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Devin Matthews
Junior Recital
Program Notes

Luis de Narváez (1490-1547)

Canción del Emperador

Spanish composer and vihuelist Luis de Narváez is best known today for his book
of vihuela music, Los seys libros del Delphin de Música (1538). This book is important
historically because it includes the first known sets of instrumental themes and variations.
Today, Canción del Emperador, or “Song of the Emperor,” is one of Narváez’ most
popular works, and is an arrangement of Josquin’s popular chanson Mille regretz. This
piece’s popularity today is largely due to Spanish guitarist Andrés Segovia (1893-1987),
who translated the piece for classical guitar from the original tablature and performed it
frequently. While Segovia’s transcriptions of Narváez’ vihuela music suits the guitar
well, he did not take a “purist” approach to his translations, and consequently some
stylistic elements inherent to the vihuela technique were lost.

Guárdame las Vacas

Guárdame las Vacas (Guard the Cows for Me) for vihuela is Narváez’ most
popular set of theme and variations. The theme from this piece is called a romanesca
theme because it developed from the instrumental accompaniment of epic songs called
romances. The romanesca was popular during the 16th-17th centuries. It is speculated
that this song form also brought about the idea of theme and variations, as performers
often needed to extend their accompaniment through many verses of song. Elements of
the romanesca can be seen in the text of the song, by the poet Cristóbal de Castillejo (c.
1550):

Guárdame las vacas carillejo y besarte he;

Si no, bésame tú a mí, que yo te las guardaré.

(Look after the cows for me, sweet boy, and I shall kiss you,
If not, you can kiss me and I will look after the cows for you.)

The chord progression and bass line are the underlying structural elements to this
type of theme and variations; Narváez’ progression for his “first part” of the seven
variations is III VII i V III VII i V i, while the progression to the “second part” variations
is i VII iv V i VII iv V i. The theme makes clear the bass line and the harmonies of the
first three variations. Like Canción del Emperador, Andrés Segovia made Guárdame las
Vacas known to modern guitarists through his transcription and performance of the work.
Segovia’s translations of these two vihuela pieces contain similar liberties taken to make
the works more suitable for the guitar and Segovia’s own preferences.
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Johann Sebastian Bach (1685-1750)

Prelude and Fugue, BWV 998

The Prelude, Fugue, and Allegro, BWV 998, are staples of the modern guitar
repertoire. The title of Bach’s original manuscript of these pieces was “Prelude pour la
Luth. ò Cémbal. Par J.S. Bach,” meaning for the lute or harpsichord. The original
manuscript was written in two staves, which could indicate the use of a keyboard
instrument; however, the range and style of the works, especially the Prelude, seem to
imply that it was composed with the lute in mind. Because of this, it is likely that Bach
meant for the work to be performed on the lute-harpsichord, or Lautenwerck, which
would allow for the more complex contrapuntal textures of the Fugue and Allegro (as
well as the original key of Eb Major), while still maintaining some lute characteristics.

This work is believed to have been composed after 1734, likely during the early-
mid 1740s. The Prelude is the most idiomatic for the lute, with a clear bass line and
thinner textures. The work also exhibits the style brisé (when melody and harmony notes
overlap and blend together), which was common to Baroque lute music. The Fugue is an
especially mature work, and is in da capo form, which was infrequently used by Bach in
his fugues. This work is most commonly played in the key of D Major on the guitar.

Federico Moreno Torroba (1891-1982)

Sonatina- I. Allegretto and II. Andante

The Spanish composer Torroba is best known for his contributions to the guitar
repertoire, although he also composed zarzuelas, operas, and orchestral music. His guitar
music features elements of traditional Spanish music, as well as some impressionistic
qualities. The Sonatina is one of his earlier guitar works, composed in 1924 and
performed by Segovia the following year. The Allegretto is in the work’s home key of A
major, and features many lively rhythms and colorful harmonies. It is in a condensed
sonata form. The Andante is in the key of D Major; its dreamy, romantic, and colorful
qualities, as well as the composer’s use of parallelism and extended chords, show the
influence of impressionism.

Isaac Albéniz (1860-1909)

Cádiz and Granada, from Suite Española

Albéniz’ Suite Española is a set of several pieces for piano, each of which are
named after a region or city of Spain and feature the many musical traditions of Spain.
Although originally intended for piano, these works are very well suited to the guitar and
are tremendously popular and an important part of the Spanish guitar repertoire. Cádiz,
named after the important port city on the southern coast of Spain, is a bright and
patriotic piece with lively rhythms and a clear influence of traditional Spanish music.
Originally in the key of Db Major, it is played in A Major on the guitar.
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Granada shows influence of the flamenco tradition of southern Spain; this can be
seen in its modality, rhythms, form, and melody. Written during Albéniz’ stay in
Granada in 1886, this piece is both lyrical and romantic and quite simple structurally,
featuring a basic ternary form which Albéniz used frequently in this suite. The lovely
melody of the A section is similar to a jota copla, with its conjunct melodic movement
and triplet upper-neighbor flourishes; the melody here is accompanied by a gentle
strumming pattern. Originally in F Major, it is often performed on guitar in the key of E
Major.