1981 Alicia De Larrocha Plays Joaquin Turina Vinyl LP Record VG+

Description: Yes we combine shipping for multiple purchases.Add multiple items to your cart and the combined shipping total will automatically be calculated. 1981 Alicia De Larrocha Plays Joaquin Turina Vinyl LP Record VG+ Record Grade per Goldmine Standard: VG+ SIDE 1 — 21:16 Min.Sanlucar de Barrameda,’ Sonata pintoresca, Op. 24En la torre del castillo — 6:21 Min.Siluetas de la calzada — 3:15 Min.La playa; Los Pescadores de bajo de Guia— 11:32 Min.SIDE 2 — 21:40 Min.Danzas fantasticas, Op. 22Exaltacidn — 4:40 Min.Ensueno — 6:06 Min.Orgia — 4:40 Min.Zapateado (No. 3 of Tres danzas andaluzas, Op. 8)— 4:04 Min.Sacro-Monte (No. 5 of Cinco danzas gitanas, Set I,Op. 55) — 1:54 Min.For centuries the distinctive, insinuating and fiery strains ofSpanish music (by which term the non-Spaniard almostalways identifies specifically Andalusian music) have held aunique fascination for both musicians and their audienceseverywhere; notable contributions to an international fund of‘Spanish music’ have been made by Frenchmen, Russians,Poles, Italians and others. It is hardly surprising, then, thatthe unmistakable rhythms and colors of Spain should flavorvirtually all the music of the Spaniards themselves. In themusic of Joaquin Turina, this is no casual or accidentalcharacteristic, but the result of a decision taken as pur-posefully as those made earlier by Smetana, Grieg and Glinkato infuse their works with the national character of theirrespective homelands. In this Turina was hardly unique, buthe was successful enough, as both artist and nationalist, tobe celebrated in contemporary Spanish poetry.Turina, born in Seville on December 9, 1882, was just sixyears younger than Manuel de Falla, whom he survived by twoyears (he died January 14, 1949, in Madrid), and the two grewup together as composers, both spending the yearspreceding World War I in Paris after piano study with Jos6Tragd in Madrid. In Paris Turina studied composition withVincent d’Indy at the Schola Cantorum and piano with MoritzMoszkowski (the Pole who composed delightful SpanishDances for piano and a ‘Spanish’ opera, Boabdif), but hismost significant encounter there was his first meeting withhis great compatriot Isaac Albdniz in 1907.Albdniz was then 47 and acknowledged the outstandingSpanish composer of his time. He attended the premiere ofTurina’s Piano Quintet in G minor (Op 1), and after the con-cert took both Turina and Falla to a Caf6 where their conver-sation immediately and permanently decided the course ofTurina’s creative life. Since Albdniz died less than two yearslater, that meeting has come to be regarded as a solemn in-vestiture of his chosen successors. Turina recalled the occa-sion four years later: ‘There I realized that music should be anart, and not a diversion for the frivolity of women and thedissipation of men We were three Spaniards gatheredtogether in that corner of Paris and it was our duty to fightbravely for the national music of our country.’ How well hefulfilled that commitment is evident in a catalogue of worksas distinguished by its refinement as by its size and variety;every work in it is not only recognizably, but declarativelySpanishWhile Turina’s large output comprises works in virtuallyevery medium but the choral, his substantial chamber musicproduction is especially noteworthy (he was more active inthat realm, throughout his life, than any other Spanish com-poser), and, not at all surprisingly, the largest single segmentof his catalogue is the music he composed for his own instru-ment, the piano. His major piano compositions, however, arerelatively seldom heard in our country, where the best-knownare probably the two short pieces which conclude Alicia deLarrocha's recital in the present recording. It is still to recor-dings that we must turn for the more ambitious works of thecomposer described by Walter Starkie as ‘this gentle, austeremaster, with his subtly inflected art,’ and they could be in nobetter hands than Mme de Larrocha’sSANLUCAR DE BARRAMEDA is a very old town, now a resortand fishing center, on the Gulf of Cadiz, about seventy-fivemiles up from Spain’s southern tip, some fifteen miles nor-thwest of Jerez de la Frontera. When the Moors held Sanlucarlong ago it was an important fortified port; the citadel theybuilt may still be seen there. Turina had a summer house inSanlucar, and composed several descriptive works reflectinghis impressions of the place and its life. One of these is Elpoema de una sanluquefia for violin and piano (Op. 28, 1924),whose four movements describe the introspective thoughtsand fantasies of a village girl; another is the piano suite Rin-cones de Sanlucar, Op. 78 (1933). The four sections of thesonata pintoresca whose title is simply the name of the townitself, composed in 1922, represent images identified by theirrespective titles: 1. En la torre del castillo (in the tower of theold citadel); 2. Siluetas de la calzeda (Figures on theroadway); 3. La playa (The beach); 4. Los Pescadores de bajode Guia (The fishermen from Bajo de Guia). The third andfourth sections actually constitute a single movement, in theform of a prelude and fugue.Turina composed his DANZAS FANTASTICAS in 1920 as anorchestral work—one which, in fact, is probably the mostsuccessful of all his compositions for orchestra. He prepareda piano version for his own use, and it has of course beentaken up by several of his latter-day colleagues. Thecharacter of each of the three pieces is indicated by a quota-tion from the works of the Catalan poet Jose M&s whichTurina placed at the head of the score. These superscriptionsare translated as follows:1.Exaltacidn: ‘It seemed as though the figures of that un-forgettable picture were moving within the heart of a flower.'2.Ensuefio (‘Dreaming,’ or ‘Daydream’): ‘The twanging ofthe guitar was like the elegy of a soul which could no longerendure the burden of its bitterness.’3.Orgia (‘Orgy,’ or ‘Revel’): ‘The perfume of the flowersmingled with the scent of the manzanilla, and from the heartof the narrow cups filled with unfamiliar wine joy rose like awave of intoxicating incense.’ZAPATEADO is the earliest of all the pieces in this record-ing. It was composed in 1912 as the last of the Tres Danzasandaluzas (Three Andalusian Dances), Op. 12. Many Spanishcomposers wrote pieces called Zapateado, one of the best-known being Sarasate’s famous Spanish Dance for violin andpiano. The title identifies a male solo dance in 3/4 time inwhich the rhythm is accentuated with heel-stamping.SACRO-MONTE, probably the most familiar item offeredhere, is also the latest in order of composition, having beenwritten in the late 1920’s as the last of the Cinco danzasgitanas (‘Five Gypsy Dances’), Set I, published in 1930 as Op.55. (Turina produced a second set of Gypsy Dances in 1934, atabout which time he also prepared an orchestral version ofSet I.) The title Sacro-Monte alludes to the ‘holy mountain,’Montserrat, in Catalonia; the piece depicts a procession ofGypsy pilgrims, their exhilaration barely controlled as theyapproach the famous shrine.-RICHARD FREED LP431

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Location: Kingsport, Tennessee

End Time: 2024-12-28T11:30:30.000Z

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