Program Notes
Improvised Preamble:
Even though I don’t consider myself to be a good improviser, I love the practice. I feel like I am completely free because I know there are no mistakes when I improvise. I use this moment to check the tuning of my guitar, and basically get myself into “the zone”. I also feel good doing this because I consider it art that will only exist in that very moment. The music that you will hear, will never ever be played again, and I think that is a beautiful artistic gift for me as the performer and for the audience who are present.
Prelude from Lute Sonata #34 by Sylvius Leopold Weiss (1687-1750):
Sylvius Leopold Weiss was a German composer and lutenist who was considered as one of the most prolific and important composers of his time. Some pedagogues talk about how he befriended Johann Sebastian Bach, and they would improvise for each other almost as if competing. Perhaps this relationship was what inspired Bach to write solo works for the lute. The prelude from his 34th sonata is adventurous and determined. Full rich harmonies and evocative dissonances, the prelude flows easily on the guitar as it did on the lute.
Passacaglia from Tres Piezas Espanolas by Joaquin Rodrigo (1901-1999):
The passacaglia is the 2nd movement of his “Three Spanish Pieces”. It is an homage to the historical contrapuntal style that emphasizes a recurring bass line. This bass melody is ubiquitous throughout the composition and its surroundings change and adapt in order to build up momentum and tension. The climax of the composition explodes into a virtuosic display of scales up and down the fretboard and leads to a conquering 3-voice fugue that defies the contrapuntal capabilities of the instrument.
youtu.be/n-_ZdMDYPO4?si=rSh5CVgvAVjSWBxq
Aranci in Fiore Op. 87b by Mario Castelnuovo-Tedesco (1895-1968):
There is not much written about “Orange tree blossoms”, except that it is compositionally paired with the Tarantella Op. 87a. However, a friend of mine stumbled upon a poem by the same title by a Cuban poet named Jesus Castellanos (1878-1912). Although there is no direct connection between the poem and the composition, Castellanos was a well-established poet by the time Tedesco had written the work (1935). Knowing how much Tedesco loved to read, it is not too big of a reach to assume that he knew of Castellano’s work. The poem talks about two lovers who are at the blossom of their romance. They laugh, kiss, and enjoy each other… until the lady happens to see the name of his love carved on the tree. The name next to his, was not hers!
Naranjos en flor - Jesús Castellanos - AlbaLearning Audiolibros y Libros Gratis
https://youtu.be/80BbnES4ZPs?si=okxnTdZEYxkqo6FL
Divertimento from Aquarelle by Sergio Assad (b. 1952):
Divertimento literally means to have fun! And indeed Assad had fun composing what is today consider one of the hardest pieces in the repertoire. After having spent most of his career playing in a duo with his brother Odair, Assad had originally conceived this work as a duet. However, he decided to experiment and this became his first solo piece for guitar. It is a combination of impressionism, jazz, classical music, and of course, Brazilian music. The work is developed from a 3-note motive that evolves into a Brazilian dance.
https://youtu.be/JuDJRK1XhQQ?si=Ga8Ly8_-yV6KL1Gx
Tria Modi Aspiciens by Noel Gutierrez (b. 1991):
I. Ad Horizon
II. Ad Praeteritum
III. Ad Animam
Written for Carlos Bedoya in 2023, “Three Ways of Observing” is a composition that seeks to explore the emotions associated with how humans perceive memories and time. The first movement “Ad Horizon” means “towards the horizon” and it can be interpreted as a way of observing the landscape that will be the future. “Ad Praeteritum” means “towards the past” and it’s an evocative slow-paced song. The last movement “Ad Animam” means “towards the soul”, and one can imagine that this can be interpreted as looking at the present and at the current state of the soul.
Variaciones sobre la Cumbia Sampuesana by Carlos Lora Falquez (b. )
Written for Carlos Bedoya, these variations are a “take” on the famous Colombian “Cumbia Sampuesana”. Carlos Lora Falquez, heavily influenced by Jazz, decided to have fun with the tune, and come up with a challenging rendition of the famous song. The name is derived from the small town of “Sampues” where the original composer, Jose Joaquin Betin Martinez, was playing the accordion. It was getting dark, and he saw a group of fireflies and how their lights were going on and off. The composer tried to imitate this colorful dance with the sound of his accordion.
HISTORIA - CUMBIA SAMPUESANA (weebly.com)
Cancion #6 by Federico Mompou (1893-1987)
This is my own arrangement of the sorrowful “Song” #6 by the Spanish composer Federico Mompou. Originally written for piano, this song is slow and evocative.
https://youtu.be/fEE9wP2Lq0w?si=1jjeJBp9eU1O2nh4
Lamentos do Morro by Anibal Augusto Sardinha (Garotto) (1915-1955)
“Laments of the Hill” is a Brazilian dance written by the famous Garotto. I love to pair this with the Song by Mompou because their titles imply the complete opposite of how they sound. The song is usually associated with happiness, but it’s rather sad and slow. The “Laments of the Hill” title implies lamentation and sadness, but on the contrary, sounds like a happy dance! This friction between the titles, and the actual music create a great juxtaposition that exemplifies how complex human emotions are.
https://youtu.be/SYLUhUwBwq8?si=WlcKD64EwZoNCEJn
Even though I don’t consider myself to be a good improviser, I love the practice. I feel like I am completely free because I know there are no mistakes when I improvise. I use this moment to check the tuning of my guitar, and basically get myself into “the zone”. I also feel good doing this because I consider it art that will only exist in that very moment. The music that you will hear, will never ever be played again, and I think that is a beautiful artistic gift for me as the performer and for the audience who are present.
Prelude from Lute Sonata #34 by Sylvius Leopold Weiss (1687-1750):
Sylvius Leopold Weiss was a German composer and lutenist who was considered as one of the most prolific and important composers of his time. Some pedagogues talk about how he befriended Johann Sebastian Bach, and they would improvise for each other almost as if competing. Perhaps this relationship was what inspired Bach to write solo works for the lute. The prelude from his 34th sonata is adventurous and determined. Full rich harmonies and evocative dissonances, the prelude flows easily on the guitar as it did on the lute.
Passacaglia from Tres Piezas Espanolas by Joaquin Rodrigo (1901-1999):
The passacaglia is the 2nd movement of his “Three Spanish Pieces”. It is an homage to the historical contrapuntal style that emphasizes a recurring bass line. This bass melody is ubiquitous throughout the composition and its surroundings change and adapt in order to build up momentum and tension. The climax of the composition explodes into a virtuosic display of scales up and down the fretboard and leads to a conquering 3-voice fugue that defies the contrapuntal capabilities of the instrument.
youtu.be/n-_ZdMDYPO4?si=rSh5CVgvAVjSWBxq
Aranci in Fiore Op. 87b by Mario Castelnuovo-Tedesco (1895-1968):
There is not much written about “Orange tree blossoms”, except that it is compositionally paired with the Tarantella Op. 87a. However, a friend of mine stumbled upon a poem by the same title by a Cuban poet named Jesus Castellanos (1878-1912). Although there is no direct connection between the poem and the composition, Castellanos was a well-established poet by the time Tedesco had written the work (1935). Knowing how much Tedesco loved to read, it is not too big of a reach to assume that he knew of Castellano’s work. The poem talks about two lovers who are at the blossom of their romance. They laugh, kiss, and enjoy each other… until the lady happens to see the name of his love carved on the tree. The name next to his, was not hers!
Naranjos en flor - Jesús Castellanos - AlbaLearning Audiolibros y Libros Gratis
https://youtu.be/80BbnES4ZPs?si=okxnTdZEYxkqo6FL
Divertimento from Aquarelle by Sergio Assad (b. 1952):
Divertimento literally means to have fun! And indeed Assad had fun composing what is today consider one of the hardest pieces in the repertoire. After having spent most of his career playing in a duo with his brother Odair, Assad had originally conceived this work as a duet. However, he decided to experiment and this became his first solo piece for guitar. It is a combination of impressionism, jazz, classical music, and of course, Brazilian music. The work is developed from a 3-note motive that evolves into a Brazilian dance.
https://youtu.be/JuDJRK1XhQQ?si=Ga8Ly8_-yV6KL1Gx
Tria Modi Aspiciens by Noel Gutierrez (b. 1991):
I. Ad Horizon
II. Ad Praeteritum
III. Ad Animam
Written for Carlos Bedoya in 2023, “Three Ways of Observing” is a composition that seeks to explore the emotions associated with how humans perceive memories and time. The first movement “Ad Horizon” means “towards the horizon” and it can be interpreted as a way of observing the landscape that will be the future. “Ad Praeteritum” means “towards the past” and it’s an evocative slow-paced song. The last movement “Ad Animam” means “towards the soul”, and one can imagine that this can be interpreted as looking at the present and at the current state of the soul.
Variaciones sobre la Cumbia Sampuesana by Carlos Lora Falquez (b. )
Written for Carlos Bedoya, these variations are a “take” on the famous Colombian “Cumbia Sampuesana”. Carlos Lora Falquez, heavily influenced by Jazz, decided to have fun with the tune, and come up with a challenging rendition of the famous song. The name is derived from the small town of “Sampues” where the original composer, Jose Joaquin Betin Martinez, was playing the accordion. It was getting dark, and he saw a group of fireflies and how their lights were going on and off. The composer tried to imitate this colorful dance with the sound of his accordion.
HISTORIA - CUMBIA SAMPUESANA (weebly.com)
Cancion #6 by Federico Mompou (1893-1987)
This is my own arrangement of the sorrowful “Song” #6 by the Spanish composer Federico Mompou. Originally written for piano, this song is slow and evocative.
https://youtu.be/fEE9wP2Lq0w?si=1jjeJBp9eU1O2nh4
Lamentos do Morro by Anibal Augusto Sardinha (Garotto) (1915-1955)
“Laments of the Hill” is a Brazilian dance written by the famous Garotto. I love to pair this with the Song by Mompou because their titles imply the complete opposite of how they sound. The song is usually associated with happiness, but it’s rather sad and slow. The “Laments of the Hill” title implies lamentation and sadness, but on the contrary, sounds like a happy dance! This friction between the titles, and the actual music create a great juxtaposition that exemplifies how complex human emotions are.
https://youtu.be/SYLUhUwBwq8?si=WlcKD64EwZoNCEJn