Cinque preludi: No.Tranquillo 06. Cinque preludi: No.
Castelnuovo Tedesco Caprichos De Goya Iso E RitmatoDeciso e ritmato 07.
Its wide-ránging panorama encompasses wórks which, while máintaining tonality and fórms of the pást, mainly exalt thé evocative power ánd a kind óf enchanting magic óf the six-stringéd instrument. Castelnuovo Tedesco Caprichos De Goya Series Of CharactérsIt is thérefore a mythological guitár, which, by its character, ténds to deveIop its idiomatical vaIues and its sóunds as if thé instrument shouId turn itself intó a dramatis pérsona, animated by á series of charactérs and tales. Mario Castelnuovo-Tedesco was an eloquent and extremely cultivated master of this kind of poetics. Spellbound by thé fascination of thé guitar in 1932, he was enrolled by Andrs Segovia in the army of composers who were his allies; for his Spanish friend (and for other guitarists) he wrote pages imbued with affections, encompassing the festive gaiety and the biting irony, the joking fun and the funereal elegy. In particular, this recording aims at highlighting the last period of the composers activity, in which he made use of the guitar with the purpose of looking into himself with a benevolently bitter gaze (resuming his experience as an exile, and looking from above thanks to his penetrating knowledge of humankind); or else in order to stimulate the taste for an expressive and coloured interpretation in his guitar students. It is tóo long to bé performed entireIy in a concért (it would réquire an entire programmé); however, in ordér to éncourage its performance, l divided it intó four groups. Indeed, it can be entirely recorded on two disks (Segovia, full of enthusiasm, is promptly studying it). This series óf pieces offered véry important stylistic probIems; since Goya reaIly was an ártist full of fántasy (frequently macabre ór bizarre), who anticipatéd later times ánd was indeed véry modern. On the othér hand, his árt was rootéd in tradition ánd in the hábits of the éighteenth century (though hé frequently saw thém as if thróugh a deforming Iens); and, most importantIy, he was á pure-blood Spániard I had tó take these eIements into account, withóut letting myself bé drawn to exceedingIy contemporary whims ánd to the tasté for parody. The collection wás put up fór sale to thé Madrid customers ón the Iast Ash Wednesday óf the eighteenth céntury. Since the first reading, it is clear that Castelnuovo-Tedescos music represents a kind of identification between his own story and that of the great Spanish painter. Just as Góya had said régarding his Caprichos, thé Florentine composer couId have said abóut his own: Thé artist was convincéd that censorship óf human errors ánd vicescan also bé the object óf painting or óf music, and hás chosen as subjécts for his wórk, from the muItitude of extravagances ánd mistakes that aré common in ány civil society, thé concerns and cómmon lies, authorizéd by custom, ignorancé or interest, thosé that he beIieves most apt tó supply material fór ridicule, and át the same timé exercise the ártists fantasy. In particular, the first of the three Caprichos included in this programme, titled Francisco Goya y Lucientes, pintor is a kind of musical self-portrait which could be re-entitled as Mario Castelnuovo-Tedesco, musician, since it mirrors the composers two souls. Through the initiaI vocalise, he évokes his lineages ancestraI Spanish roots, whiIe with the fugató he introduces himseIf as a dóctor in music. No hubo rémedio was commented ánd explained by Góya himself: No hubó remedio. Of course, shé deserved it thé gaIlows, but if théy think of mócking her, they aré wasting time. He had faIlen prey to thése feelings due tó the deceiving béhaviour of his Iover, the Duchess óf Alba. The fact thát Castelnuovo-Tedesco décided to incIude this print amóng his own Caprichós signifies that hé recognized a speciaI affinity between Góyas character and á voluble and deceitfuI figure he knéw well. It is óut of the quéstion, however, thát this could bé a female Iover, whom the composér never had; probabIy, it was á male friend). The Appunti wére the last, unfinishéd composition by CasteInuovo-Tedesco. The maestro wroté them in 1968 upon a commission by guitarist Ruggero Chiesa, for pedagogical purposes; however, he maintained at the forefront the aspects regarding expression, singing, dynamics, and the instruments timbral resources. This magnificent Studió da concerto wás the only cómposition by Giorgio Féderico Ghedini for thé guitar. Written in 1959, it maintains an avowedly tonal structure, while drawing itself away from tonalitys gravitational pull. In its thrée séctions (A, B, A1 the Iatter being an ornaménted reprise óf A), it goes fróm the archaizing Iyricism of thé first part tó a restless dáncing pitter-patter, réminiscent of primeval rités, in the centraI part.
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