edward simon (b.1969): el manicero (the peanut-seller) 4 ... · pdf filethe composer,...

CANCION DE CUNA

Guitar Music from Cuba

Marco Tamayo, Guitar

DDD8.555887Guitar Collection

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1 Edward Simon (b.1969): El manicero (The Peanut-Seller) 4:33Ñico Rojas (b.1921):

2 Guyún - El maestro 2:103 En el abra del Yumurí (In Yumuri Bay) 4:524 Francito y Alfonsito 2:385 Lilliam 4:216 Guajira a mi madre (Guajira for my mother) 4:107 Carlos Fariñas (1934-2002): Preludio 3:41

Aldo Rodríguez (b.1955):8 Canción 3:039 Danza 1:52

Harold Gramatges (b.1918): Suite breve 8:010 Preludio 0:46! Alemanda 2:20@ Siciliana 0:59# Sarabanda 3:11$ Minuetto 0:45

Leo Brouwer (b.1939): % Canción de cuna (Berceuse) 4:04^ Zapateo 2:19& Ojos brujos (Bewitching Eyes) 2:41* Carlos Fariñas: Canción triste (Sad Song) 2:55

Hector Angulo (b.1932): Cantos Yoruba de Cuba 13:58( Asokere I 0:53) Suayo 2:01¡ Iyá mi ilé 1:44™ Borotití 2:16£ Asokere II 0:28¢ Iyá mo dupé 1:49∞ Yeye bi obi toauo 2:26§ E iekua 1:12¶ Asokere III 1:08

GUITAR MUSIC FROM CUBA Also available in this series

555887bk Cuba USA 24/12/2003 07:56 pm Page 5

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Marco TamayoMarco Tamayo was born in Havana, where he started toplay guitar at the age of three under his father’s tuition. Hestudied with Antonio Alberto Rodríguez and Leo Brouwer,and later in Europe in Munich and at the Mozarteum inSalzburg, where he was a pupil of Eliot Fisk, RainerSchmidt for violin, and Anthony Spiri for harpsichord,among others. Winner of major international guitarcompetitions like the Michele Pittaluga, Città deAlessandria, in 1999, Marco Tamayo has performedconcerts together with the Chamber Orchestra ofSt Petersburg, the Turin Philharmonic, the ChamberOrchestra of Aix en Provence, the Tampere Philharmonicin Finland and the Havana Philharmonic, among manyothers. He divides his activities between concertappearances and teaching, with master-classes in different guitar festivals around the world and in universitiessuch as Seoul University of Arts in South Korea. He has lived in Salzburg since 1995 and has taught at theMozarteum since 2000.

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Conservatorio Provincial de Música de Oriente, wherehe completed his course in 1936. He went on to studyat the then Conservatorio Municipal de Música inHavana as a pupil of Amadeo Roldán and JoséArdévol. He was associated with the Grupo deRenovación Musical from its foundation in 1942, theyear in which a scholarsship took him to Tanglewood,where he worked with Aaron Copland and SergeyKoussevitzky. He studied further with Copland in1948-49 and attended seminars by Elliott Carter. Hefounded and directed the Havana Chamber Orchestraand until 1958 taught at the Conservatorio Municipal,and for ten years, from 1951, was president of theSociedad Cultural Nuestro Tiempo. He has heldvarious other positions of importance in the officialcultural life of Cuba and from 1960 to 1964 wasCuban ambassador to France. From its foundation in1976 he held the chair of composition at the InstitutoSuperior de Arte, and is now Professor Emeritus. Hehas been the recipient of various national andinternational prizes, with the highest Cuban honoursand, among the latter, the Premio Tomás Luis deVictoria of the Sociedad General de Autores yEditores de España. His earlier compositions werelargely neo-classical in style, developing over theyears as a result of external influences.

The composer, guitarist and conductor LeoBrouwer Mezquida was born in Havana in 1939 into afamily of musicians. He had his first music lessonsfrom his father, Juan Brouwer, and his aunt, CaridadMezquida, and his first guitar lessons in 1953 withIsaac Nicola, who established the modern school ofCuban guitar-playing. In 1959 he was awarded ascholarship for further study of the guitar in Americaat Hartford University and of composition at theJuilliard School in New York, where his studies werewith Vincent Persichetti, Stefan Wolpe, Isadore Preed,J.Diemente and Joseph Iadone. In 1960 he wasappointed director of the Instituto Cubano de Arte eIndustria Cinematográficos, a position that, over theyears, brought the composition of a large number of

film scores both in Cuba and abroad. From this timeonwards he was associated with the Cuban musicalavant-garde, serving as adviser to Radio Havana Cubaand teaching at the Conservatorio Nacional, and, asoccasion demanded, in universities abroad. Heestablished the biennial Cuban Guitar Competitionand Festival and since 1981 has been general directorof the Orquesta Sinfónica Nacional de Cuba.Conducting engagements have taken him to a numberof countries.

The first of the three discernible periods inBrouwer’s creative career started in 1954, with aseries of pieces that explored the resources of theguitar in works that combined traditional classicalforms with Cuban inspiration. In the 1960s, after theCuban revolution, he came to know the work of avant-garde composers such as Penderecki and Bussotti,when he attended the 1961 Warsaw Autumn Festival,absorbing these influences and those of leadingcontemporary composers who visited Cuba fromabroad, into a very personal style that made use ofmodern techniques of various kinds, includingelements of post-serialism and the aleatoric. The late1970s brought a third period that Brouwer himself hasdescribed as national hyper-romanticism, a return toAfro-Cuban roots coupled with elements of traditionaltechnique and of minimalism. Many of his guitarcompositions have won an international reputation,with a firm place in current repertoire, played andrecorded by guitarists throughout the world. He is hererepresented by his Berceuse (Canción de cuna), theZapateo, one of a pair of popular Cuban airs, and Ojosbrujos (Bewitching Eyes).

Another aspect of Cuban music is heard in theCantos Yoruba de Cuba by Hector Angulo, who nowenjoys a very considerable reputation.Thesearrangements of melodies of African origin are animportant part of the Afro-Cuban legacy.

Keith Anderson(Adapted from a note by Marco Tamayo)

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Cuban culture is essentially an amalgam of threedominant factors: 400 years of Spanish colonial rule,ending in 1901; the impact of religion as a result ofwhite and African slave immigration; and the 60-yearexposure to North American culture, ended by the1959 revolution. Latin-American flexibility facilitatedthe assimilation of all these elements into the nationalculture. It is easy to see how these influences haveshaped Cuban music, which now incorporates Afro-Cuban rhythms, twentieth century harmonies,characterized by the juxtaposition of major and minormodes, and elements of jazz and impressionism –typically in the music of José Antonio Rojas – as wellas traditional European forms of composition – as inthe melancholy Suite breve of Harold Gramatges. Oneof the finest solo instruments for best givingexpression to this unique aspect of Cuban musicalculture is the guitar. The music on this recordingranges from the popular appeal of the son montuno,the country dance form found especially in the Orienteregion, to the contemporary harmonization of Yorubamelodies by Hector Angulo. All the pieces convey adiverse picture of Cuba in music that is nostalgic yetfresh-sounding, elaborate yet pure in its relativesimplicity of expression.

José Antonio (Ñico) Rojas Beoto was born inHavana in 1921. A civil engineer, guitarist andcomposer, he is one of the exponents of the so-called‘Feeling’ trend in Cuban music, which brought abouta revival in Cuban popular song in the 1940s. Hisworks combine the sonority of the guitar with thecomplex rhythmic and melodic elements of Cubantraditional music. His language is defined by animprovisatory influence, and this is noticeable in re-expositions of themes and in passages where themelody combines with a free rhythm.

Carlos Fariñas was born in Cienfuegos in 1934and studied first at Santa Clara. In 1948 he entered theConservatorio Municipal de Música in Havana, where

he studied with Harald Gramatges. He joined theSociedad Cultural Nuestro Tiempo in 1950, anorganization for the promotion of contemporaryCuban music, and in 1956 studied composition atTanglewood with Aaron Copland, and conductingwith Eleazar de Carvalho and Seymour Lipkin. Hecompleted his studies at the Havana Conservatorio in1957. His early compositions were stronglyinfluenced by nationalism and neo-classicism. From1961 to 1963 he studied in Moscow, and in 1969 wona prize at the Fourth Paris Biennale for his Tiento II,an example of avantgarde work of the time. He wasinvolved in the establishment of the OrquestaSinfónica Nacional and served as director of theConservatorio Alejandro García Caturla. From 1966to 1976 he was director of the music section of theBiblioteca Nacional José Martí, and held the chair ofcomposition at the Instituto Superior de Arte. In 1989he set up the Estudio de Música Electroacústiva y porComputadora (EMEC), a reflection of the laterdirection his music took. He died in 2002. ThePreludio here recorded was performed first in Cuba byJesús Ortega for the sound-track of the film Soy Cuba(I am Cuba) by Mikhail Kalatozov, and is in therepertoire of almost every Cuban guitarist.

Aldo Rodríguez was born in 1955 and studied theguitar with Isaac Nicola and Martha Cuervo. He alsoattended master-classes with Alirio Díaz, María LuisaAnido and Frank Fernández. He has given master-classes in Poland, France, Colombia, Bulgaria andChile, and teaches at the National School of Music inHavana. He has received various honours from theCuban Government, including the Medalla por laCultura Nacional, and the Medalla Alejo Carpentier,awarded by the government in 2003.

One of the leading figures in Cuban musical life,Harold Gramatges was born in Santiago in 1918 andhad his early studies there with Zoila Figueras,followed by study with Dulce María Serret at the

Cuban Guitar Music

555887bk Cuba USA 24/12/2003 07:55 pm

8.5558874

Marco TamayoMarco Tamayo was born in Havana, where he started toplay guitar at the age of three under his father’s tuition. Hestudied with Antonio Alberto Rodríguez and Leo Brouwer,and later in Europe in Munich and at the Mozarteum inSalzburg, where he was a pupil of Eliot Fisk, RainerSchmidt for violin, and Anthony Spiri for harpsichord,among others. Winner of major international guitarcompetitions like the Michele Pittaluga, Città deAlessandria, in 1999, Marco Tamayo has performedconcerts together with the Chamber Orchestra ofSt Petersburg, the Turin Philharmonic, the ChamberOrchestra of Aix en Provence, the Tampere Philharmonicin Finland and the Havana Philharmonic, among manyothers. He divides his activities between concertappearances and teaching, with master-classes in different guitar festivals around the world and in universitiessuch as Seoul University of Arts in South Korea. He has lived in Salzburg since 1995 and has taught at theMozarteum since 2000.

8.5558873

Conservatorio Provincial de Música de Oriente, wherehe completed his course in 1936. He went on to studyat the then Conservatorio Municipal de Música inHavana as a pupil of Amadeo Roldán and JoséArdévol. He was associated with the Grupo deRenovación Musical from its foundation in 1942, theyear in which a scholarsship took him to Tanglewood,where he worked with Aaron Copland and SergeyKoussevitzky. He studied further with Copland in1948-49 and attended seminars by Elliott Carter. Hefounded and directed the Havana Chamber Orchestraand until 1958 taught at the Conservatorio Municipal,and for ten years, from 1951, was president of theSociedad Cultural Nuestro Tiempo. He has heldvarious other positions of importance in the officialcultural life of Cuba and from 1960 to 1964 wasCuban ambassador to France. From its foundation in1976 he held the chair of composition at the InstitutoSuperior de Arte, and is now Professor Emeritus. Hehas been the recipient of various national andinternational prizes, with the highest Cuban honoursand, among the latter, the Premio Tomás Luis deVictoria of the Sociedad General de Autores yEditores de España. His earlier compositions werelargely neo-classical in style, developing over theyears as a result of external influences.

The composer, guitarist and conductor LeoBrouwer Mezquida was born in Havana in 1939 into afamily of musicians. He had his first music lessonsfrom his father, Juan Brouwer, and his aunt, CaridadMezquida, and his first guitar lessons in 1953 withIsaac Nicola, who established the modern school ofCuban guitar-playing. In 1959 he was awarded ascholarship for further study of the guitar in Americaat Hartford University and of composition at theJuilliard School in New York, where his studies werewith Vincent Persichetti, Stefan Wolpe, Isadore Preed,J.Diemente and Joseph Iadone. In 1960 he wasappointed director of the Instituto Cubano de Arte eIndustria Cinematográficos, a position that, over theyears, brought the composition of a large number of

film scores both in Cuba and abroad. From this timeonwards he was associated with the Cuban musicalavant-garde, serving as adviser to Radio Havana Cubaand teaching at the Conservatorio Nacional, and, asoccasion demanded, in universities abroad. Heestablished the biennial Cuban Guitar Competitionand Festival and since 1981 has been general directorof the Orquesta Sinfónica Nacional de Cuba.Conducting engagements have taken him to a numberof countries.

The first of the three discernible periods inBrouwer’s creative career started in 1954, with aseries of pieces that explored the resources of theguitar in works that combined traditional classicalforms with Cuban inspiration. In the 1960s, after theCuban revolution, he came to know the work of avant-garde composers such as Penderecki and Bussotti,when he attended the 1961 Warsaw Autumn Festival,absorbing these influences and those of leadingcontemporary composers who visited Cuba fromabroad, into a very personal style that made use ofmodern techniques of various kinds, includingelements of post-serialism and the aleatoric. The late1970s brought a third period that Brouwer himself hasdescribed as national hyper-romanticism, a return toAfro-Cuban roots coupled with elements of traditionaltechnique and of minimalism. Many of his guitarcompositions have won an international reputation,with a firm place in current repertoire, played andrecorded by guitarists throughout the world. He is hererepresented by his Berceuse (Canción de cuna), theZapateo, one of a pair of popular Cuban airs, and Ojosbrujos (Bewitching Eyes).

Another aspect of Cuban music is heard in theCantos Yoruba de Cuba by Hector Angulo, who nowenjoys a very considerable reputation.Thesearrangements of melodies of African origin are animportant part of the Afro-Cuban legacy.

Keith Anderson(Adapted from a note by Marco Tamayo)

8.555887 2

Cuban culture is essentially an amalgam of threedominant factors: 400 years of Spanish colonial rule,ending in 1901; the impact of religion as a result ofwhite and African slave immigration; and the 60-yearexposure to North American culture, ended by the1959 revolution. Latin-American flexibility facilitatedthe assimilation of all these elements into the nationalculture. It is easy to see how these influences haveshaped Cuban music, which now incorporates Afro-Cuban rhythms, twentieth century harmonies,characterized by the juxtaposition of major and minormodes, and elements of jazz and impressionism –typically in the music of José Antonio Rojas – as wellas traditional European forms of composition – as inthe melancholy Suite breve of Harold Gramatges. Oneof the finest solo instruments for best givingexpression to this unique aspect of Cuban musicalculture is the guitar. The music on this recordingranges from the popular appeal of the son montuno,the country dance form found especially in the Orienteregion, to the contemporary harmonization of Yorubamelodies by Hector Angulo. All the pieces convey adiverse picture of Cuba in music that is nostalgic yetfresh-sounding, elaborate yet pure in its relativesimplicity of expression.

José Antonio (Ñico) Rojas Beoto was born inHavana in 1921. A civil engineer, guitarist andcomposer, he is one of the exponents of the so-called‘Feeling’ trend in Cuban music, which brought abouta revival in Cuban popular song in the 1940s. Hisworks combine the sonority of the guitar with thecomplex rhythmic and melodic elements of Cubantraditional music. His language is defined by animprovisatory influence, and this is noticeable in re-expositions of themes and in passages where themelody combines with a free rhythm.

Carlos Fariñas was born in Cienfuegos in 1934and studied first at Santa Clara. In 1948 he entered theConservatorio Municipal de Música in Havana, where

he studied with Harald Gramatges. He joined theSociedad Cultural Nuestro Tiempo in 1950, anorganization for the promotion of contemporaryCuban music, and in 1956 studied composition atTanglewood with Aaron Copland, and conductingwith Eleazar de Carvalho and Seymour Lipkin. Hecompleted his studies at the Havana Conservatorio in1957. His early compositions were stronglyinfluenced by nationalism and neo-classicism. From1961 to 1963 he studied in Moscow, and in 1969 wona prize at the Fourth Paris Biennale for his Tiento II,an example of avantgarde work of the time. He wasinvolved in the establishment of the OrquestaSinfónica Nacional and served as director of theConservatorio Alejandro García Caturla. From 1966to 1976 he was director of the music section of theBiblioteca Nacional José Martí, and held the chair ofcomposition at the Instituto Superior de Arte. In 1989he set up the Estudio de Música Electroacústiva y porComputadora (EMEC), a reflection of the laterdirection his music took. He died in 2002. ThePreludio here recorded was performed first in Cuba byJesús Ortega for the sound-track of the film Soy Cuba(I am Cuba) by Mikhail Kalatozov, and is in therepertoire of almost every Cuban guitarist.

Aldo Rodríguez was born in 1955 and studied theguitar with Isaac Nicola and Martha Cuervo. He alsoattended master-classes with Alirio Díaz, María LuisaAnido and Frank Fernández. He has given master-classes in Poland, France, Colombia, Bulgaria andChile, and teaches at the National School of Music inHavana. He has received various honours from theCuban Government, including the Medalla por laCultura Nacional, and the Medalla Alejo Carpentier,awarded by the government in 2003.

One of the leading figures in Cuban musical life,Harold Gramatges was born in Santiago in 1918 andhad his early studies there with Zoila Figueras,followed by study with Dulce María Serret at the

Cuban Guitar Music


CANCION DE CUNA




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555887bk Cuba USA 24/12/2003 07:56 pm

CANCION DE CUNA




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This recital gives a fascinating insight into the many influences on Cuban culture: among them400 years of Spanish colonial rule and 60 years of exposure to North American culture prior tothe 1959 revolution. The music ranges across Afro-Cuban rhythms, twentieth century harmonies,elements of jazz and impressionism, traditional European forms of composition, the countrydance form known as the son montuno, and contemporary harmonization of Yoruba melodiesfrom the Oriente region.


2 Guyún – El maestro 2:103 En el abra del Yumurí (In Yumuri Bay) 4:524 Francito y Alfonsito 2:385 Lilliam 4:216 Guajira a mi madre (Guajira for my mother) 4:107 Carlos Fariñas (1934-2002): Preludio 3:41

Aldo Rodríguez (b.1955):8 Canción 3:039 Danza 1:520-$ Harold Gramatges (b.1918): Suite breve 8:01

Leo Brouwer (b.1939): % Canción de cuna (Berceuse) 4:04^ Zapateo 2:19& Ojos brujos (Bewitching Eyes) 2:41* Carlos Fariñas: Canción triste (Sad Song) 2:55(-¶ Hector Angulo (b.1932): Cantos Yoruba de Cuba 13:58

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GUITAR MUSIC FROM CUBA


Recorded at St John Chrysostom Church, Newmarket, Ontario, Canada, from 17th to 20th January, 2002 Producers: Norbert Kraft and Bonnie Silver • Engineer and Editor: Norbert Kraft

Cover Image: Hen and Chickens, Cuba (1997) by Andrew Macara (Bridgeman Art Library)

Playing Time65:31

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555887fb Cuba USA 24/12/2003 08:40 pm Page 1

edward simon (b.1969): el manicero (the peanut-seller) 4 ... · pdf filethe composer,...

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