Part 5: Granados - The Poetic Nationalist Tarrega, F.: Capricho Arabe Recuerdos de la Alhambra Sanz, G.: Canarios Passacalles Galliardas De Narvaez, L.: Cancion del Emperador Diferencias Conde Claros In episode four, he is joined by another master performer, Paco Pena, who plays Flamenco guitar and talks with Bream about its origin and meaning. Each program travels between Spain's past and present and includes a wealth of historical documentation - paintings, manuscripts, biographical sketches of the composers, period instruments - as well as film of life in Spain today.įor this series, Julian Bream asked the outstanding Spanish guitar maker, his longstanding friend and colleague José Romanillos to make him a vihuela and a Baroque Spanish guitar and for the first time he performs publicly on these instruments. Seville, Toledo, Madrid, Barcelona, the Pyrenees - these and other locations form a vivid backdrop to his playing. Together, its music and history paint a rich portrait of Spain and her people.īream plays in some of Spain's most magnificent old buildings and beautiful landscapes, creating through his performances a visual evocation of the culture, history, and society that has given birth to the music. The programs trace the evolution of the Spanish guitar over five centuries, from 1500 to the present day.
He is featured in this series of eight 30-minute films, shot entirely on location in Spain, playing some of the finest pieces in the repertoire of the Spanish guitar.
Julian Bream is celebrated as one of the world's leading classical guitarists.
DVD 2009īREAM JULIAN, GUITARRA! Running time: 4 ore. 120 minutesĥ537 BREAM JULIAN, GUITARRA! Running time: 4 ore. Fabio Zanon - ‘Appassionata’, ‘Sonata 11’, ‘Sonata 144’, ‘Sonata 391’. Andrew York - ‘Marley’s Ghost’, ‘Sunburst Jubilation’. Judicaë Perroy - Variations on a Theme of Handel’, ‘Suite For Lute BWV 997’. The Newman & Oltman Guitar Duo - ‘Prelude from Cantos De España’, ‘Rumores de la Caleta’. Jorge Morel - ‘Danza Brasilera’, ‘Bossa in Re’. Lorenzo Micheli - Scherzo-Vals’, ‘Variations on the Folia’. Nikita Koskin - ‘Three Pieces for Two Guitars’, ‘The Cambridge Suite’. The Castellani-Andriaccio Duo - ‘Sonata in Dm’, ‘Escorregando’. Titles are: ‘Introduction’, Carlos Barbosa-Lima - ‘Mi Bossa Blue’, ‘Embers’. These performances previously featured on the now out of print blue cover video series by Mel Bay. This classic guitar DVD anthology has performances by some of the world’s best players. Variations on a Theme of George Frederich Handel Judicael Perroy Three Pieces for Two Guitars Nikita Koshkin Sonata in Dm The Castellani-Andriaccio Duo Rumores de la Caleta The Newman & Oltman Guitar Duo Prelude (Asturias/Leyenda) from "Cantos de Espana" The Newman & Oltman Guitar Duo Pieces and performances include:Įscorregando The Castellani-Andriaccio Duo A new recording, made in 2011, evoking the unique athmosphere of Paris at the beginning of the 20-th century, a melting pot of styles, cultures and trends.This classic guitar DVD anthology has performances by some of the world’s best players. Izhar Elias won the coveted Dutch Music prize in 2010, and has since made a number of critically acclaimed recordings, including works by Turino and Guiliani’s arrangement of Rossini’s Semiramede for Brilliant Classics (93902) Features music by Manuel de Falla, Joaquín Rodrigo, Henri Sauguet, Joaquín Turina, Francis Poulenc, Alexandre Tansman and Heitor Villa-Lobos The fascinating repertoire collected together in this unique programme is brought to life by a skilled performance from Izhar Elias, and sheds light on the profound influence that Debussy’s music had on the generation of composers that followed him. The influence of Debussy can also be heard in Villa-Lobos’s Etudes Nos.7 and 12, while Rodrigo and Sauget’s works are tributes to de Falla. This collection of works by seven composers celebrates this unique blend of styles and its realisation in guitar compositions, using Manuel de Falla’s Homenaje (Hommage à Debussy) as a starting point, a musical elegy (or tombeau) composed following Debussy’s death in 1918. His influence on composers such as Manuel de Falla, Hector Villa-Lobos, Joaquín Rodrigo and Joaquín Turina led to a remarkable fusion of French musical language (as developed by Debussy) and Spanish (or Latin American) folk music idioms.
Termed ‘impressionist’, a label the composer never approved of, Debussy’s music (like that of his younger contemporary Ravel) is full of colouristic expression and textures, which held a significant appeal to a younger generation of musicians. In the early 20th century, Paris was a magnet for composers, who were drawn to the city by the powerful influence of Claude Debussy.