Lawrence Johnson | Two Spanish Masters - Music of Fuenllana & Segovia

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Andres Segovia Christopher Parkening Julian Bream

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Classical: Romantic Era Classical: Early Music Moods: Solo Instrumental
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Two Spanish Masters - Music of Fuenllana & Segovia

by Lawrence Johnson

Student of Andres Segovia. Romantic Style similar to Segovia, Christopher Parkening etc.
Genre: Classical: Romantic Era
Release Date: 

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  Song Share Time Download
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1. Fuenllana - Fantasia (Folio Cv)
2:45 $0.99
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2. Fuenllana - Fantasia (Folio XII)
4:22 $0.99
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3. Fuenllana - Fantasia (Folio Xxii)
4:11 $0.99
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4. Fuenllana - Fantasia (Folio Ix)
4:06 $0.99
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5. Fuenllana - Fantasia (Folio Xvii)
3:18 $0.99
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6. Fuenllana - Fantasia On a Forced Passage (Folio Cv)
4:31 $0.99
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7. Fuenllana - Fantasia (Folio Xlii)
2:18 $0.99
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8. Fuenllana - Fantasia (Folio Clxvii)
3:20 $0.99
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9. Segovia - Prelude
1:05 $0.99
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10. Segovia - 5 Short Works #1
2:01 $0.99
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11. Segovia - 5 Short Works #2
3:37 $0.99
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12. Segovia - 5 Short Works #3
0:52 $0.99
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13. Segovia - 5 Short Works #4
0:40 $0.99
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14. Segovia - 5 Short Works #5
0:50 $0.99
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15. Segovia - 5 ANECDOTES #1
3:11 $0.99
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16. Segovia - 5 ANECDOTES #2
1:10 $0.99
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17. Segovia - 5 ANECDOTES #3
2:50 $0.99
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18. Segovia - 5 ANECDOTES #4
0:56 $0.99
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19. Segovia - 5 ANECDOTES #5
3:37 $0.99
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20. Segovia - Prelude in Chords
1:11 $0.99
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21. Segovia - Macarena
1:14 $0.99
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22. Segovia - Lesson # 11
1:04 $0.99
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23. Segovia - Lesson # 12
1:05 $0.99
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24. Segovia - 4 Easy Lessons # 1
0:48 $0.99
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25. Segovia - 4 Easy Lessons # 2
0:33 $0.99
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26. Segovia - 4 Easy Lessons # 3
0:50 $0.99
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27. Segovia - 4 Easy Lessons # 4
0:28 $0.99
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28. Segovia - Neblina
2:21 $0.99
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29. Segovia - Estudio-Vals
2:22 $0.99
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30. Segovia - Oracion
3:03 $0.99
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31. Segovia - Remembranza
2:57 $0.99
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32. Segovia - Estudio Sin Luz
3:09 $0.99
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33. Segovia - Estudio in E
2:46 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
On this recording is the music of two of the greatest Spanish masters of the guitar. Miguel de Fuenllana is one of the earliest and Andres Segovia is perhaps the most recent. What they have in common (beside their mastery, national origin and their chosen instrument) is that their compositions are practically unknown to modern audiences.
Few details are known about Fuenllana’s life. He was blind - but was he blind from birth? He was in the service of the Marquesa de Tarifa and Queen Isabel de Valois - but the dates of this service are vague. In 1554 his only known work was published; Orphenica Lyra, which consists of some 174 folios (one folio consists of two pages) plus introductory and instructional material. The Fantasia is by far the most common form of solo vihuela (16th century guitar) music that Fuenllana wrote. And his works in this form are supreme examples of refined 16th century counterpoint. (Indeed one can see how the 16th century Fantasia developed into later fugal writing. Many of Fuenllana’s works in this genre are remarkably similar in form and content to even the fugues of J. S. Bach.)
For this recording I have chosen eight of his Fantasias, six of which are the more common polythematic variety and two (tracks 6 and 8) are monothematic works. I learned these works from the original tablature and they are found in the following folios of Orphenica Lyra: Track 1. Fo. CV, Track 2. Fo. XII, Track 3. Fo. XXII, Track 4. Fo. IX, Track 5. Fo. XVII, Track 6. Fo. CV, Track 7. Fo. XLII, Track 8. Fo.CLXVII.
Andres Segovia is known as one of the all-time supreme virtuosi and as the father of the 20th century revival of the classic guitar. His achievements in these areas are so legendary that it is not necessary to dwell on them. On the other hand he is almost completely unknown as a composer for his chosen instrument and he may be as responsible for this state of affairs as anyone - the only work of his that he is known to have performed or recorded is his Estudio sin Luz! He probably did not believe that composing was important to his greater mission of proselytizing the guitar.
When I first recorded these 25 short works in 1986-88 they were the only known pieces by the Maestro. However, since then, a number of other works have come to light and have been published. One could characterize Segovia’s compositional style as a “conservative” attempt to further extend 19th century romanticism with a certain Spanish feel (a possible influence of de Falla?) plus a small amount of impressionism (Neblina Track 28). In his earlier pieces (tracks 10-14) I sense a strong influence of Tarrega and in his more recent pieces his writing often reminds me of that of Pablo Casals (what little I have heard of his compositions). I also sense a certain influence of his great friend Manuel Ponce.
I feel that these miniatures reveal an exquisite and major (but perhaps somewhat underdeveloped) compositional talent and I believe many of these pieces are superior to similar works by other contemporary composers that the Maestro readily performed throughout his long career. I only hope that these works will eventually receive the recognition that they so richly deserve and will achieve a permanent and prominent place in the guitar repertoire Lawrence Johnson
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Lawrence Johnson has studied with some of the greatest masters of the classical guitar such as Andres Segovia, Christopher Parkening, Ida Presti and Alexander Lagoya, and Oscar Ghiglia among others. Christopher Parkening hails him as “a sensitive artist and one who deeply loves his instrument.” He recently completed a 15 year project of recording the complete solo guitar music of Fernando Sor (over 17 hours of music) to wide critical acclaim. Mr. Johnson recently retired from over 30 years of teaching at Roberts Wesleyan College in Rochester, New York.

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