VIVA SEVILLA! - 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 

Track List

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 Federico Garcìa Lorca’s life, apart from the literary activity, was the musical one. Both are tightly bonded, so that we can notice how his poetry, lyric or dramatic, is full of musical inspiration, not only in the themes and form of expression, but also in the structure, in the style and in the emotion that arouses.
As a child he studied music and it seems that this, for a while, was his principal and precocious vocation. During adolescence music and literature disputed for supremacy, and the latter won.
His musical vocation remained ever more circumscribed to the field of folk music.
Grown up in Granada, as a child he had the opportunity to live in direct contact with the countryside and the peasants’ world, and to know their songs and folk dances.
What he learned during childhood represents the most intimate and genuine depth of his knowledge of spanish folk music.
He profoundly studied the most important songbooks, and particularly Felipe Pedrell’s and Barbieri’s ones , which allowed him to know not only the folk music preserved in the tradition of other areas of Spain, but also the ancient music transcibed from the manuscipts, from the medieval books and from the sixteenth and seventeenth centuries ( therefore far in time and space).
For the choise of songbooks he only had at his disposal the melodic musical note, with no accompaniment whatsoever, of melodies never heard before and at which he wasn’t used.
Living in Andalusia, he actually had not many occasions of listening to Castiglia’s peasants singing or those from the north of Spain so, in order to know their music, he had to avail himself of the knowledge of amateurs and folk experts from those areas.
But his great musical and popular instinct helped him to rapidly perceive the characteristics of each one of them.
He accompanied the songs using his own arrangements which, in spite of their semplicity, they were of a great effectivess, because they were able to unveil the harmony and the rhythm implicit in every song.
All this proves that his work in the musical folk field was not the systemathic and methodical opera of a specialist, but that one of an artist who, in the popular, searched for the pleasure of discover and performance of a different art, full of originality, perfection and beauty.
Antonio Domenighini was born in Colonia, Uruguay and he is Italian and Uruguyan Citizen.
He studied music at Academy of Music Juan J.Castro, in Buenos Aires, Argentina.
He gradueted as Conductor of Choir and at the same time he studied as professional singer.
He was been the principal of a musical center for children, during the years he lived in Italy, in Padova.
He was been the founder of Bach Ensemble in Padova; actually he lives in Montevideo, Uruguay and he is the conductor of the National Radio and Televion Chorus of Uruguay and he is teacher of “Direction of Chorus” at the University of The Republic.
Alberto Boischio, graduated Summa Cum Laude at Conservatory C. Pollini of Padua with G. Di Toma, has attended perfectioning courses with Gyorgy Sandor, Aquiles DelleVigne, Joaquin Achucarro, Piernarciso Masi, Dario de Rosa and was admitted to the International Ecole de Piano of Losanna directed by Fausto Zadra under whose guide specialized in three years. First prize in national and international music competi-tions he has been regularly engaged to concert seasons in Italy and abroad as a solist, solist with orchestra and in particular with chamber ensemble. In 1994, with a pianistic duo, he won a scholarship at Chigiana Academy in the course given by Joaquin Achucarro, winner of 2nd prize at “Città di Gussago” piano compe-tition and first prize at the European Piano Competition “Città di Moncalieri”. From 1991 in duo with the violin-ist Stefano Furini he has been present in various concert seasons in Italy and Europe recieveng vast public and critic consent and obtaining in 1995 the first prize to the chamber music competition “F. Schubert” in Ovada (To).
In 1996 with Furini and the violoncellista Jacopo Francini has founded the Trio Rachmaninoff which won the first prize at the international chamber music competition “Città di Pinerolo. Regularly engaged in solistic and cameristic activity, in 2000, with a concert at the course of improvement at Riva Del Garda, he begins a col-laboration with Domenico Nordio and Alessandro Carbonare which has concluded with an important record recording in 2001. In February 2003 he recorded records the 24 Preludes op. 37 of Ferruccio Busoni and other rarities in first execution
published by the prestigious specialized magazine CD Classics. He records for “Velut Luna Recording” as a solist and in chamber ensemble obtaining wide approval of specialized national an international press and critics (Fedeltà del Suono, CD Classics, Audio Revue, Suonare News).