Segovia's 1944 recordings, out of print for over three generations, represent him at the peak of his powers. His unique, clear, rich and dark tone, as well as his orchestral timbres and textures, reaffirm his pre-eminence in the history of the guitar.
Oyanguren was active concert performer in the 1930s and 1940s. His Columbia recordings appear now (on CD) for the first time in 60 years. Highlights of his career included engagements as guest-soloist with the New York Philharmonic and for President Roosevelt in the White House.
A performer, composer and arranger, Gomez was active mostly in Mexico. His American Columbia recordings of 1928 were made in New York (about which time the orchestrated version of his Suite Andaluza, was performed by the New York Philharmonic). His distinctive musical personality, rhythmic intensity and vitality, are displayed by these masterly recorded performances, now available for the first time in over 70 years.
Segovia's 1947 Musicraft recordings of Bach (most
notably of the Chaconne - the first guitar version ever recorded)
represents a milestone in the development of the guitar in the
20th century. These recordings have always been available in one
format or another, invariably with atrocious sound...
UNTIL NOW!!!
DOREMI has painstakingly restored these glorious recordings to
the level of sonic quality their magnificence deserves. Segovia
is once again represented at the peak of his technical and musical
powers, in performances which reveal his unique, clear, rich dark
tone, his orchestral timbres and textures.
The recordings of Luise
Walker, from
1932 & 1934 - when she was in her early 20's, reveal her to
be a worthy contemporary of Segovia, an elegant, sensitive player
with a beautiful tone and an impressive command of her instrument.
For the first time the guitar aficionado is provided with
an excellent sound which showcases Walker's unique artistry.
ANDRES SEGOVIA plays
J. S. BACH:
Musicraft
78s Album M-85 recorded 1947:
Musicraft
78s Album M-90 recorded 1947:
Telefunken 78s recorded 1934:
Odeon
78s recorded 1932:
MILAN: Pavane VI; Pavane
IV; SANZ: Pavane; ANON: Canzone; Saltarello; El Noi de la Mare;
El Testamente de Amelia; TORROBA: Burgalesa; Albada; Arada; TARREGA:
Danza Mora; Minuet; DE VISEE: Entrada; Giga; Bourree; Minuet.
The
selection of recital pieces presented in this volume originates
from the same recording sessions in January 1944 which produced
the Albeniz and Granados tracks heard on Vol. 1 of this series.
Unavailable in any format for decades, these miniatures provide
yet another glimpse into the art of the Maestro at the height
of his powers. An eclectic selection of works spanning five centuries
of western music.
ALBENIZ: Asturias; Granada;
TARREGA: Recuerdos de la Alhambra; Variaciones sobre la Jota Aragonesa
(Gran Jota); Sueño; GRANADOS: Danza No. 5; ALBENIZ: Cadiz;
RUBINSTEIN: Romance.
One
of the greatest guitarists of all time, Anido has unfortunately
been very little represented on record. A glaring omission, finally
rectified in this volume!
Acclaimed as a prodigy by Segovia himself, she developed a mature
and unique artistry. She had a flourishing career during the 1930's
and the 1950's. This wonderful Argentinian artist's romantic flair
is beautifully demonstrated in a selection of virtuoso guitar
works by the great Spanish masters, recorded in her prime.
TORROBA: Fandanguillo from "Suite
Castellana"; BACH: Prelude from cello suite No.1 BWV
1007
TARREGA: Etude in A major; MENDELSSOHN: Canzonetta
from string quartet in Eb Op.12
ALBENIZ: Granada & Sevilla from "Suite Espagnole";
TORROBA: Preludio
CASTELNUOVO-TEDESCO: Vivo ed Energico from "Hommage
a Boccherini"
The
recital pieces presented in this volume originated in recordings
made in London for HMV between 1928 and 1938. They constitute
a representative cross-section of his concert repertoire, made
at the height of his powers. As always, this DOREMI CD sound is
far superior to any re-issue of Segovia material transferred by
others.
GOMEZ: Romance de Amor; La Farruca;
Sevillanas Y Panaderos; Alegrias; Granada Arabe; Solea
CALLEJA: Cancion Triste; SOR: Preludio; MARIN:
Rapsodia Andaluza; TARREGA: Marietta & Adelita;
AGUADO: Estudio de Concierto; TORROBA: Fandanguillo
from "Suite Castellana"
One
of the most popular classical guitarists of the 78 era, Gomez
has unfortunately not yet been represented on CD. This CD rectifies
this glaring omission. These 1939 debut recordings made for American
Decca, have not been available in any format for several decades.
They show an artist of remarkable versatility, with a mastery
of both the classical heritage and the Spanish folk tradition.
Llobet
in 1905
ANDRES
SEGOVIA HMV recordings 1928 - 1930
Bach: Prelude BWV
999; Allemande from Lute Suite BWV 996; Fugue in A minor from
the 1st Violin Sonata BWV 1001
Ponce: Suite in A major: Prelude, Allemande, Sarabande,
Gavotte, Gigue
The
recital pieces presented in this volume originated in recordings
made in London for HMV between 1928 and 1938. They constitute
a representative cross-section of his concert repertoire, made
at the height of his powers.
MIGUEL
LLOBET Parlophone/Decca recordings 1925 - 1929
Quijano
- Llobet:
Estilo Popular Argentino; Coste: Etude Op. 38 No. 23 Sor:
Etude in B minor Op. 35 No. 3; Andantino Op. 2 No. 3
Bach: Sarabande from the 2nd Violin Partita BWV 1002 Ponce:
La Pajara (Cancion Mexicana); Ponce: Por ti Corazon (Cancion Mexicana)
Anon - Llobet: El Testament d'Amelia; El Mestre; La Filla
del Marxant; Plany
One
of the greatest classical guitarists of the 78 era, Llobet was
the foremost student of Tarrega, the "father" of the
modern classical guitar. His recordings were made for Odeon-Parlophone
in the mid 1920's. They show an artist of remarkable originality
and virtuosity, playing many of his famous arrangements in solo
and in duo
ANIDO/LLOBET
DUO: Odeon/Decca recordings 1925 - 1929
Aguirre: Huella; Mendelssohn: Song Without Words (Book 5) Op.
62 No. 25
Albeniz: Evocacion from Book 1 of "Iberia"
MARIA
LUISA ANIDO Victor and Odeon recordings c. 1930
Mozart: Minuetto; Alfonso
de Sabio: Cantiga; Tarrega: Sueño Ponce: Por ti
Corazon (Cancion Mexicana) Bach: Bourree from the 3rd Cello
Suite BWV 1009; Prelude from the 4th Cello Suite BWV 1010 San
Sebastian: Dolor - Preludio Vasco
This
wonderful Argentinean artist was featured previously on Vol. 4
of this series. Anido appears here in duo with Llobet, whose protegé
she was. Also presented are seven rare solos recorded on Victor
and Odeon in Argentina, issued here for the very first time since
their original release on 78s.
Francisco Salinas
ANDRES
SEGOVIA
HMV recordings 1928 - 1930
Ponce: First and
Second movements from Sonata no. 3, Postlude 18; Tarrega:
Tremolo Study (Recuerdos de la Alhambra), Petite Valse, Mazurka;
Turina: Fandanguillo.
The
recital pieces presented in this volume originated in recordings
made in London for HMV between 1928 and 1938. They constitute
a representative cross-section of his concert repertoire, made
at the height of his powers.
FRANCISCO
SALINAS
Columbia (1926) and Victor (1931) recordings.
Yanez: Anita (Mazurka),
Habaneras, Estudio de Concierto; G. Gomez: Tu Recuerdo,
Arpa de Oro, Guajiras, Tientos, Conchilla; Salinas: Dime
Que Si...
Tarrega: Adelita; Capricho Arabe; Schubert: El Deseo;
Arcos: Maria Luisa; Galindo: Suplica de Amor.
Although
long considered in his native Mexico as its founding father of
the classical guitar, Salinas is now, outside of his homeland,
wholly unknown as a concert guitarist and a recording artist.This
volume contains the very first re-issue of his recordings in nearly
75 years. Recorded only one year after the introduction of electrical
recordings, it restores the prominence his artistry merits and
preserves the vividness of his sumptuous sonority. These extremely
rare early recordings, made in New York in 1926 for Columbia and
in 1931 for Victor, reveal a unique artist who possesed intense
musical sensibility and a uniquly beautiful sound evoking the
Mexican style and sentiment.
In Volume
8 of DOREMI's pioneering series "Segovia and His Contemporaries,"
the spotlight once again falls on the Uruguayan virtuoso, Julio
Martinez Oyanguren, who was introduced in the first volume. Apart
from Segovia himself, no other classical guitarist in
the 78 era recorded as prolifically or eclectically as Oyanguren.
In this present offering, we hear a typically wide ranging repertoire
covering three centuries. Of particular interest are the first
ever recordings of Giuliani's "Grande Overture" and
de Falla's masterpiece "Homage a Debussy". The selection
of Segovia HMV recordings offered parallels the span of Oyanguren's
performances, including signature performances of two of Granados'
"Danzas Espanolas" and Sor's "Variations on a Theme
of Mozart." Although these recordings date from the 1920s
and 1930s, their sound is lucid and full, thanks to the carefully
restoration by DOREMI.
Segovia &
His Contemporaries Vol. 9: Segovia & Sainz de la Maza DHR-7804
Regino Sainz de la Maza: (COLUMBIA;
DECCA; ODEON c. 1928-1948)
Rodrigo: Concierto de Aranjuez
Tarrega: Mazurka; Evocación; Reverie
Sainz de la Maza (Arr:): El Vito
Andres Segovia: (COLUMBIA
1949)
Castelnuovo-Tedesco: Guitar Concerto No.1;
Tarantella
Ponce: Sonatina Meridional
Volume 9 of "Segovia
and His Contemporaries," showcases two landmark recordings,
Segovia's first performance of the Castelnuovo-Tedesco Concerto
#1 and Regino Sainz de la Maza's premiere of Rodrigo's universally
beloved Concierto de Aranjuez. Waxed in the late 1940s, these
rare recordings marked the first appearance on disc of the first
concertos written for the guitar in the twentieth century. Sainz
de la Maza was one of the most important classical guitarists
of the twentieth century not only as a performer, but as a teacher,
composer, arranger, and exponent of new repertoire. This recording
goes a long way to rectify his very weak representation on CD.
Besides his evocative performance of the Aranjuez, he plays two
tremolo studies and a Mazurka of Tarrega, as well as his own arrangement
of the folk tune El Vito. Segovia offers Castelnuovo-Tedesco's
virtuosic Tarantella and Ponce's Sonatina Meridional. DOREMI is
proud to issue these musically historic gems of the art of the
classical guitar.
2CDs + 1DVDFeaturing the early-recordings of the legendary Cuban-American guitarist, Jose Rey de la Torre. This release comprises Rey's first three long-playing recordings (1945-1950) in their entirety, along with Andres Segovia's complete rare 1955 Decca issue "Masters of the Guitar". All of the performances are devoted to the works of Fernando Sor and Francisco Tarrega, the two seminal figures in the development of the modern classical guitar. The works of these guitarist-composers have formed the backbone of the technical and artistic formation of guitarists for well over a century. Rey's recordings are particularly significant. His recording of many of Sor's most important etudes was by far the earliest and his performances of them remain musically among the most beautiful and accomplished ever set to disc. Equally important are his renderings of the little-performed Tarrega preludes "exquisite miniatures" and the ubiquitous warhorses (Recuerdos, Lagrima, Adelita, and the like), not only for their artistic merit, but also for the fact that his interpretations come in a direct line of descent from Tarrega himself by way of Rey's maestro, Miguel Llobet, Tarrega's finest student. These recordings also allow listeners a clear contrast between the two dominant traditions of classical guitar performance in the twentieth century -one line descending directly from Tarrega, the other from Segovia. Also included is a DVD of extremely rare television appearances made in 1957 and 1962 by Rey de la Torre.
The six string single strung classical guitar came to Argentina early in the nineteenth century. The Italian guitarist Esteban Massini (1778-1838), arrived to Argentina in 1822. Eight years later the poet Esteban Echeverria returned from his European studies, bringing with him the teachings of Sor and Aguado. Many others followed, including such pivotal figures as Gaspar Sagreras (1838-1901) in 1860, Carlos Garcia Tolsa (1858-1905) in 1885, and Antonio Jimenez Manjon (1866-1919) in 1893. Consequently, native guitarists also began to flourish, prominently among them, Juan Alais (1844-1914). Finally, of the disciples of Francisco Tarrega, the father of the modern classical guitar, arrived. Miguel Llobet (in 1910), Emilio Pujol, and Josefina Robledo came for extended periods to perform and teach. Others settled permanently in Buenos Aires, including Domingo Prats (first visit in 1908), and Hilarion Leloup (1876-1939) in 1912, establishing schools and academies that at their height provided instruction to over five thousand students, laying the foundation for an immense flowering of young virtuosi.
The rise of the classical guitar in Uruguay ran a parallel course. Antonio Saenz, from Seville, set out his teaching shingle in 1829. A number of guitarists came in exile from Buenos Aires to escape the dictatorship of Juan Manuel de Rosas, and others ventured to Argentina to study with Massini. Of course, Tarrega's disciples came too to perform, and others, such as Conrado Koch, settled as teachers. The consequences for Montevideo were in close alignment with those for Buenos Aires - the development of a solid core of brilliant young performers, from Isaias Savio and Julio Martinez Oyanguren to Abel Carlevaro. It was no wonder that Andres Segovia, seeking sanctuary from the vicissitudes of the European scene, came to live in Montevideo in 1937.
By the time Munoz published his Historia in 1930, the Rio de la Plata had become the central axis for classical guitar activity. Journals were devoted to the guitar, notably Juan Carlos Anido's La Guitarra in 1923 and the Revista Musical Ilustrada Tarrega in 1924. The publisher Francisco Nunez's Antigua Casa Nunez 1931 Nuevo Catalogo de Metodos y Obras Musicales ran to108 pages! Besides the imported Spanish guitars of Torres and his school, including Enrique Garcia and Francisco Simplicio, native builders, such as Rudolfo Camacho Viera (1887-1973), constructed impressive instruments.
The Rio de la Plata continues to be a fountainhead for the classical guitar. A glance at today's leading performers and composers - Jorge Morel, Eduardo Fernandez, Jorge Cardoso, Cacho Tirao, Alvaro Pierri, to name but a few-reflects its continuing preeminence.
In this golden age of the guitar, recording
activity was remarkably intense, and from the wealth of recordings
available, a judicious selection had to be made. The artists have
been divided into three groups-classical, folkloric, and popular.
The divisions are not absolute, though, since their repertoires
were remarkably fluid. There is no contradiction in observing
the great classical guitarist Maria Luisa Anido playing a triste
or a gato along with Rameau and Rodrigo, or Julio Martinez Oyanguren,
noted for his interpretations of the purely classical repertoire,
assaying a pericon, an estilo, or a vidalita. The tango virtuoso
Jose Maria Aguilar performed works from the classical repertoire,
and the folkloric guitarist Abel Fleury was equally renowned as
a classical guitarist.
CD 1
Agustin Barrios (1928)
Barrios: Romanza Odeon 200-A
Barrios: Aire Popular Paraguayo Odeon 200-B
Bach, J.S:. Loure Odeon 201-A
Barrios: Luz Mala Odeon 201-B
Tarrega, F.: Capricho Arabe Odeon 202-A
Beethoven, L.: Minuet Odeon 202-B
Barrios: Danza Paraguaya Odeon 203-A
Barrios: Cueca Odeon 203-B
Barrios: Aconquija Odeon 204-A
Barrios: Junto a tu Corazon Odeon 204-B
Barrios: Maxixe Odeon 206-A
Barrios: Mazurka-Sarita Odeon 206-B
Schumann, R.: Traumerei Odeon 207-A
Conceicao:Tarantella Odeon 207-B
Barrios: Souvenir d'un reve Odeon 208-A/B
Nelly Ezcaray (1941-1944)
Pinero, Geronimo Bianqui: Carnavalito RCA Victor 68-1849-A
Villafane, M. Acosta:El Borrachito(Bailecito) RCA Victor 68-1849-B
Sor, F.: Minuet Victor 39393-A
Tarrega, F.: Danza Mora (1st version) Victor 39393-B
Tarrega, F.: Danza Mora (2nd version) RCA Victor 68-2201-A
Tarrega, F.: Capricho Arabe RCA Victor 68-2201-B
Ross: Zapateado Victor 39423-B
Malats: Serenata Espanola Victor 39423A
Miguel Llobet (1925)
Quijano, P.: Estilo popular Odeon 196-045-B
Ponce, M:. Dos Canciones Odeon 196-045-A
CD 2
Maria Luisa Anido (1907-1996) Odeon (c. 1950), Victor (1930s)
Albeniz, I.: Asturias Odeon 57014 A/B
Aguirre, J.: Triste No. 4 Odeon 57026 A
Rameau. J.P. :Minueto Odeon 57026 B
Casinelli, Ulises Gato Victor 80801 A
Granados, E.: La Maja de Goya Victor 80801 B
Sanz, G: Pavanas Odeon 57046A
Rodrigo, J: En los Trigales Odeon 57046B
Maria Luisa Anido-Miguel
Llobet (1929)
Aguirre, J: Huella Odeon 196067 A
Maria Angelica Funes (c. 1950)
Torroba, F. Serenata Burlesca Odeon 65644A
Chopin, F.: Preludio Op. 28/7 Odeon 65644B
Chopin, F. Mazurka Odeon 65644B
Villa Lobos, H.: Prelude 3 Odeon 56580A
Grieg, Edvard: Danza de Anitra Odeon 56580B
Ponce, M.: Cancion Mexicano 3 Odeon 57047A
Bach, J.S.: Double from Partita #1 BWV 1002 Odeon 57047B
Lalyta Almiron (1931)
Albeniz, I.: Torre Bermeja Odeon 183249
Tarrega, F.: Estudio Brillante Odeon 203331
Abel Carlevaro (late 1940s)
Castelnuovo-Tedesco, M.: Tarantella Parlophone Odeon PXO 1073
Barrios, A.: Estudio Las Abejas Parlophone Odeon PXO 1073
Villa-Lobos, H: Estudio I in e Parlophone Odeon PXO 1073
Ayestaran, Ramon (1955)
Paganini, N.: Sonatina Sondor 15015A
Bach, J.S.: Bouree from suite BWV 996 Sondor 15015B
Bach, J.S.: Musetta (Anna Magdalena book) Sondor 15015B
Gilardi, Gilardo: Vidala (vidalita) Sondor 15016A
Fleury, Abel: Mudanzas Sondor 15016B
Andres Segovia (1949)
Villa Lobos, Heitor: Etude VII in e# Columbia LX1229
Villa Lobos, Heitor: Etude I in e Columbia LX1229
Crespo, Gomez: Nortena Columbia LB 130
CD 3
Julio Martinez Oyanguren Victor (1932), Orfeo (1940s)
Sinopolis, A: Pericon Orfeo 107 B
Fleury, A.: Estilo Pampeano Orfeo 115 A
Sinopolis, A.: Vidalita Orfeo 107 A
Oyanguren, J. M: Jota Victor 37072 B
Alais, Juan Un momento Victor 37072 A
Mario Pardo. Odeon (1920s-1930s)
Gagliano, Alfonso: Cortas Olvidados Odeon 6722 B
Kern, J.: Quien Odeon 6612 B
Maffia, R.M.: Noche de Reyes Odeon 6626 B
Pardo: Vidalito
Portena Odeon 971 B
Arolas, Eduardo Derecho Viejo Odeon 6722 A
Albeniz, I: Granada Odeon 6603 A
Andres Chazaretta (mid 1920s)
Chazaretta, A.: Pampa Taquella Odeon 996 B
Chazaretta, A.: Siete de Abril Disco Electra 050
Chazaretta, A.: Zamba de Vargas Odeon 996 A
Aguilar-Pages Duo (mid 1920s)
Aguilar, J.: Las Madreselvas Victor 79884 B
Aguilar, J.: Manos Brujas Victor 79884 A
Iriarte-Pesoa Duo (mid 1920s)
Pesoa, R.: Carinitos (zamba) Victor 79805 B
Rosendo, A: El Entrerriano Odeon 9611 B
Podesta, A: Pericon por Maria Victor 79805 A
Spina-Baudino Duo (early 1930s)
Aguilar, Guillermo: Gaucho Lindo Victor 47212 B
Trio Odeon: Iriarte, R.
Pesoa, R. Pages A. (c. 1928)
Iriarte, Pesoa,Pages: De Rompe y Roja Odeon 9625 B
Fleury, Abel (1947)
Fleury, A.: Pajaros en el Monte Odeon 31676 A
Fleury, A.: Sobretarde (triste) Odeon 31676 B
Atahualpa Yupanqui (1946)
Yupanqui, A.: La Churquena Victor 68-0652 B
Yupanqui, A.: Vidala del Silencio Victor 68-0652 A
Eduardo Falu (early 1950s)
Falu, Eduardo: Lombardi, D.V.:.Zamba de Vargas TK S-5088 B
Pascuale Taraffo (1929)
Taraffo, Pascuale: Prospero Columbia 1808D B
Taraffo, Pascuale: Sonatina Columbia 1808D A
DVD
José Maria Aguilar
(1930) (Accompanying Carlos Gardel
(vocal), with Barbieri & Riverol (Assisting Guitars)
Aguilar: Anoranzas
Andres Segovia (1962)
O. Chilosetti (transcr.): Preludio
O. Chilosetti (transcr.): Bianca Fiore
O. Chilosetti (transcr.): Danza
O. Chilosetti (transcr.): Gagliarda
O. Chilosetti (transcr.): Canzone
O. Chilosetti (transcr.): Saltarello
Bach, J.S.: Gavottes 1 & 2 ( from Cello Suite No. 6, BWV 1012)
Sor: Allegro (from Grand Solo, op.14)
Boccherini-Cassado: Andante Cantabile (from Cello Concerto No.
2)
the "Festival String Quartet" with Felix Galimir and
Marvin
Morgenstein, violins, Jacob Bernstein, cello, Arthur Ganick, viola
Maria Luisa Anido (1982)
O. Chilosetti (transcr.): Saltarello
O. Chilosetti (transcr.): Canzone
O. Chilosetti (transcr.): Danza
Albeniz: Granada
Mozart: Menuet
Anido (?): Danza
Tarrega: Sueno
Specially priced as "4 for 3"