Recital

Description

Before becoming the standard overture of Rossini’s well-known The Barber of Seville in 1816, it was used to introduce two other operas by Rossini : “Aureliano in Palmira” (1813) and “Elisabetta Regina d’Inghilterra” (1815). During the last century, trendy airs and opera overtures were frequently transcribed for instruments. In that respect, there is vast repertoire for the romantic guitars. Giulani and A.H. Varlet arranged the overture of The Barber of Seville for two guitars. John Dearman made the arrangement for the Los Angeles Guitar Quartet.

Gustav Holst’s Suite was originally intended for the resident string orchestra of the St Paul’s School for Girls. Celtic traditional themes underlie this lively piece written in homophonic style with simple motives throughout its four movements. Dargason, the finale, uses the familiar Irish fiddle tune of the same name as an ostinato, passing it from instrument to instrument. Among the quite striking accompaniments given this ostinato, one of the most clever is the supercomposition of the timeless Greensleeves melody in a complex juxtaposition of these two beloved tunes.

Shortly after leaving France for Hollywood, Stravinsky wrote a tango for piano (1941) which he arranged twelve years later for strings, wood, brass and guitar. This three-selection-piece shows Stravinsky’s extraordinary talent at nearly caricaturing the very spirit and mood of a tango dance. Stravinsky wrote the pastorale for soprano and piano in 1907 and dedicated it to his master Rimsky Korsakov. Nadezha Rimsky Korsakov’s voice inspired this very simple melody. Stravinsky altered the score several times. In 1923 he rewrote the piece for soprano, oboe, cor anglais, clarinet and bassoon. Ten years later, Stravinsky added two more versions, one for violon and piano, the other for violin and four wind instruments.
When George Balanchine was commissioned by the Ringling Brothers to compose a small ballet intended for the Barnum and Balley Circus, he immediately telephoned Stravinsky. Circus Polka stems from a brief conversation between the choregrapher and the composer:

S. WHat kind of music ? — B. Polka S. For whom ? — B. Elephants S. What age ? — B. Very young — S. Fine …

The first performance of Circus Polka took place on 9 april 1942 at Madison Square Garden. Fifty elephants on top of which fifty ballerinas danced on an arrangement for winds and percussion by David Raskin, based on the piano version; a few months later, Stravinsky adapted Circus Polka for a larger orchestra and conducted the first performance in january 1944.

East L.A. Phase can be perfomed on two keyboard instruments, four marimbas or four guitars. The title refers to East Los Angeles – as well as to Steve Reich’s Piano Phase from 1967. The piece is constructed upon two ostinato figures, one of which has been taken from a solo by the British rock pianist Keith Emerson. The work involves elements of improvisation in that the players themselves decide how long each section will last.

“The idea for Bulerias came to me while listening with fascination and awe to the multiple guitar improvisations of the touring show Flamenco Puro. This single movement virtuoso work is neither “flamenco” nor “pure”. But it is solidly rooted in the characteristic 12-beat rhytmic patterns of the solearesand it festive cousin the Bulerias, and is imbued throughout with the spirit and actual techniques of the flamenco quitar. After an impresionistic and improvisatory opening section marked Quasi cadenza – senza misura, the work becomes gradually more rhythmically clarified, leading to an intense Tempo di Soleares and finally culminating in a riotous final (and longest) section – Tempo di Bulerias ”
Ian Krouse

Fauré wrote his Pavane opus 50 in 1886. The following year he added an optinal choral part on poetry by Robert de Montesquiou. This short A-B-A constructed movement is one of Fauré’s most beautiful melodies. It is dedicated to Coutness Greffulhe and was created in Paris on 28 april 1888.