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RAFAEL ANDIA, Guitare
FLAMENCO MINIATURA
eight short pieces for children
NOTES
Duration : ca 8'

Editions : Transatlantiques

Date : 1998



Soleá
Tiento
Rondeña
Tarantos
Fandanguillo
Bulerías
Siguiriya Gitana
Granadina

 

Comments :

Flamenco Miniatura is a series of eight very short pieces, using only rudimentary technique of the left hand, so as to initiate beginners in classical guitar with different styles and modes of playing flamenco guitar.
R.A.

RAFAEL ANDIA, Guitare
ESTUDIOS FLAMENCOS
1 - Intenso
NOTES
Duration :
Editions : Cahiers de la Guitare
Date : 1999

Premiere : Saint Malo (France)
by the Peruvian guitarist
Guillermina AGUILAR

Comments :

Estudios Flamencos is a series of small pieces in Palos or styles very few common in flamenco, or obsolete, or even completely outside the known sphere of gitano-Andalusian music. However, some elements that have always attracted me in the solo flamenco guitar were not avoided and even were sought: it was mainly for me, not to use traditional rhythmic or melodic themes, but " hear "and exploit the sounboard of the guitar and the technique of the right hand as popular guitarists can do it with an innate sense of economy of means. Under these conditions the style can tend towards a relative autonomy from the flamenco "model" provided to undergo these flamenco guitaristic processes determined at baseline. Of these, I chose the favoring right hand techniques and including campanellas, arpeggios, obstinate open strings etc. that seem to correspond best to the definition given by Manuel de Falla for the unconscious effects by Spanish guitarists : "one of the wonders of the natural art". I deliberately used little rasgueado and tremolo, because of their too strong stylistic connotations.

R.A.

RAFAEL ANDIA, Guitare
IMPROVISACION AL ESTUDIO DE CANO
NOTES
Duration :

Editions : Transatlantiques

Date : 1996

Premiere : Rafael Andia, Musicora, Paris  22/3/1996

 
 

Comments :

In the instrumental daily work, sometimes a privileged moment settles deep thought and where the fingers abandon exercise or study, and run, left to themselves, almost like automatic writing. That's Study in E minor by Cano that derives this improvisation-citation.

R.A

Review :

This composition is based on the music of Federico Cano, a Spanish guitarist who lived from 1838 to 1904, not to be confused with his older compatriot (and father) Antonio Cano. Everybody who has had contact with Andia's activity knows that, besides his classical guitar approach, he is also very fond of flamenco virtuosity, and performs it hirnself, in a very spectacular way. Probably one of the most notable examples of Andia's technical approach to the instrument is this "Improvisacion," in which we have the presentation of a great variety of technical elements, especially arpeggios. The music starts with an original two-page, mediumtempo introduction, continues with the original fragment of Cano's study, and then concludes with Andia's further elaboration. Besides the very good material for the technical study, this music opens a large space for artistic creation. The player can develop his feelings for all the tempo changes, and especially for the constant use of rubatos. Not only attractive as a concert stage encore piece, this music can also be used as one of the most crucial didactic guitar works.

Uros Dojcinovic, GFA Soundboard USA Guitar magazine Vol XXVII N¡2


 

 

RAFAEL ANDIA, Guitare
JOTA HEROICA
Paraphrase
NOTES
Duration : 10'08"
Unpublished
Date :

Premiere : Claire Sananikone,
Festival International de Guitare of Paris, november 2007

 

Audio :

Comments :

This Jota is a paraphrase, a tribute to Spanish folk guitarists of the nineteenth century. The Jota took the symbolic value of resistance and heroism of the people during the siege of Saragossa by Napoleon. This Jota Heroica in the romantic tradition reflects the nobility and the energy of the people:

"And yet these poor soldiers, barely covered with tattered uniforms, hungry, with nothing to drink except the warmed-up water in their gourds, shaken like rats in a trap, kept laughing heartily and singing along the road. Sobriety and patience of the Spaniards in fatigue is something that is a miracle. {...} You cannot go further in forgetting material life. But these soldiers, who lacked bread and shoes, had a guitar." Théophile Gautier, Travel to Spain. ”

 

 

RAFAEL ANDIA, Guitare
IMPULSIVO
NOTES
Duration :

Editions : Transatlantiques

Date : 1996

Premiere :
Rafael Andia, Radio France (France-Musique), Paris 1997

 

Audio :

Commentaires :

Much more than the problem of writing itself, Impulsivo asked me acutely the dilemma of freedom: indeed, so personal and different it can be , "my" flamenco should nevertheless must be identifiable as belonging to the world of toque jondo. This axiom in mind, this meant that among the immense field of possibilities generously donated by the writings of the twentieth century, I had to mourn many attractive aspects for the simple reason that they would make unrecognizable the rigid tyrannical "model" of flamenco. Moreover, how to set limits when the dream takes us too far from a reality that has been deliberately chosen? In this conflict, I enjoyed a talented ally: the guitar itself. By asceticism that it imposes due to its instrumental limits and the answers provided by its secular tradition, it is an inexhaustible source for those who can sublimate. It is sufficient to let run the imagination but on the condition to remain in direct contact with the various developments of the current Spanish classical music. It is therefore a tradition, but "heard" in a certain way here. For example, work on form, on "omnimodal" harmony and rhythmic pedals with added / subtracted values may surprise archetypal flamenco purists.

R.A. 1997

Reviews :

Les Cahiers de la Guitare et de la Musique n°68/1998

 

On connait la caractéristique du jeu de Rafael Andia. énergique, souvent rapide et décisif, et également sa connaissance du flamenco de même que son investissement dans la musique contemporaine. Cette pièce au titre explicite me semble synthétiser d'une façon remarquable toutes ces tendances. Si l'influence du flamenco est certes prépondérante, Il s'agit ici d'un flamenco "revisité". au second degré, pourrait-on dire. Nous avons là une guitare au jeu vigoureux, parfois presque arraché. à la rythmique complexe et aux dissonances accusées. Cette oeuvre importante, de par sa longueur et son investissement est en deux parties alternant des sections très rythmiques et accordiques avec des passages plus mélodiques, mais toujours basés sur des mélopées libres de caractère méditérranéen.
Il s'agit d'une oeuvre débordante d'idées, dont la richesse et la complexité ne sont évidemment pas épuisées par une telle critique. forcément trop sommaire. Elle confirme en tout cas le grand talent de Rafael Andia, qui à l'écoute de Spinoza semble fort bien "persévérer dans son être"!

 

 

RAFAEL ANDIA, Guitare
GRITO ROJO
NOTES
Duration : 7'40"

Unpublished

Date : 2012

Premiere :
Rafael Andia, London, Bolivar Hall, 09/2011

 

Audio :

Comments :

The introduction of Grito Rojo is a cry that will be used again, developed and commented:

Soy arriero,
Y el vino tinto de Toro
¡Es el que quiero!

I'm a muleteer!
And red wine from Toro
Is the one that I want!


It is followed by a bulería pattern. Consisting solely of a chromatic "returned" Bartók-like motif. This pattern alternates 11- and 12-time signatures

R.A.

RAFAEL ANDIA, Guitare
GRITO NEGRO
NOTES
Duration : 7'40"
Editions : unpublished
Date : 2012

Premiere :
Claire Sananikone, Instituto Cervantès, Paris, 15/02/2013

 

Audio :

Comments :

Grito negro evolves from a free and hieratic farruca to the traditional final serrana :


Dice mi serrana que no la quiero,
Y cuando la miro a la cara
El sentío pierdo
.
She says I do not love her,
And when I look at her face
I feel faint.


The middle pages are similar to the more "European" style of cante chico. It is a style with long sentences, and discernible, singing and developed themes, opposed to the harsh, terribly brief cante jondo, melismatic and abstract. A copla almost always appears in the middle of the work in the genre of chico, as brilliantly illustrated by Albéniz. In Grito negro the copla with its enigmatic garlands ventures into the vicinity of the milonga flamenca..

R.A.

 

 

RAFAEL ANDIA, Guitare
TRECE ROSAS
(siguiriya)
NOTES
Duration : 8'07"
Unpublished
Date : 2012

Premiere :
Rafael Andia,
Concert of the C.N.R.S. Paris, 2012

 

Audio :

Comments :

The legend says: in some styles of cante jondo, the singer's throat fills with blood. Similarly, when a guitarist plays siguiriya, it seems that the strings are about to break, as the poet José Mas expresses:

Las cuerdas de la guitarra al sonar eran como lamentos de un alma que no pudiera más con el peso de la amargura.
The guitar strings, vibrating, were like the wailings of a soul that could no longer withstand the weight of affliction.

Trece Rosas unfolds in a "deconstructed" siguiriya with its rhythmic pedal, a bit distorted but recognizable. It is interspersed with brief contrasting digressions of bulería and episodes in ordinary major and minor keys. This has the effect of partly freeing the siguiriya from the unbearable "weight of bitterness" that is the obsessive, fatalistic, return of the lowest note: the tonic of the so-called "andalusian" mode. .

 

 

RAFAEL ANDIA, Guitare
PASIÓN-ARIA
NOTES
Duration : 6'30"
Unpublished
Date : 2012

 

 

Audio :

 

 

 

RAFAEL ANDIA, Guitare
PASSACALLE
NOTES
Duration : 6'30"
Unpublished
Date : 2014

 

 

 



RAFAEL ANDIA, Guitare

CANCIONES FLAMENCAS ANTIGUAS
for two guitars

NOTES
Duration : 14'00"
Edition : Transatlantiques
Date : 1996

Premiere :
duo Geoffroy- Pujebet
at Musicora, Paris, 22/3/1996

Anda Jaleo!
El café de Chinitas
Zorongo
Las Tres Hojas
Nana de Sevilla
Los Cuatro Muleros

Audio (extract) :

Comments :

The six Canciones Antiguas Flamencas take as a pretext old melodies, belonging to a corpus extremely popular in Spain, whose authors are unknown. They have often been visited since the nineteenth century by musicians such as guitarist Julian Arcas, Isaac Albéniz in Iberia or Manuel de Falla in his Seven Spanish Popular Songs and Nights in the Gardens of Spain. Federico García Lorca, in turn borrowed them and made a very simple harmonization on the piano, driven by his personal charm, quickly became famous to the point of getting the common for the author of these pieces. I tried rewriting these Canciones creating an almost fantastical language: that of "flamenco" at the time of Goya, definitively lost for lack of texts. But a former imaginary flamenco that would nevertheless possess in germ all the strength we currently know it, while incorporating some of the achievements of modern music, Spanish or not; in particular, which is in line with the Cante Jondo or Deep Song, that is to say sober in ornamentation, non-development themes, use of dissonance as a substitute for the tension of the quarter-tone Eastern tradition of singing. None of the six ancient themes really belongs to a palo (or flamenco style), but my choice was guided by a certain ambiguity that each of them present with modern gypsy Bulería , except Nana de Sevilla which shows all both of these characters that are authentic "palos" Nana (Lullaby), Sevillana, the Siguiriya Gitana and Soleares. All these tracks even distant, then enable the desired extrapolation, that is to say, to achieve a "flamenco" which sometimes may seem to sound like real flamenco but does not work at all following traditional patterns . - Formally, some pieces remain close to the original as Anda Jaleo, Las Tres Hojas or Los Cuatro Muleros. Others like Nana de Sevilla move away from it more. I also sometimes used in Zorongo an harmonic concept that I named "omnimodal" which is a simple extension of the harmony created by the so-called "Andalusian scale". Some too typical rhythms were revitalized by various methods: nonretrogradable writing, for example, or added value especially in Nana de Sevilla. On the specific writing for two guitars, my constant aim was to treat them as two superimposed independent soloists.

R.A.

Reviews :


CD de Christine MARTIN-CULET et Antony RÉGIS :
Sous ce titre, le duo propose des versions composées par Rafael Andia de six célèbres chansons extraites du Cancionero popular espagnol. Très souvent visités à la fin du 19° et au début du 20° siècle par des compositeurs classiques (Sor, Arcas, Albeniz, Falla ... ), ces thèmes populaires sont surtout connus dans leur harmonisation pour piano par Federico Garcia Lorca (le lecteur curieux pourra trouver les partitions originales des seize chansons populaires dans Federico Garcia Lorca: obras completas, éd. Aguilas, T. 1, p. 1199-1233). Depuis, ce répertoire a surtout fait l'objet de multiples versions flamencas : Paco de Lucia / Ricardo Modrego, Manuel Cano / Victor Monge "Serranito" (duos de guitare), Sabicas, Manuel Cano, "Serranito" (guitare solo), Carmen Linares (chant)...
On peut considérer ces airs folkloriques comme l'une des composantes de la ~préhistoire~ du flamenco et en déduire une reconstitution "fantasmatique" du "flamenco de l'époque de Goya (selon les propres termes de Rafaël Andia dans le livret du CD) dont nous ne savons naturellement à peu près rien. Le compositeur évite très intelligemment deux écueils : tomber dans un pseudo flamenco de pacotille, ou écrire des thèmes et variations pour lesquels la chanson ne serait plus qu'un lointain prétexte. L'une des guitares s'en tient scrupuleusement au thème, avec peu de modifications et sans développement (un peu à la manière des “falsetas”), pendant que l'autre tient un discours musical indépendant qui éclaire chaque chanson de jeux de lumières sans cesse renouvelés par une profusion d'effets de timbre (harmoniques, pizzicati, batteries d'accords ... ) et de procédés d'écriture (esquisses fugitives de canons et de contrepoints, ponctuations par des basses ou de courts traits syncopés, allusions à la cadence andalouse et harmonisations dissonantes avec les secondes mineures chères aux flamenquistes ... ).
L'interprétation requiert beaucoup d'énergie et de précision rythmique et parfois une pointe d'humour, qualités dont ne manque pas ce duo. On attend avec impatience les dix chansons restantes... (CMAR 1007)
Claude Worms,
Les Cahiers de la Guitare et de la Musique

CD of the Duo "FANDANGO" : ANDIA, RODRIGO, FALLA
Le problème des duos de guitare reste leur répertoire relativement restreint, ce qui conduit souvent à la reprise des mêmes oeuvres. Ce disque échappe en partie au danger en présentant des transcriptions de musique espagnole de ce siècle. Le moment musical s'ouvre et se ferme sur deux cycles Manuel de Falla, extraits de ses opéras, bien connus pour avoir déjà subi diverses adaptations par ailleurs. Ici, le transfert est excellent et coloré. Les oeuvres de Rodrigo nous sont familières, la Tonadilla restant une pièce importante et difficile qui tient une place de choix dans le répertoire de tout duo de haut niveau. Signalons au passage une version pour deux guitares de l'Adagio du Concerto d'Aranjuez, pour nous arrêter sur les nouveautés que sont les arrangements par Rafaël Andia de chansons populaires espagnoles, qui furent d'abord recueillies et harmonisées par Federico Garcia Lorca. Elles sonnent admirablement dans cette version, tirant tantôt sur le flamenco, tantôt sur des sonorités assez contemporaines. Ce duo allemand féminin qui ne cache pas son intérêt prépondérant pour l'Espagne, est formé de deux bonnes guitaristes : Claudia Hein et Kathrin Görne. Leur jeu volontaire et précis reste toujours nuancé et musical. Cet aspect, lié à une excellente prise de son en fait un disque «pro» d'un très bon niveau (Carpe Diem).
FD Les Cahiers de la Guitare et de la Musique n°73/2000

 

 

Z.o.o. duo :

(...) The first performances were back in early 1998 when we still lived in Australia (...). We estimate we have performed the pieces well over 50 times in The Netherlands, Australia, America and the UK. Last year we played them in a live radio broadcast from Amsterdam's famous Concertgebouw as well as for an audience of many hundreds of people in a large outdoor concert at the 2002 Darwin International Guitar Festival. Also we recorded four of them on our 10th anniversary CD 'Celebration' in 2001. We love playing them very much and audiences are always enthusiastic as well, there is great skill and depth in the 'orchestration' of these well-loved melodies for the guitar.

Duo Fandango :

His Canciones flamencas antiguas, published in 1996, allude to the song collection "Cantares populares" by the poet Federico Garcia Lorca. With this adaptation for two concert guitars Andia has brought Flamenco into the concert halls. The lyrics of the "Cantares populares" which form the basis of the work give an idea of the very particular poetry of the cante jondo and its main themes: love, passion and, again and again, death.


 

RAFAEL ANDIA, Guitare
INMEMORIAL I
Nana
NOTES
Duration : 6'47"
Unpublished
Date : 2009

Premiere : Claire Sananikone and Rafael Andia, Festival chambres avec vue, Rabastens, France.

 

Audio :

Comments :

Nana or lullaby in its sweetness and simplicity is a counterpoint to violence - all kinds of brutality against people. As of the nocturnal ratonnade in the Gypsy quarter in Jerez de la Frontera in 1923, became legendary in a famous poem by Federico Garcia Lorca:

Y otras muchachas corrían
perseguidas por sus trenzas,
en un aire donde estallan
rosas de pólvora negra.

And other girls ran,
pursued by their tresses,
in which air burst
black powder roses.

Reviews :

Magazine la guitare classique

Au travers de son œuvre, Rafael Andia ne se contente pas de développer son langage personnel. Il fait vivre une tradition, et avec elle une mémoire, celle du peuple espagnol. Ses compositions prennent leur source dans des formes espagnoles typiques qu'il revisite librement, détournant subtilement les harmonies et les carrures rythmiques pour créer une impression d'ambiguïté,  entre tradition et création.
Sébastien Llinares

Classical Guitar, juin 2014

Introduced in the program notes as having ancestral roots in the Spanish Republican diaspora, i.e. a political, artistic and cultural exile, since the attempted eradication and expulsion of artists and intellectuals by the victorious Nationalists of the Spanish Civil war. Rafael Andia is one of the most prominent if not mercurial figures of the classical guitar scene; involved equally in the avant-garde, classical and the baroque, being a professor since 1971 at the Ecole Normale de Musique in Paris.
Inmemorial, a three part 'panorama' (written over a four-year period) is a tribute to those who suffered, and still suffer from those terrible times which started from the military rebellion in 1936. To clarify what is meant by 'two equal guitars' (deux guitares égales), the notes explain: 'both guitars are treated as two solo independent superimposed polyphonies'. The musical language unsurprisingly is mostly flamenco inspired and the poems of Federico Garcia Lorca are essential foundations for the structural ambiance.
Tim Pantin

 

 

RAFAEL ANDIA, Guitare
INMEMORIAL II
Notas negras
NOTES
Duration : 7'13"
Unpublished
Date : 2007

Premiere : Claire Sananikone and Rafael Andia, Modern art museum, Newcastle, Australia.

 

Audio :

Comments :

The concept of Notas negras or " Dark Sounds " was developed by Garcia Lorca. He evoked the magical or even demonic sounds, produced by the singers of cante jondo, the deep ancestral chant. In the repertoire of the cante, these Dark Sounds reveal best in older styles. Among them, the two most serious and nostalgic have been used in Inmemorial II. The Caña of the sixteenth century:

Los lamentos de un cautivo
No pueden llegar a España
Porque está la mar por medio
Y se convierten en agua.

The complaints of a captive
Cannot reach Spain
For the sea separates them
And they turn into water.

and the Tiento :

¿Que pájaro será aquél
que canta en la verde oliva?
Corre y dile que se calle
Que su canto me lastima.

What is this bird
Which sings in the olive tree?
Run and tell it to shut up
Because its singing hurts me.

They are the common thread of this piece.

Reviews :

Magazine la guitare classique

Au travers de son œuvre, Rafael Andia ne se contente pas de développer son langage personnel. Il fait vivre une tradition, et avec elle une mémoire, celle du peuple espagnol. Ses compositions prennent leur source dans des formes espagnoles typiques qu'il revisite librement, détournant subtilement les harmonies et les carrures rythmiques pour créer une impression d'ambiguïté,  entre tradition et création.
Sébastien Llinares

Classical Guitar, june 2014

Introduced in the program notes as having ancestral roots in the Spanish Republican diaspora, i.e. a political, artistic and cultural exile, since the attempted eradication and expulsion of artists and intellectuals by the victorious Nationalists of the Spanish Civil war. Rafael Andia is one of the most prominent if not mercurial figures of the classical guitar scene; involved equally in the avant-garde, classical and the baroque, being a professor since 1971 at the Ecole Normale de Musique in Paris.
Inmemorial, a three part 'panorama' (written over a four-year period) is a tribute to those who suffered, and still suffer from those terrible times which started from the military rebellion in 1936. To clarify what is meant by 'two equal guitars' (deux guitares égales), the notes explain: 'both guitars are treated as two solo independent superimposed polyphonies'. The musical language unsurprisingly is mostly flamenco inspired and the poems of Federico Garcia Lorca are essential foundations for the structural ambiance.
Tim Pantin

 

 

RAFAEL ANDIA, Guitare
INMEMORIAL III
Revolucionario
NOTES
Duration : 12'43"
Unpublished
Date : 2005

 

Premiere of the final version :
Claire Sananikone and Rafael Andia, guitars, Guitar Festival of Côte des Isles, Église de Valognes, july 2006

Audio :

Comments :

From time to time the score reveals short themes which were sung during the Spanish Civil War. Some were created in this chaos, others borrowed from the ancient and popular Cancionero, then diverted from their original meaning since they were used in a different context.

Con los cuatro batallones que Madrid están defendiendo se va lo mejor de España la flor más roja del pueblo.
With four battalions defending Madrid the best of Spain goes. The reddest flower of the people.

The first part mostly explores two-time rhythms. There are also some harmonies with an "omnimodal" treatment, where each note becomes the tonic of the so-called "andalusian" mode. The second part is a traditional-like bulería that evolves to an odd number of beats in the measure (11 +12). This helps to increase the tension towards the finale making it more breathtaking. This one-time amputation is the translation in the field of rhythms of Joaquín Turina's theories in the field of form.

Reviews :

Magazine la guitare classique

Au travers de son œuvre, Rafael Andia ne se contente pas de développer son langage personnel. Il fait vivre une tradition, et avec elle une mémoire, celle du peuple espagnol. Ses compositions prennent leur source dans des formes espagnoles typiques qu'il revisite librement, détournant subtilement les harmonies et les carrures rythmiques pour créer une impression d'ambiguïté,  entre tradition et création.
Sébastien Llinares

Classical Guitar, june 2014

Introduced in the program notes as having ancestral roots in the Spanish Republican diaspora, i.e. a political, artistic and cultural exile, since the attempted eradication and expulsion of artists and intellectuals by the victorious Nationalists of the Spanish Civil war. Rafael Andia is one of the most prominent if not mercurial figures of the classical guitar scene; involved equally in the avant-garde, classical and the baroque, being a professor since 1971 at the Ecole Normale de Musique in Paris.
Inmemorial, a three part 'panorama' (written over a four-year period) is a tribute to those who suffered, and still suffer from those terrible times which started from the military rebellion in 1936. To clarify what is meant by 'two equal guitars' (deux guitares égales), the notes explain: 'both guitars are treated as two solo independent superimposed polyphonies'. The musical language unsurprisingly is mostly flamenco inspired and the poems of Federico Garcia Lorca are essential foundations for the structural ambiance.
Tim Pantin