacio
Rodes, Maria Esther Guzman, Jose Maria Gallardo del Rey, Carles
Trapaga, to mention a few known names, do not find the need to serve
as ambassadors of Spanish guitar heritage, but rather prefer to search
for a repertoire that gives them a vehicle for their own
individuality. Some of it is Spanish, some of it is not.
The best possible ambassadorship for Spanish guitar music, should be a
presentation of the many important Spanish composers of the past and
present that do not get as much play time as Tarrega. And even Rodrigo
can be presented in a much more interesting light than the ever
present I & D. Where are Sor, Aguado, Arcas, Damas, Cano, Parga,
Barrios (Angel), Esplá, Calatayud, not to mention the many
contemporary composers whose music is available from Opera Tres,
Boileau and even from UME?
And why is it more "appropriate", to use a recent expression, for the
music of Esquembre to be first performed and brought to light by a
German guitarist such as Wolfgang Lendle?
I wish the young man all the best, and hope his presenters will find
their investment fully reimbursed. But seeing that so many other
youngsters venture onto the international scene with pretty much the
same hackneyed repertoire, one cannot but lament the abandonment of
95% of the available repertoire in favor of a gesture that is sure to
shoot the innocent in the foot. Which is what we are talking about
here.
Bridgerec
>argument for going over to that Argentinian restaurant and enjoy an
>evening of empanadas and bife de lomo, no matter the reputation of the
>player.
Then you'd miss some damn fine music making. We all make our choices.
>>
>>It used to be different, of course.
>Indeed. So what was it that caused New York reviewers to avoid guitar
>recitals like the plague? You know the answer to that as well as I do.
The answer has nothing to do with the guitar. The fact is that in NYC,
classical music has lost its place in the press. The era of 5 or 6 dailys
reviewing debuts is, of course, long gone. Now, "the paper of record" covers
classical music only infrequently. Guitar recitals actually are among the most
adventurous, repertoire-wise. This recital is a case in point with more than
25 minutes of recent music in addition to a classic by a living composer, who
will in all probability be in attendance. I wishb some of the players you
mentioned programmed as adventurously. In my experience, they haven't.
ds
Richard Spross
Well good.
I bought them at an Estate sale sometime around 1975. They were originally sold
at the local guitar shop and could have been bought much earlier, since the
deceased
was in his sixties.
But then again perhaps much earlier they were ordered by a wholesale distributor
from the publisher and remained languishing in the wholesaler's stock until
they were eventually sold to said shop.
That's a possiblitliy also is it not?
Richard.
DCaswellUK
I'm sorry for the delay in replying to you, it has been a heavy day's work.
I think that you have missed the point: of course there is no problem with
respecting a person's likes and dislikes. If that were the argument I would not
be bothering to respond. So if AG does not like popular and folkloric music,
then that is his choice.
However, when he then describes that music as : boring, dull, empty and
useless, that is different, and is an attempt to denigrate the work of others.
Then at that point it is necessary to say to him: 'well whose work exactly are
you criticising?'
And what response has he given us:
"The fact I like mentioning by names
the authors whom I like and I prefer avoiding to mention those which I do
not like is not something about which I owe explanations"
I hope that this has clarified my position.
Sincerely,
David Caswell
Matanya Ophee
>>This kind of program, will be the best
>>argument for going over to that Argentinian restaurant and enjoy an
>>evening of empanadas and bife de lomo, no matter the reputation of the
>>player.
>
>Then you'd miss some damn fine music making.
That's always a possibility.
> We all make our choices.
Indeed we do.
>The answer has nothing to do with the guitar. The fact is that in NYC,
>classical music has lost its place in the press. The era of 5 or 6 dailys
>reviewing debuts is, of course, long gone. Now, "the paper of record" covers
>classical music only infrequently. Guitar recitals actually are among the most
>adventurous, repertoire-wise. This recital is a case in point with more than
>25 minutes of recent music
How recent is recent?
> in addition to a classic by a living composer, who
>will in all probability be in attendance.
I always liked Jorge Morel and I consider him a good friend. He bought
by last Fleta guitar back in 1968 when I was really in need of cash in
a hurry. First met him at this restaurant in Albany NY around the same
time where he had this gig. Amazing player no doubt in those days. As
for his standing as a composer of art music, I am sure there would be
many differing views on the subject. And what exactly in your view
makes his Sonatina a "classic"?
> I wishb some of the players you
>mentioned programmed as adventurously. In my experience, they haven't.
We have different experiences here, no doubt.
Robert Crim (Lutester)
wrote:
>I am leaving to morrow to the GFA festival. To survive a week of two,
>three concerts a day, one must do the same kind of triage. Certain
>concerts I will go to and applaud wildly, certain others I'll walk out
>of at the intermission, and certain others I will not bother to
>attend. Depends on the program. This kind of program, will be the best
>argument for going over to that Argentinian restaurant and enjoy an
>evening of empanadas and bife de lomo, no matter the reputation of the
>player.
Don't forget those "supple young bodies undulating
on stage." Try to get a good night's sleep.
Stay away from the bean burritos.
Robert
.................wish I was going too.
Matanya Ophee
>
>I bought them at an Estate sale sometime around 1975. They were originally sold
>at the local guitar shop and could have been bought much earlier, since the
>deceased
>was in his sixties.
>
>But then again perhaps much earlier they were ordered by a wholesale distributor
>from the publisher and remained languishing in the wholesaler's stock until
>they were eventually sold to said shop.
>
>That's a possiblitliy also is it not?
It is.
Matanya Ophee
>Hello Matanya:
>I'm sorry for the delay in replying to you, it has been a heavy day's work.
>I think that you have missed the point: of course there is no problem with
>respecting a person's likes and dislikes. If that were the argument I would not
>be bothering to respond. So if AG does not like popular and folkloric music,
>then that is his choice.
>However, when he then describes that music as : boring, dull, empty and
>useless, that is different, and is an attempt to denigrate the work of others.
But since he does not mention them by name, as you quote him below, he
is not denigrating anyone in particular. Besides, there is nothing
wrong in denigrating the work of those, who in your personal opinion,
are not worthy. Tastes differ.
>Then at that point it is necessary to say to him: 'well whose work exactly are
>you criticising?'
>And what response has he given us:
>
>"The fact I like mentioning by names
>the authors whom I like and I prefer avoiding to mention those which I do
>not like is not something about which I owe explanations"
>
>I hope that this has clarified my position.
Your position is that he owes you an explanation. His position is that
he does not. So?
Matanya Ophee
>
>Don't forget those "supple young bodies undulating
>on stage."
Nothing of this nature is palnned for the event. Unfortunately.
>Stay away from the bean burritos.
That's OK. I sleep alone....
Bridgerec
Recent would be music of the past 30 years or so.
>And what exactly in your view
>makes his Sonatina a "classic"?
Your stated view that you've heard it played so many times that you'd rather
have a good meal than hear it : )
ds
Matanya Ophee
>>How recent is recent?
>
>Recent would be music of the past 30 years or so.
As good a definition as any, though I am sure there are some Yea Niew
Musick enthusiasts who will have another definition. Just yesterday I
published a "recent" guitar concerto, by the Georgian-Israeli composer
Josef Bardanashvili. First performed in 1979.
http://www.orphee.com/chamber/bardanashvili.html
>>And what exactly in your view
>>makes his Sonatina a "classic"?
>
>Your stated view that you've heard it played so many times that you'd rather
>have a good meal than hear it : )
No, David, this is too slippery. Actually, I heard the Morel Sonatina
only once, played by David Russel. I would gladly hear it again, but I
am not sure it has entered the mainstream guitar repertoire yet. There
has to be some other attributes of the work to make it a "classic."
A classic rendering of this work would be a performance and a
recording by someone really classic, like David Starobin....:-)
William Jennings
"Matanya Ophee" <m.o...@orphee.com> wrote in message
news:484qqvgps6gd6efng...@4ax.com...
> brid...@aol.com (Bridgerec) wrote:
> This kind of program, will be the best argument for going over to that
Argentinian restaurant and enjoy an
evening of empanadas and bife de lomo,<
You are talking about the Tango Gaucho. Better is El Meson del
Segoviano - Or Alberto's imo.
Best is Ristorante Due Torri last I was there. I know Merida pretty
well.
Btw, there is a ferry (car) planned now from Port Isabel, Texas to
Merida
Che'
William Jennings
"Greg M. Silverman" <gmsp...@removemeatumn.edu.com>ha scritto nel
messaggio news:boguul$o3p$1...@lenny.tc.umn.edu...
> you think cowboy? I'm thinking more of a Hemmingway wannabe (with the
> outdoorsy fisherman schtick and all that) that plays guitar and is
> really one of the tribe.
It doesn't take much in the way of brilliance to criticize my love of
fishing -- it does, however, to criticize that interest meaningfully.
Woe is me, now I must defend fishing and the guitar....... topics that
bore me to tears
To fish even at the most basic level demands you notice things, the
movement of the water and its patterns, the tides, currents,
and movements of fish. You learn to concentrate on the visual, fishing
is intensely visual, especially--when nothing is happening. It is easy
to look, but learning to see is what's important.
I have no idea what sort of fishing images you may harbor but you can
forget that image of lawn-chair sitting , chugging beer while waiting
for a hit on rods stuffed in a sand spike. The key to catching fish
regularly off the beach is to become a predator, as mobile and
resourceful as any shark or osprey because every creature that survives
there is mobile and observering.
The habits of observation and seeing what is, as opposed to what we may
think it is, will serve you well in solving guitar/music problems. It
is also very useful for physical excercise and refreshing after the
mental rigours of sustained musical work. Aside from golf, what
physical excercise have guitarist/students ever discussed here? Some
may recall Segovia saying he didn't feel he played as well without his
late afternoon walks. A diversion from the guitar and music is required
to get the best out of yourself. A diversion that completely takes your
mind away from the daily efforts with music.
In a life of very hearty living it has been my pleasure to do all
kinds of wild and crazy things, few of which have lived up to their
advanced billing. I recall only two experiences that are absolutely,
positively everything they were cracked up to be. One is not customarily
done outside, at least not during the winter. The other is the pursuit
of the infinitely treacherous snook and tarpon.......
Fishing, regardless of expectations or results, is fun. That's all,
just fun.
The subtext reads like you who can not spell Hemingway, an obviously
doesn't know what you're talking about, are just not having enough fun
and need a little schtick in your lives.
Then again, you can't teach an old chicken to cross the road.
Che'
The real voyage of discovery consists not in seeking new landscapes, but
in having new eyes.
__Marcel Proust
Greg M. Silverman
William Jennings wrote:
> "Greg M. Silverman" <gmsp...@removemeatumn.edu.com>ha scritto nel
> messaggio news:boguul$o3p$1...@lenny.tc.umn.edu...
>
> > you think cowboy? I'm thinking more of a Hemmingway wannabe (with the
> > outdoorsy fisherman schtick and all that) that plays guitar and is
> > really one of the tribe.
>
> It doesn't take much in the way of brilliance to criticize my love of
> fishing -- it does, however, to criticize that interest meaningfully.
> Woe is me, now I must defend fishing and the guitar....... topics that
> bore me to tears
no criticism of fishing... just you strike me as a Heminway'esque type with
the fishing and the bagging of the big game (in this case big game being
the scores that you always say you have).
nothing more nothing less.
hell, I love to fish too... it's been a while though since I last went.
sigh,.
hell, Hemingway may have been a bad choice anyway:you're more Gonzo than
anything... there, how's that?
yes, I agree... fishing has a certain Zen-like quality to it.
>
>
> The subtext reads like you who can not spell Hemingway, an obviously
> doesn't know what you're talking about, are just not having enough fun
> and need a little schtick in your lives.
>
there ya go! too many 'mmm's in the muck. and, I only have one life, I is
no cat. and as they say, takes one to know one, eh?
me, I like to fish from a canoe.
gms--
Terlizzi
>appreciate your thoughts after you heard it
I just got in from the concert and I thought I'd go ahead and give you my
thoughts.
The Sequenza was spectacularly played. I think the best I have ever heard it,
really. Pablo allowed only silence in between it and Aldo. No applause. The
effect was analogous to the Dowland tune after the climatic passacaglia. of
course this effect in my mind was entirely artificial but it was not without
interest.
So for me, the Capricio Arabe came off nicely from a programming point of view.
You ended up hearing the Morel as an appetizer and Aldo and Tarrega's work as
2 scoops of Sorbet to clear the palate.
BTW Matanya, Pablo dedicated his encore, a performance of Dyen's Tango en Skai
to his teacher David Starobin, who accepted with grace and a wave.
mark
Greg M. Silverman
by the way, I've really taken the whole concept of RH thumb as a balancing
pole quite to heart in my playing of scales... I was almost there, but now
I see what you mean... my RH now falls into proper form when balancing
around the thumb. scary as hell actually!
gms--
Matanya Ophee
>>What could be possibly be the magic in such a bridge? I will certainly
>>appreciate your thoughts after you heard it
>
>I just got in from the concert and I thought I'd go ahead and give you my
>thoughts.
>The Sequenza was spectacularly played. I think the best I have ever heard it,
>really. Pablo allowed only silence in between it and Aldo. No applause. The
>effect was analogous to the Dowland tune after the climatic passacaglia. of
>course this effect in my mind was entirely artificial but it was not without
>interest.
>So for me, the Capricio Arabe came off nicely from a programming point of view.
Glad you enjoyed it.
>You ended up hearing the Morel as an appetizer and Aldo and Tarrega's work as
> 2 scoops of Sorbet to clear the palate.
An interesting analogy here which I could go into great detail.
Briefly, a well planned menu does not allow for scoops of sorbets in
between to clear the palate. That is the job of the wine(s) and the
compatibility (affinity, appropriateness.....) between the courses.
Besides, from the looks of it these were pretty big scoops of sorbet,
enough to spoil the appetite methinks. BTW, how was Asturias for
desert?
>BTW Matanya, Pablo dedicated his encore, a performance of Dyen's Tango en Skai
>to his teacher David Starobin, who accepted with grace and a wave.
Which explains David's passion in finding a rationale for a program he
himself would never play. As for the _choice_ of the encore....
Sort of rounds off the debate we are having quite nicely.
William Jennings
"Greg M. Silverman" <g...@umn.edu> wrote in message
news:3FAD9718...@umn.edu...
> no criticism of fishing... just you strike me as a Heminway'esque type
with
> the fishing and the bagging of the big game (in this case big game
being
> the scores that you always say you have).
> nothing more nothing less.
Scores.... yes, a huge collection owns me. It cost $125.00 a month to
house them. I have traveled a great deal, traded with
folks all over the globe for years and found a few things. Since I had
great stuff to trade, I got great stuff in return. I thought you were
talking about ladies there for a second..... this reminded me of
something several have said...."You know how to get what you want."
Yep, I guess you could call it big game and endangered species in some
cases but what were you doing in 1967? You will not fine much in the
way of interesting guitar scores in Minn., just no history for it. You
might raid a place in Ohio and make a big score. The home owner will be
out of the country the next week or so.
>
> hell, Hemingway may have been a bad choice anyway:you're more Gonzo
than
> anything... there, how's that?
Never thought about it but Che' Gonzo...well it just lacks dash.
When the going gets weird, the Weird turn pro. I could have been Zane
Petadoggy, but there again....no splash.
http://www.zanegreysws.org/zgfishre.htm
> > Fishing, regardless of expectations or results, is fun. That's all,
> > just fun.
>
> yes, I agree... fishing has a certain Zen-like quality to it.
Hummmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm.....fish on!
> me, I like to fish from a canoe.
I have canoe stories........very off topic.
Tight Lines,
Che'
William Jennings
Yo, now you're using the brain hombre. It was actually a little scary
for me also.... when I realized what
I could have missed by not undertanding that..............hard to
explain isn't it? Proper form can and will be different
for different folks but when the hand FINDS it's ideal default
position.....everything else is mere detail.
Thumb image, showing a little thigh as it slips through silk and velvet
blue dress.
Good for you!
Che'
William D Clinger
> And that is
> better than the useless and endless attempt at creating a reputation based
> on pathetic cowboy posturing.
That's un-American, John. Beware black helicopters.
Will
jasper bierman
My particular interest was taken by a piece called "Danzas de las tres
princesas cautivas (Zoraida...). Does this title refere to Washington
Irving's (tales of) the alhambra? One of these tales is about three
moorish princeses being hold captive in the alhambra (by their own
father, for their own good obviously). One of these princeses is
called Zorayda (the others Zayda and Zorahayda). If this is true, do
there appear any references in the music to this particular tale by
Irving?
"Angelo Gilardino" <angelog...@tin.it> wrote in message news:<bofkes$1d8dqq$1...@ID-91010.news.uni-berlin.de>...
> On GFA "Soundboard", Winter 1987-88, Matanya wrote: "In the current frenzy
> of cheap South-American guitar music, it is a refreshing pause to consider
> the music of the past generation [...] Like his countryman Alfonso Broqua,
> Pedrell wrote some beatiful pages for guitar which deserve a revival..."
>
> Carlos Pedrell (1878-1941), Uruguayan-Argentinian composer of a French
> culture, wrote a masterpiece for guitar, the tryptich entitled "Danzas de
> las tres princesas cautivas (Zoraida, Doña Mencia, Betsabé) and a series of
> other less powerful but significant pieces: "Danza Argentina",
> Improvisacion", "Al atardecer, en los jardines de Arlaja", plus another
> tryptich (less powerful than the Tres Danzas), already known for its
> publication in the Schott/Segovia series: "Trois pièces" (Lamento, Pagina
> Romantica, Guitarreo). Pedrell masterpiec is so far practically unavailable
> in print: only the first item, "Zoraida", was published by Ricordi BA, in a
> heavy edition by Emilio Pujol, now out of print; the other two dances were
> printed in a sort of private publication, bearing neither the name of the
> publisher nor the date of print, and they are unavailable; "Improvisacion"
> and "Al atardecer" appeared, heavily edited, in guitar magazines. Starting
> from the rescue, in the Segovia Archive, of the manuscript of an unknown
> Pedrell's work, "Danza Argentina" (his former guitar piece written on 1924),
> and of the manuscript of "Zoraida" and of "Al atardecer", I have taken the
> responsibility of assembling all the Pedrell guitar music - except the
> "Trois Pièces" published in the Schott/Segovia series - in a volume of "The
> Andrés Segovia Archive" (Bèrben) so as to allow all serious guitarist to
> make an acquaintance with this highly remarkable compositions. This book
> will be published during 2004.
>
> In the meanwhile, a young Italian concert player, Antonio Rugolo - a student
> of Frédéric Zigante - has just recorded all of these works in a CD, with the
> works of other significant composers from Argentina and Uruguay: Gilardo
> Gilardi, Guido Santorsola...
>
> AG
Angelo Gilardino
"jasper bierman" <jasper...@hotmail.com> ha scritto nel messaggio
news:fe13dd5c.03112...@posting.google.com...
> I was very interested to read about the forthcoming Pedrell edition.
> My particular interest was taken by a piece called "Danzas de las tres
> princesas cautivas (Zoraida...). Does this title refere to Washington
> Irving's (tales of) the alhambra? One of these tales is about three
> moorish princeses being hold captive in the alhambra (by their own
> father, for their own good obviously). One of these princeses is
> called Zorayda (the others Zayda and Zorahayda). If this is true, do
> there appear any references in the music to this particular tale by
> Irving?
The tale of Washington Irving is likely to have inspired the first of the
three dances, whilst the other two seem to come from different literary
source.
In my foreword to the pieces, I have tried to offer a picture of the various
possibilities. What seems sure, is that Pedrell meant to evocate the three
different cultures which co-existed in Spanish Middle Age: Sarracena
(Zoraida), Cristiana-feudal (Doña Mencia), Judaica (Betsabé). Excellent
pieces!
AG
onis...@gmail.com
<snip>
> except the "Trois Pièces" published in the Schott/Segovia series - in a
> volume of "The Andrés Segovia Archive" (Bèrben) so as to allow all serious
> guitarist to make an acquaintance with this highly remarkable compositions.
> This book will be published during 2004.
> AG
Did this ever happen? It doesn't seem to be listed amongst the volumes of the Bèrben Archive. I am trying to find the sheet music for Betsabé (from Danzas de las Princesas Cautivas).