Joaquín Turina |
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Index
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Sevillana op 29. (7'16) | |||
Fandanguillo op. 36 (5'11) | |||
Ráfaga op.59 (2'52) | |||
Sonata op.61 (9'41) | Audio : Allegro vivo (extract) | ||
Homenaje a Tárrega op.69 (4'48) | |||
Tango de Tres Danzas Andaluzas op.8 (4'46) | |||
5 Danzas Gitanas op.55 (15'00) | Audio : Danza de la seducción (extract) | ||
A text by Christiane Le Bordays, flamenco dancer, pianist, composer, Ph. doctor in litterature
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If, in Spain, Turina is considered to be one
of the pillars of the Spanish School, almost everywhere else his work
is referred to with interest but without the familiarity that comes with
frequent listening. Closely related to his Andalusian origins, this interest
is no passing craze : for over two centuries all music that has been drawn
into the magnetic field of Spanish "inspiration" has been regarded
beyond the Pyrenees as having a particular character. And Turina's work
is no exception to the rule, in so far as no one can contest its Hispanic
credentials, but what do we really know about it? Although his catalogue
comprises over 100 opus numbers, our knowledge of it does not go much
beyond the Oracion del torero, the Sacromonte for piano and some of the
guitar pieces whose popularity goes to prove that for a composer from
Seville writing for the guitar is a matter of course. But it is not as
banal as it might seem: whereas Granados, Falla and especially Albéniz,
"invented" a pianistic - or symphonic -style of writing that
today seems like a sublimation, or an amplification of the guitar, they
wrote very little for that instrument. Turina is one of the rare composers
of the period who were not guitarists themselves to hue really "heard"
the instrument. Impregnated with the harmony that is produced by open
string and the sound effects that flamenco players use spontaneously,
he is the first one to incorporate them in a classical Composition. But
then, could it be that the limpidity of Turina's style succeeds in making
us forget the impact of his innovative originality? |
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Press Review
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A estas alturas creo yo que conocen mi punto de vista acerca de las transcripciones de esta música para piano a la guitarra: cada guitarrista es libre de hacer lo que quiera mientras lo haga bien y tenga razones para ello o se las invente, pero creo que se trata de obras que tienen su sentido para el piano. Creo que al transcribirlas a la guitarra vuelven al ámbito de que salieron: Turina, Falla, Granados o Albéniz crean -cada uno a su manera- un lenguaje hispanoimpresionista que rezuma folclore por los cuatro costados y al volver a la guitarra me parece que pierde en cierta manera ese aspecto evocador como de exilio que aporta un piano o un cuarteto de cuerda. Pero no deja de ser mi punto de vista.
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Gendaï Guitar |
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Flamenco influences there may be, but Turina conjures little of flamenco's fire and spontaneity. There is more to celebrate in Rafael Andias guitar playing throatily rough-toned through to poignantly lyrical - than in Turinas monolithic works for his instrument. |
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Amazon.com January 11, 2000 Spanish composer Joaquin Turina isn't best known as a composer of guitar music--he wrote great piano and orchestral music, too---but this is some of his best work. Along with the occasional constructive criticism from Segovia (the musician to whom Turina dedicated many of these works), the composer clearly had a great ear for the instrument. Unlike many of his Spanish composing peers, he didn't just transpose his piano works to guitar; he also wrote specifically for the instrument. Flamenco is the main influence, but on Tres Danzas Andaluzas---originally written for piano---we hear shades of tango; Albéniz and Falla are two other influences Turina never sheds. Op. 61 is the major work here (the dazzling Allegro vivo third movement being the disc's highlight), along with Op. 55, his Cinco Danzas Gitanas. Both works are reflective, but never predictable. Rafael Andia plays these complex pieces deftly and, though he's no Segovia, he's a great interpreter, and the sound quality is unbeatable.
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www.audaud.com/
John Sunier
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Fanfare March April /2000 345
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Classical Guitar Magazine /March 2000 / page 43/
Andia treads the stylistic tightrope skilfully, wobbling only occasionally when coolness prevails over flamenco-inspired fire; curiously, it is Segovia's 1927 recording of the Fandanguillo that is the more intense. Published arrangements of some of the piano pieces have long been available; it is good to have recordings of them. Outstanding performances and excellent recording are supported by splendidly informative booklet-notes. John Duarte
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Les Cahiers de la Guitare
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CLASSICAL GUITAR CORNER 2/2000
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www.sikorski.de In einer CD-Neuerscheinung setzt sich Rafael Andia mit dem gitarristischen OEuvre dieses Komponisten in einer Aufnahme auseinander, die er 1998 im französischen Studio "La Muse en circuit" gemacht hat (Joaquín Turina: OEuvres pour guitare, Rafael Andia, Gitarre, Harmonia mundi HMC 905246). Andia geht es weniger um exakte Sauberkeit, um das Treffen jedes einzelnen Tones, sondern um die Suche nach Atmosphäre, die seiner Interpretation ein Höchstmaß an Stimmung und Dramaturgie verleiht. Es ist mitreißende, melancholische, in sich versunkene, ja zuweilen eine zutiefst ernsthafte Auseinandersetzung mit Turina. Berührend gelingt Andia die technisch anspruchsvolle Sevilliana op. 29. Bei dieser frühe Komposition holte Turina zum ersten Mal den Rat Segovias ein. Daraus entstand eine lebenslange Freundschaft und Segovias Einfluss auf den Komponisten war groß. So verwundert es nicht, dass Andia von den drei existierenden Fassungen der Sevilliana die Fassung eingespielt hat. die auf Segovias Manuskript beruht. Auch die späte Sonate aus dem Jahre 1932 ist alles andere als eine klassizistische Hommage, sondern ein eher rhapsodische Fantasie, die vielleicht nur die Satzfolge schnell-langsam-schnell adaptiert.
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