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Luther Enloe | Music for the Guitar

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Classical: Traditional Classical: Traditional Moods: Featuring Guitar
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Music for the Guitar

by Luther Enloe

Resonant sound quality, lyrical phrasing, and technical finesse accentuate this presentation of guitar masterpieces.
Genre: Classical: Traditional
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  Song Share Time Download
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1. Sonata, Op. 61: I. Allegro
4:05 $0.99
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2. Sonata, Op. 61: II. Andante
3:34 $0.99
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3. Sonata, Op. 61: III. Allegro Vivio
3:45 $0.99
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4. Prelude for Lute, BWV 999
1:39 $0.99
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5. Sonata No.1 in G Minor, BWV 1001: Siciliana
3:30 $0.99
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6. Suite in a Minor: I. Preludio
2:39 $0.99
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7. Suite in a Minor: IV. Gavotte
3:03 $0.99
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8. Suite in a Minor: V. Gigue
3:56 $0.99
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9. Sixieme Fantaisie, Op. 21: Les Adieux!
6:16 $0.99
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10. Canción Del Emperador
3:04 $0.99
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11. Three Airs of Court: I. Preludio
5:00 $0.99
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12. Three Airs of Court: II. Aria
2:42 $0.99
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13. Three Airs of Court: III. Finale (Giga)
3:14 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
Joaquin Turina’s (1882-1949) Sonata, Op. 61 is his longest work for solo guitar. The style of the music is a mixture of Impressionism and Andalusian inspired melodies. The music is very episodic with many abrupt mood shifts ranging from eloquently beautiful melodies to energetic flamenco flourishes. Listen for the reappearance of material from the first movement in the final movement.

J.S. Bach’s (1685-1750) Prelude for Lute, BWV 999 is reminiscent of many of his preludes from The Well Tempered Clavier in that it contains an arpeggio pattern repeated over changing harmony. This style of writing, known as style brise (broken style), was developed by lutenists to make up for their instrument’s lack of sustain. Listen for the top note of the arpeggio to form a melody throughout sections of the piece. The Siciliana from Bach’s Violin Sonata No. 1, BWV 1001 forms a contrast with the Prelude for Lute in both mood and texture; it is basically a love song in three voices. Listen here for the main melody to alternate between the outer parts.

The Preludio, Gavotte and Gigue are three of the five pieces in Manuel Ponce’s Suite in A minor. These pieces are a pastiche originally attributed to the lutenist Sylvius Leopold Weiss (1686-1750) as both a practical joke and a convenient way for the great guitarist Andres Segovia, for whom they where written, to enlarge his Baroque repertoire without having to research manuscripts in dusty old libraries. The Preludio is written to sound as if it is being improvised by the performer. The Gavotte is a flowing piece that takes a sojourn into the key of A major, while the Gigue displays a driving intensity.

The Sixieme Fantaisie: Les Adieux! Op. 21 (Sixth Fantasy: The Farewells! Op. 21) by Fernando Sor was most likely composed in London around 1815 but was published in Paris in 1825. A Fantasy is a free-form composition with elements that suggest the performer is improvising. This particular piece takes the listener through a number musical moods and textures; from its somber beginning the piece slowly builds in intensity and excitement to its ending climax. Sor, a Spanish expatriate, lived abroad for the latter half of his life, forced to leave Spain after the fall of Napoleon’s armies in which he served. It is possible that the title reflects aspects of his departure from his homeland.

Luis de Narváez’ (c.1500-1560) Cancion del Emperador (Song of the Emperor) is actually based on Josquin Desprez’s (c.1440-1521), vocal composition Mille Regretz (A Thousand Regrets). It was common practice for vihuela, Spain’s version of the Lute, composers to set popular songs of the day for their instrument. This is primarily how the tradition of playing solo instrumental music was begun. Supposedly the favorite song of the Holy Roman Emperor, Charles V, Narváez named his version The Emperor’s Song in homage. A translation of the original text reads “A thousand regrets in leaving you and going far from your loving face. I have great grief and grievous pain, so that soon people will see me end my days.” (Translation: William Paden) This piece exemplifies the guitar’s ability to handle multi voice textures and, as can be expected, the music reflects the deep sentiment of the lyric.

Three Airs of Court by Guido Santorsola (1904-1994) was published in 1966 and stems from the composer’s affinity for the music of J.S. Bach. Here we have three movements that blend modern composition with a classical structure. The Preludio with its eerie introduction unfolds into a beautiful tapestry that includes tremolo, cascading effects and contrapuntal textures. The lyrical Aria includes a section where the bass notes are marked
Pizzicato (muted with the right hand palm) while the melody is played natural; creating a distinct separation between the voices. And the brilliant Finale (Giga) dances across the guitar’s fingerboard thus bringing the CD to a dramatic conclusion.

I sincerely hope that you enjoy listening to this, my first recoding. I’d like to dedicate this recording to my parents Hugh and Janet Enloe with much love and appreciation.

- Luther Enloe
May 25, 2003

A big thanks to Jonathan and Jennifer Adams of Montana Skies. Thanks also to Victoria Enloe, Hugh Enloe, Janet Enloe, James Enloe and John Sutherland.

Produced by Luther Enloe & Jonathan Adams
Engineered and mixed by Jonathan Adams
Guitar: 2001 Kenny Hill, Munich model
Photos and text editing by Victoria Enloe

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