Guitar Recital: Franco Platino

Platino

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Cat No: 8554344

Release Date: 01 January 2000

Label: Naxos / Naxos Classics

Packaging Type: Jewel Case

No of Units: 1

Barcode: 636943434420

Genres: Classical

Composer/Series: Guitar Recital

Description
Guitar Recital - Franco Platino It was through his position as Maestra di cappella atthe Portuguese embassy in Rome that Domenico Scarlatti became music-master tothe Infanta Maria Barbara, daughter of King John V of Portugal. When shemarried the future King of Spain, Ferdinand VI in 1729, Scarlatti went with herand remained there until his death. It was a 'partnership' that was to make musicalhistory. Most of Scarlatti's more than 555 keyboard sonatas were composed forhis pupil, though we do not know exactly where or when they were written,whether in Italy, Portugal or Spain. They form the largest corpus of works inone form (binary - in two sections) by any composer, and each has a specific technicaland/or musical purpose. The spirit and clean texture of many of the sonatas arewell suited toarrangements for the guitar - another plucked-string instrument,known to Scarlatti in its earlier form. The sonatas are of two broad types,'closed', in which the two sections begin with the same thematic material (K.146and 178) and 'open', in which they do not (K.208). K.146and 178 chatter joyously, whilst K.208 takes the form of awonderfully expressive cantilena. The Chacanne, the final movement of the Second Partita,BWV 1004, for unaccompanied violin, is one of the towering masterpieces ofbaroque instrumental music Bach was an accomplished violinist, but the intimateknowledge of the instrument shown in his solo-violin works probably camethrough his acquaintance with Johann Georg Pisendel (1687-1755), the finest Germanviolinist of the time. The Chaconne was first arranged for the guitar bySegovia, who regarded it with 'religious' awe, and later by others with abetter understanding of baroque music than he could have had. No major changeto the original text is necessary; it is sufficient that the guitar can sustainsome notes on which the bow cannot dwell for their implied duration, and thatsome chords can be either arpeggiated ('spread') or not, a choice that is notopen to the violin. This outpouring of variations on the harmonic sequence ofthe Chaconne, in both minor and major modes, is unrivalled in itsvariety of invention and mood. It remains as great a technical and musicalchallenge to violinists (and guitarists) as it always has been. The Paraguayan guitarist Agustin Barrios Mangore wasdeeply affected by the music of Johann Sebastian Bach. La catedral(1921) originally consisted of two movements: the Andante religioso washis response to the experience of hearing Bach's organ music in MontevideoCathedral, the Allegro solemne reflected the contrasting bustle ofactivity in the streets outside the Cathedral. It was about nineteen yearslater that Barrios added the Preludio, subtitled Saudade (yearning),in El Salvador The work as a whole represents a synthesis of Barrios'romanticism (a la Chopin), respect for Bach, and guitar virtuosity. His ownrecording of La catedral in its two-movement form was made in 1925. Johann Kaspar Mertz was born in
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