Salvatore Fortunato & Fortunato Salvatore - Sainz de la Maza: Complete Music for Guitar (2021)
BAND/ARTIST: Salvatore Fortunato, Fortunato Salvatore
- Title: Sainz de la Maza: Complete Music for Guitar
- Year Of Release: 2021
- Label: Brilliant Classics
- Genre: Classical
- Quality: flac lossless
- Total Time: 02:16:17
- Total Size: 491 mb
- WebSite: Album Preview
Tracklist
01. Alegrias
02. Zapateado
03. Cantilena
04. Seguidilla-Sevillana
05. Scherzo
06. Preludio-Studio
07. Solea
08. Rondeña
09. Cuatro Obras Originales: I. Baile de Muñecas
10. Cuatro Obras Originales: II. Meditacion
11. Cuatro Obras Originales: III. Recuerdo
12. Cuatro Obras Originales: IV. Minueto
13. Estudio en la Menor
14. Petenera
15. La Frontera de Dios: I. Albada y Paisaje
16. La Frontera de Dios: II. Meditación
17. La Frontera de Dios: III. Idilio
18. La Frontera de Dios: IV. Romancillo de María Belén
19. La Frontera de Dios: V. Sacrificio
20. Estudio-Scherzo
21. Canciones Castellanas
22. El Vito
23. Laberinto
24. Platero y Yo: I. Platero
25. Platero y Yo: II. el Loco
26. Platero y Yo: III. la Azotea
27. Platero y Yo: IV. Darbón
28. Platero y Yo: V. Paseo
29. Platero y Yo: Vi. la Tortuga
30. Platero y Yo: VII. la Muerte
31. Platero y Yo: VIII. a Platero en Su Tierra
32. Bolero
33. 3 Stücke Für Gitarre: I. Rondalla
34. 3 Stücke Für Gitarre: II. Pieza Sin Titulo
35. 3 Stücke Für Gitarre: III. Pieza Sin Titulo
36. Preludio
37. Añoranza Lejana
38. Confidencia
39. Homenaje a la Guitara
40. Homenaje a Toulouse-Lautrec
41. Homenaje a Haydn
42. Habanera
43. Evocación Criolla
44. Soñando Caminos
45. Campanas del Alba
Brothers Regino (1896-1981) and Eduardo (1903-1982) Sainz de la Maza were arguably the greatest exponents of the guitar in the 20th century. This exceptional recording highlights the great differences in their music, and thereby also the versatility of the guitar, able to inspire such contrasting expressions from two composers belonging to the same time, the same nation, even the same family.
Regino’s virtuosic spirit was apparent from the start, and in a short time his technical skill had made him a fixture in concert halls across Spain, and by the end of the 1920s Regino already had toured Argentina, Uruguay, Brazil, Germany and England. In 1930 he accepted a post as guitar teacher at the Madrid Conservatory, and in 1940 he premiered the famous Concierto de Aranjuez, dedicated to him by its composer, Joaquín Rodrigo. Regino’s own works are characterised by a strong national character: his ‘Zapateado’, ‘Seguidilla’, ‘Rondeña’ and ‘El Vito’ are a ‘manifesto’ of 20th-century Spanish guitar composition, with writing that is always idiomatic – ‘made to measure’ for the guitarist.
Regino’s younger brother, Eduardo, has a completely different style and character. As a youth, Eduardo was overwhelmed by Regino’s talent and decided to study cello instead at conservatory and play guitar only privately. He would give up the cello in 1930 and finally devote himself to the guitar, but with an introverted personality unlike his brother’s he had retired from the concert stage by 1960, devoting himself entirely to teaching and composition. Stylistically also very different from his brother, Eduardo’s music does not rely on virtuosity, but is instead rich in harmony, combining Spanish nationalism with jazz and, above all, impressionism.
01. Alegrias
02. Zapateado
03. Cantilena
04. Seguidilla-Sevillana
05. Scherzo
06. Preludio-Studio
07. Solea
08. Rondeña
09. Cuatro Obras Originales: I. Baile de Muñecas
10. Cuatro Obras Originales: II. Meditacion
11. Cuatro Obras Originales: III. Recuerdo
12. Cuatro Obras Originales: IV. Minueto
13. Estudio en la Menor
14. Petenera
15. La Frontera de Dios: I. Albada y Paisaje
16. La Frontera de Dios: II. Meditación
17. La Frontera de Dios: III. Idilio
18. La Frontera de Dios: IV. Romancillo de María Belén
19. La Frontera de Dios: V. Sacrificio
20. Estudio-Scherzo
21. Canciones Castellanas
22. El Vito
23. Laberinto
24. Platero y Yo: I. Platero
25. Platero y Yo: II. el Loco
26. Platero y Yo: III. la Azotea
27. Platero y Yo: IV. Darbón
28. Platero y Yo: V. Paseo
29. Platero y Yo: Vi. la Tortuga
30. Platero y Yo: VII. la Muerte
31. Platero y Yo: VIII. a Platero en Su Tierra
32. Bolero
33. 3 Stücke Für Gitarre: I. Rondalla
34. 3 Stücke Für Gitarre: II. Pieza Sin Titulo
35. 3 Stücke Für Gitarre: III. Pieza Sin Titulo
36. Preludio
37. Añoranza Lejana
38. Confidencia
39. Homenaje a la Guitara
40. Homenaje a Toulouse-Lautrec
41. Homenaje a Haydn
42. Habanera
43. Evocación Criolla
44. Soñando Caminos
45. Campanas del Alba
Brothers Regino (1896-1981) and Eduardo (1903-1982) Sainz de la Maza were arguably the greatest exponents of the guitar in the 20th century. This exceptional recording highlights the great differences in their music, and thereby also the versatility of the guitar, able to inspire such contrasting expressions from two composers belonging to the same time, the same nation, even the same family.
Regino’s virtuosic spirit was apparent from the start, and in a short time his technical skill had made him a fixture in concert halls across Spain, and by the end of the 1920s Regino already had toured Argentina, Uruguay, Brazil, Germany and England. In 1930 he accepted a post as guitar teacher at the Madrid Conservatory, and in 1940 he premiered the famous Concierto de Aranjuez, dedicated to him by its composer, Joaquín Rodrigo. Regino’s own works are characterised by a strong national character: his ‘Zapateado’, ‘Seguidilla’, ‘Rondeña’ and ‘El Vito’ are a ‘manifesto’ of 20th-century Spanish guitar composition, with writing that is always idiomatic – ‘made to measure’ for the guitarist.
Regino’s younger brother, Eduardo, has a completely different style and character. As a youth, Eduardo was overwhelmed by Regino’s talent and decided to study cello instead at conservatory and play guitar only privately. He would give up the cello in 1930 and finally devote himself to the guitar, but with an introverted personality unlike his brother’s he had retired from the concert stage by 1960, devoting himself entirely to teaching and composition. Stylistically also very different from his brother, Eduardo’s music does not rely on virtuosity, but is instead rich in harmony, combining Spanish nationalism with jazz and, above all, impressionism.
Year 2021 | Classical | FLAC / APE
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