LONG LIVE SEVILLE! - Federico Garcia Lorca

VIVA SEVILLA!  (CVLD226)

Selection and Arrangements By Federico Garcia Lorca
Music for piano by Isaac Albeniz, on poetry of Gustavo A. Becquer 

Tracks

01 - Anda Jaleo (F.G.Lorca), 2’24”
02 - Los cuatro melerose (F.G.Lorca), 1’48”
03 - Besa el aura…. (G.A.Becquer – I.Albeniz), 1’04”
04 - Las tres hojas (F.G.Lorca), 2’13”
05 - Los mozos de Monleón (F.G.Lorca), 6’26”
06 - Del salón en el ángulo..... (G.A.Becquer – I.Albeniz), 0’43”
07 - Las morillas de Jaén (F.G.Lorca), 2’28”
08 - Sevillanas del siglo XVIII (F.G.Lorca), 2’56”
09 - Me ha herido.... (G.A.Becquer – I.Albeniz), 1’05”
10 - El café de Chinitas (F.G.Lorca), 3’03”
11 - Nana de Sevilla (F.G.Lorca), 5’29”
12 - Cuando sobre el pecho inclinas.... (G.A.Becquer – I.Albeniz), 1’05”
13 - Los pelegrinitos (F.G.Lorca), 4’20”
14 - Zorongo (F.G.Lorca), 2’30”
15 - De dónde vengo?.... (G.A.Becquer – I.Albeniz), 1’28”
16 - Romance de Don Boyso (F.G.Lorca), 5’21”
17 - Los reyes de la baraja (F.G.Lorca), 1’54”
Total time: 46’25”

24bit/96kHz original recording made at Papillons Studio, Padova, Italy, on February 19th, 2001

Production: VELUT LUNA
Recording and mastering engineer: MARCO LINCETTO

Notes
The most important activity in the life of Federico García Lorca, apart from his literary activity, was musical. Both are closely linked, so that we can see how his poetry, lyrical or dramatic, is full of musical inspiration, not only in themes and forms of expression, but also in its structure, style, and the emotion it arouses.
As a child he studied music, and it seems that this, for a period, was his main and precocious vocation. During adolescence, music and literature vied for supremacy, and the latter won.
His musical vocation remained ever more circumscribed to the field of folk music.
Growing up in Granada, as a child he had the opportunity to live in direct contact with the countryside and the peasant world, learning about their songs and folk dances.
What he learned during childhood represents the most intimate and genuine depth of his knowledge of Spanish popular music.
He deeply studied the most important songbooks, and in particular those of Felipe Pedrell and Barbieri, which allowed him to learn not only the popular music preserved in the tradition of other areas of Spain, but also ancient music transcribed from manuscripts, from medieval books and from the 16th and 17th centuries (thus far distant in time and space).
For the selection of the songbooks, he only had the melodic musical notation, without any accompaniment, of melodies never heard before and to which he was not accustomed.
Living in Andalusia, he did not have many opportunities to listen to the songs of Castilian peasants or those from northern Spain, and to learn about their music he had to rely on the knowledge of amateurs and folk experts from those areas.
But his great musical and popular instinct helped him to quickly perceive the characteristics of each of them. He accompanied the pieces with his arrangements which, despite their simplicity, were very effective, because they managed to reveal the harmony and rhythm implicit in each song.
All this shows that his work in the field of folk music was not the systematic and methodical work of a specialist, but that of an artist who, in popular culture, sought the pleasure of discovering and performing a different art, full of originality, perfection and beauty.

Antonio Domenighini was born in Cologne, Uruguay and is an Italian and Uruguayan citizen. He studied music at the Juan J. Castro Music Academy in Buenos Aires, Argentina.
He graduated as a choir conductor and at the same time studied as a professional singer.
He was the director of a children's music center during the years he lived in Italy, in Padua.
He was the founder of the Bach Ensemble in Padua; he currently lives in Montevideo, Uruguay and is the director of the National Choir of Radio and Television of Uruguay and is a professor of "Choir Conducting" at the University of the Republic.

Alberto Boischio, graduated with honors from the C. Pollini Conservatory in Padua with G. Di Toma, attended masterclasses with Gyorgy Sandor, Aquiles DelleVigne, Joaquin Achucarro, Piernarciso Masi, Dario de Rosa and was admitted to the International Ecole de Piano in Lausanne directed by Fausto Zadra under whose guidance he specialized in three years. First prize in national and international music competitions, he regularly participated in concert seasons in Italy and abroad as a soloist, soloist with orchestra and especially with chamber ensembles. In 1994, with a piano duo, he won a scholarship at the Chigiana Academy in the course held by Joaquin Achucarro, winner of the 2nd prize at "Città di Gussago" and first prize at the European piano competition "Città di Moncalieri". Since 1991, in a duo with violinist Stefano Furini, he has performed in various concert seasons in Italy and Europe, obtaining wide public and critical acclaim and winning the first prize in 1995 at the "F. Schubert" chamber music competition in Ovada (To).
In 1996, with Furini and cellist Jacopo Francini, he founded the Rachmaninoff Trio which won first prize at the "Città di Pinerolo" international chamber music competition. Regularly engaged in solo and chamber activities, in 2000, with a concert at the masterclass in Riva del Garda, he began a collaboration with Domenico Nordio and Alessandro Carbonare which concluded with an important album recorded in 2001. In February 2003 he recorded the 24 Preludes op. 37 by Ferruccio Busoni and other rarities in their first release,
published by the prestigious specialized magazine CD Classics. He records for "Velut Luna Recording" as a soloist and in chamber ensembles, obtaining wide approval from national and international specialized press and critics (Fedeltà del Suono, CD Classics, Audio Revue, Suonare News).