David Martinez - Guitar Recital [CD]

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David Martinez - Guitar RecitalScarlatti Regondi Bach Aguada Sainz de la Maza De Lucia TarregaDomenico Scarlatti (1685-1757).Sonata K 208Sonata K 209Sonata K 32Sonata K 27Born in the same year as Handel and J. S. Bach,Domenico Scarlatti was a Neapolitan but settled in theIberian peninsula, first in Portugal and then in Spain,where the rhythms and sometimes the harmonies of theSpanish guitar strongly influenced many of the 555sonatas he wrote for the harpsichord. In binary form,they have nothing to do with the later classical sonataform, and often transcribe excellently for the guitar. Intheir original form they embody astonishing advances inkeyboard technique, scarcely possible for a singleguitarist (who needs two fingers to play a single note),but a considerable number of the sonatas benefitpositively from the wide expressive range that a guitarcan bring to them, and guitarists have not been slow torealise that potential. K 208 is an example, a melody thatmay be embellished with Baroque ornaments at theplayer's discretion, though at some risk of destroying thesublime simplicity of Scarlatti's inspiration. A certainamount of embellishment was necessary on theharpsichord, which is even more incapable than theguitar of playing a note with true sustaining power. Inthe contrasting liveliness of K 209, there is less need.The arpeggio flourish that opens K 32 may remind youof the flamenco forms that are now so familiar. Not onlyin this sonata but in the following K 27, the guitar hashad an unmistakable influence on Scarlatti'scomposition. No wonder that guitarists regard his musicas a gold-mine.Giulio Regondi (1822-1872)Introduction et Caprice, Op. 23The Italian-born Regondi successfully survived earlyexploitation as a child prodigy, becoming much soughtafter, particularly in England, where he spent most of hisfifty years, as a virtuoso guitarist, a composer of sologuitar pieces in the best Romantic traditions of Chopinand Schumann, and, perhaps surprisingly, a master ofthe Wheatstone concertina, at that time a new invention,for which he composed many works.Regondi's Introduction et Caprice for solo guitar istypical of his best work, its high romanticism echoingthe work of the great Romantic composers of the midnineteenthcentury yet at the same time speaking - orsinging - in Regondi's own individual voice, ardent,poetic, rhapsodic, and ideally suited to the voice of theguitar. Chopin and Schumann never thought of writingfor the guitar, but Regondi speaks the same musicallanguage and we can understand it and enjoy it inexactly the same way.J. S. Bach (1685-1750)Prelude, Fugue and Allegro BWV 998As with Scarlatti, Bach's works are known to guitariststhrough transcriptions. Nevertheless, some of his works- the so-called 'lute suites', for instance - are so lute-likein their musical essence and in their ability to be playedon the lute's modern fretted and plucked equivalent, theguitar, that it is difficult to believe that Bach did notwrite them direc

Sonata K 208

Sonata K 209

Sonata K 32

Sonata K 27

Introduction Et Caprice, Op.23

Preludio

Fuga

Allegro

Andante And Rondo, No.3

Folias

Espanoleta

Marizapalos

Canarios

Fuente Y Caudal (Tarantas)

Recuerdos De La Alhambra

Lagrima