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I have always loved the soulful and exuberant music of Spain. As my father and grandparents grew up there, my childhood was permeated by the sounds from their collection of Spanish records. What music could ever sound more perfect on six strings than the evocative and passionate music from the land where "Spanish Guitar" was born? Madrilena refers to my beautiful Ramirez guitars that were created in Spain`s bustling capitol, Madrid. At times fiercely proud and at times gently meditative, Madridlena pays tribute to the Post-Romantic style characteristic of the great composer Moreno Torroba.
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The influence of music in both Latin and Spanish styles can be found in this piece. Building upon the seductive Cuban rhythm that is typical of the Habanera, fragments of Moorish scales and sinuous motifs evoke the culture of the Arabs who left an indelible mark on the evolution of music in the Iberian Peninsula.
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This is one piece amongst the standard repertoire of classical guitar, "Asturias" from "Suite Espanola" by Albeniz, that has remained a perennial favorite with guitarists and audiences, even though it was originally conceived for the piano. I have played it countless times and heard it performed so often by teachers, students, and fellow artists. Inspired by some of the rhythmic patterns of Albeniz`s masterpiece, I set out to write an original work for the guitar that evoked a smiliar mood. The opening section owes nothing directly to Albeniz but is, indeed, written in the Spanish style and at one point even alludes to the tango. The central allegro section borrows the characteristic Asturias rhythm which no doubt Albeniz himself derived from folk guitar patterns.
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During the Christmas holidays I spent a week at Arabesque, the magnificent Acapulco home of my dear friends, the Baron and Baroness Di Portonova. Hearing the voice of Placido Domingo who was a regular guest there and Marianna Nicolescu, who was rehearsing her arias for La Scala, the inspiration arose to compose an Italian style aria for the classical guitar using one of my favorite techniques, tremolo. The melody was written one tranquil afternoon during the siesta hour, but I spent several days working on the harmonic accompaniment where the 6/8 barcarole rhythm brings to mind the gentle rocking motion of a Venetian gondola. The piece requires "Scordatura" tuning which necessitates lowering the E string to D and A string to G.
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There really is no music in the classical guitar repertoire that sounds distinctively Canadian, so over the years, I started to formulate some musical ideas that might portray my appreciation of Canada. Travelling extensively both for concerts and adventure, to Canada`s northern territories, I felt compelled to write a work that reflected the landscapes and legends of out great country. As a child in England, "Hiawatha" by Longfellow, with its rich imagry of native deities, forests, lakes, rivers, and rushing streams provided endless inspiration. I have often been moved by the mysterious spirts of the forests while camping in our northern wilderness, felt the energy of our rivers while manuvering a canoe through white water rapids, and heard the spirit of the wind rustling through painted autumn forests, or howling across the barren winter prairies. Of course, it is impossible to capture in music these mystical forces of nature using only a single guitar! Nevertheless, I have tried to evoke the images from Hiawatha`s land using certain musical and percussive effects with simple modal harmonies reminiscent of native Indian music.
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Borrowing a title idea from Antonio Vivaldi who wrote the famous "Four Seasons". I composed four pieces embracing both Romantic and French impressionist styles. Autumn combines a nostalgic melodic line, dominant seventh and ninth chords, and artificial harmonics. Winter is ushered in by sparse minor chords portraying a desolate landscape, but as the piece progresses, an impassioned bass line momentarily thaws the winter chill before it returns to the bleak open chords heard in the beginning. Spring develops her melody through a succession of musical techniques including ostinato bass accompaniment, harmonics, and arpeggios that alternate bass and treble melodic lines, and sprightly double-string trills that reflect the bubbly nature of this season. Summer sings with a soaring melody line in tremolo framed by two sections of flowing parallel thirds.
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This is a prelude in the Romantic style in which the melody is supported by a repeated arpeggio pattern. A central "recitative" section where the character of the piece becomes more free and improvisatory uses a variety of ornaments including trills and appogiaturas as it alternates between the major and minor tonalities of D.
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One day, I composed a short, lyrical theme that seemed ideally suited for a set of variations. The piece was further developed to incorporate rapid arpeggios, harmonics, ornaments, and triplets. Many of the variations require considerable left hand dexterity resulting in a virtuosic showpiece.
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Shortly after meeting my future husband, I decided to compose a romantic piece for him. The melody came effortlessly as is sometimes the case with true inspiration! Emotions of joy, despair, and longing are all reflected in the arching melody and flowing accompaniment that shift between D major and D minor. This very personal piece is one of my most heartfelt compositions for the guitar.
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CD Information
