The Classical Guitar Reborn
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reception [at] mhm.lu.se (BESTÄLL CD)
All decades leave imprints, thoughts and feelings in peoples’ minds. And in this respect the fifties is no exception. Full of future promises, factory smoke and things ’modern’ it brought faith and optimism to people who had seen the war and were only too willing to trade destruction for construction.
The call of the day heeded: Be fun, have fun, look ahead and don´t worry . And the young ones were only too susceptible to the message. The pulse beat faster and with it evolved a life style, a style not yet experienced.
Radio Luxembourg was the key media and the transistor radio the means. European based American radio stations began pounding out music to an extent this part of the world had never even dreamed of. Young men and women changed from boys and girls into teenagers, into mods and rockers, pracitcally overnight.
Another phenomenon of the fifties affecting people was ’Life International’ – the American picture magazine. It showed pictures we never knew existed. Pictures of heroes, down-and outs, ordinary men and women, people in foreign lands. Pictures showing the world and real life, despair and revolt. It pointed out momentum and elaborated the grey-scale. It showed glamour, it showed squalor, it showed things black and white, right and wrong. It showed contradictions.
My fifties were years with Mother and Father, my brother and sister. A time of discovery, a time of family and most of all, a time of anticipation.
As for the guitar, the fifties were years of creativity and breaking new territory. Composers declared their interest, new music was written and the instrument found a new lease of life. I´d like to think the fifties had the vision to foresee the potential of the instrument, to see it progressing from back there to up here. I´d like to think the fifties was the period when the classical guitar became renewed when it was reborn.
Julián Orbón (1925–1991)
Preludio y Danza (1950)
1. Preludio 2´21
2. Danza 1´44
Maurice Ohana (1914–1992)
3. Tiento (1957) 4´26
Roberto Gerhard (1896–1970)
4. Fantasia (1957) 4´11
Hans Werner Henze (1926–2012)
Drei Tentos (1958)
5. Tranquillamente 2´16
6. Allegro rubato 1´32
7. Lento 2´13
Darius Milhaud (1892–1974)
8. Segoviana op. 366 (1957) 3´06
Andres Segovia (1893–1987)
9. Estudio sin luz (1954) 3´33
Ernst Krenek (1900–1991)
Suite für Gitarre allein op. 164 (1957)
10. Allegro moderato 0´49
11. Andante sostenuto 1´38
12. Allegretto 0`41
13. Larghetto 1´57
14. Allegro 1´05
Lou Harrison (1917–2003)
15. Serenade (1951) 2´13
Henri Sauguet (1901–1989)
16. Soliloque in ricordo de Manuel de Falla (1958) 5´37
Leo Brouwer (1939–)
17. Danza Caracteristica (1957) 2´12
Reginald Smith-Brindle (1917–2003)
El Polifemo de Oro (1956)
18. Ben Adagio 1´10
19. Allegretto 2´00
20. Largo 1´59
21. Ritmico e Vivo 2´16
Frank Zappa (1940–1993)
22. Waltz for guitar (1958) 1´27
This recording is the result of an artistic research project directed by Gunnar Spjuth and financed by the Malmö Academy of Music, Lund University, Sweden.
Recorded at Studiobörsen, Malmö
Producer, Dragan Buvac, dB Productions Sweden