Brian Farrell | Sevilla

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by Brian Farrell

Irish Classical Guitarist Brian Farrell plays music by Joaquín Turina, Bartolomé Calatayud, Manuel M. Ponce, Federico Moreno Torroba & Isaac Albéniz.
Genre: Classical: Classical era
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  Song Share Time Download
1. Joaquín Turina, Homenaje á Tárrega: Garrotín
2:29 $0.99
2. Joaquín Turina, Homenaje á Tárrega: Soleares
2:14 $0.99
3. Suite Antigua: I. Andante
1:22 $0.99
4. Suite Antigua: II. Zarabanda
1:10 $0.99
5. Suite Antigua: III. Pavana
1:24 $0.99
6. Suite Antigua: IV. Minueto
1:46 $0.99
7. Suite Antigua: V. Rondino
1:00 $0.99
8. Sonatina Meridional: I Campo
4:07 $0.99
9. Sonatina Meridional: II. Copla
2:34 $0.99
10. Sonatina Meridional: III. Fiesta
2:17 $0.99
11. Suite Castellana: I. Fandanguillo
1:34 $0.99
12. Suite Castellana: II. Arada
4:10 $0.99
13. Suite Castellana: III. Danza
2:13 $0.99
14. Suite Española, Op. 47: III. Sevilla (Sevillanas) [Arr. for Guitar]
5:02 $0.99
15. Suite Española, Op. 47: I. Granada (Serenade) [Arr. for Guitar]
5:45 $0.99
16. Suite Española, Op. 47: IV. Cádiz (Canción) [Arr. for Guitar]
4:58 $0.99
Downloads are available as MP3-320 files.


Album Notes
Irish Classical Guitarist Brian Farrell plays music by Joaquín Turina, Bartolomé Calatayud, Manuel M. Ponce, Federico Moreno Torroba & Isaac Albéniz.

Garrotín (a style of flamenco singing, dancing, and guitar playing) is in the standard 2/4 time and immediately from the beginning establishes a strong rhythmic pulse. There is no shortage of tone and colour contrasts and the piece makes good use of ponticello, glope (to strike the guitar body) and pizzicato, while the ending is as soft as possible.

Soleares is a basic palos of flamenco music. Usually a Soleares is in the Phrygian mode and generally played around the lower registry of the instrument. Turina’s Soleares in 3/4 time, encapsulates all aspects of the above.

Suite Antigua is a 5 movement work all in the key of Amajor accept for the Zarabanda which is in Aminor. The Zarabanda is also played in the original faster Spanish tempo than the slower more commonly known baroque speed. The last movement, Rondino is a smaller form of rondo. Rondo meaning ‘a round’ has its principal subject given out at least three times, while in between these repetitions are parts often referred to as episodes.

Campo, with its Andalusian flamenco influence, is in sonata form and embraces the Phrygian mode. The second theme (in the dominant), Ponce uses the étouffé effect (muting the tone) with motifs from the first theme closing the exposition. The development, after several modulations now in the submediant, closes with a series of chords where shortly thereafter the recapitulation begins.
The second movement Copla is in 6/8 time. The phrasing is somewhat challenging for the performer while the harmony moves between the major and Phrygian mode. Cante jondo (Deep Song - flamenco vocal style) from Andalusia is present in this movement while the use of the hemiola (6/8 - 3/4) appears in places throughout the movement.

The last movement Fiesta is evocative of the flamenco guitar and leaves to one side the vocal feel of the Copla that precedes it. It is a very lively movement and has a wide variety of colours and dynamics. There is much use of chords (arpeggiated and rasqueado) particularly at the opening which harks back to the opening of the first movement. The hemiola features many times in this movement which gives a fiery and vibrant effect especially when the dramatic use of chords is employed.

Suite Castellana is a somewhat short suite in three movements. The Fandanguillo, which was traditionally accompanied by guitars and castanets or hand-clapping and usually in triple-time, opens this suite. With a very short, but strong 3 bar opening, it immediately moves into an Andalusian style flamenco rhythm in Eminor and soon modulates into the tonic major, Emajor. The opening 3 bar motif is repeated towards the end but this time the melody is in the bass and it is marked Lento. Very quickly it becomes lively again, only to end somewhat abrupt.

Torroba was a leading writer of light opera and Arada demonstrates this with its beautiful song-like melody. This is a very slow movement and uses a technique often employed by French impressionist composers known as chordal planning.

Danza is again quite short but technical and fast and moves from Vivo to Lento to Vivo again. The Lento section again shows Torroba’s skill at melody writing and is very very expressive.

Sevilla is tuned differently to the standard tuning of the guitar and as in this recording, is often played in the key of Gmajor. This is quite a demanding and challenging work for the performer and is probably one of the most difficult of the 3. The slow section is very lyrical and cadenza like and when the opening theme returns in all its glory, the full sense of life in the Spanish town of Seville is truly captured.

Cádiz (Canción) is a very uplifting piece and as the title in the parentheses says ‘Cancion’ it’s exactly that - song like.

Granada (Serenata) is typically calm and light to listen to and one cannot help being reminded of the Alhambra with its majestic fountains and architecture while listening to this piece. This is a very chordal based work yet there are many romantic scale-like passages with many shifts in keys.



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