F MORENO TORROBA Esfamps, Cuatro Guitarras Opera no) Eddiciones musicalesitarist in 1877. In Arrega generally nature, he pre- rate audiences of as Emilio Pujol, a. His Capricho Romero, is un- sentimental. It he same time as Albéniz’s travel pared without of the fandango of Scarlatti, Soler cia. A Cistercian 1 organist at El uigi Boccherini ore: “imitando il il Padre Basilio” aer Basilio plays ‘uoso cellist from. >wn professional 1 him to Vienna, e he settled. His en imitated the ven wrote a zar- only theatrical te, a dilettante of hony with guitar ired francs each, quintets into ver- Che Introduction om one of these, 8 (c. 1798) which 9.40 No. 2. With the exception of the celebrated Minuet, this Fan- dango is probably Boccherini’s best known work, a fiery composition which also quotes the ancient theme, the Folias de Espafia. | Federico Moreno Torroba (1891-1982) was not yet famed for his zarzuelas and Spanish operas such as La virgen de Mayo (1926) and Luisa Fernanda (1932) when he was approached by the young Andrés Segovia to write for the guitar. Moreno Torroba’s uncanny ability to match haunting or vivacious mel- odies with lush chords made his works for guitar extraordinarily successful, but the fact that he did not himself play the instrument meant that they are often technically daunting. Many of his guitar works are miniatures strung together to create striking suites: the Castles of Spain, the Gates of Madrid, the Airs of La Mancha and the present work. The title Estampas recalls the little prints, many of them Japanese, which inspired the impressionist painters and musicians. Like Debussy’s Estampes for piano, Moreno Torroba’s depict Spanish evenings and light dancing on the water, but there are also boisterous rural dances and a wedding scene. In “Bailando un fandango charro,” the word “charro” refers to the rural nature of the dance, but the meaning “ornately dressed” can also be inferred. A “Remanso” isa pond or marsh; “La Siega” depicts the harvest, quoting a traditional folk melody. The “Fiesta en el pueblo” is followed by a delicate, lovely evocation of the dawn - “Amanecer,” and then a wedding - “La Boda,” a mill road - “Camino del molino,” and children’s games - “Juegos infantiles.” Ribot Celedonio Romero’s fame as a performer and patii- arch of a dynasty of virtuoso performers has tendedocean Guitarra — 2° Bios Bailando un Fandango Charro Allegretto ‘matt 0 igre oo, I 12 oe + Oe aa: poe we Sf Fe op asGuitarra — 4 3 Remanso ate a nF ll tH He Ww omnd aGuitarra — 3" La Siega it - onadGuitarra — 3° Fiesta en el Pueblo Iv Andantino mossoGuitarra — 2" Amanecer Vv * oma2 4 al L= Ul iF a = La Boda VI . He; : tl AIL al. Hill 3 BY) 3 = S. dlGuitarra — 1 S vil ori Tl go mat est AhGuitarra — 2 Camino del Molino vil 7 : f end La Inde tranauo A 3 > nip| | | L (lit? 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