Laureate Series • Guitar

Rovshan Mamedkuliev
Winner 2012
Guitar Foundation of America (GFA) Competition
ALBÉNIZ • TURINA • AMIROV • LLOBET
CASTELNUOVO-TEDESCO • TÁRREGA
Rovshan Mamedkuliev: Guitar Recital
Manuel de FALLA (1876–1946): La vida breve – Danza No. 1 (Act II, Scene 1) (arr. Keigo Fujii)
Fikret AMIROV (1922-1984): 12 Miniatures – excerpts (arr. Rovshan Mamedkuliev)
Miguel LLOBET (1878-1938): Variations on a Theme of Sor, Op. 15
Sergey RUDNEV (b. 1955): ʻIvushkaʼ(Russian Folk Song Variations)
Isaac ALBÉNIZ (1860-1909): Suite Española, Op. 47 – No. 3 Sevilla (Sevillanas) (arr. Tárrega)
Joaquín TURINA (1882-1949): Sevillana (Fantasia)
Mario CASTELNUOVO-TEDESCO (1895-1968): Capriccio diabolico (Omaggio a Paganini)
Andrew YORK (b. 1958): Just How Funky Are You
Leo BROUWER (b. 1939): An Idea (Passacaglia for Eli)
Francisco TÁRREGA (1852-1909): Jota
The works in this selection have close affinities with the
folk-music traditions of particular cultures. Classical
composers through the ages have drawn strength from the
legacy of popular music enabling them to create effective
distillations from the songs and dances immortalised by
generations of musicians. The guitar itself is both an
instrument of the people and, at specific times in its history,
an instrument of the court. Guitar music is rich in rhythms
and melodies of traditional music. The strength of that
fusion between contemporary composers and the vigour of
folkloric elements is well reflected here.
Manuel de Falla was born in Cádiz. After early piano
lessons from his mother, Falla continued his pianistic
education under José Tragó and also studied with Felipe
Pedrell. In 1907 he went to France where he remained for
several years in the circle of Debussy, Dukas, Ravel, and
Albéniz. He returned to Spain in 1914, settling in Granada
seven years later. After the tragedy of the Civil War Falla
went to Argentina and lived in relative seclusion through
fragile health till his death in 1946. His music includes stage
and orchestral pieces, vocal items, piano solos, and
chamber and instrumental compositions. Falla is universally
acknowledged as the foremost master of twentieth-century
Spanish music. Though he wrote only one solo work for
guitar, several of his compositions have been arranged for
the instrument by guitarists over the years.
La vida breve, a lyric drama in two acts, was composed
in 1904/5 and received its first performance in Nice in 1913.
Set in the Albaicín district of Granada, the opera recreates
the passion and sadness of gypsy life. Danza, taken from
Act II of La vida breve and performed as an orchestral
interlude in front of a drop-curtain with a panorama of
Granada from the Sacromonte, was originally arranged for
two guitars by Emilio Pujol in the 1930s. It is a fiery,
vigorous work, quintessentially Spanish in every way, yet
with an ultimate refinement characteristic of Fallaʼs
meticulous compositional techniques.
Fikret Amirov was a leading Azerbaijani composer of the
Soviet period, strongly influenced by folk-music. He studied
at the Azerbaijan State Conservatoire and was wounded
while on active service during the Second World War with
the Soviet Army against Nazi Germany. Amirovʼs output
includes symphonic works, ballets, an opera, film scores,
and a number of piano pieces. He was the recipient of
many honours and state awards including the Stalin Prize
(1949) and USSR Peace Prize (1980).
The six pieces from 12 Miniatures, arranged from a
piano work, evoke not only typical pastoral scenes, but
Azerbaijanʼs folkloric traditions. Ballad is a poem telling a
serious tale of the past, Ashugʼs Song is a catchy, witty
song with attractive foot-tapping rhythmic patterns, Lyrical
Dance has Chopinesque elements in its light rhythmic
movement, while Hunting exploits lively scale passages
and lively rhythms to express the excitement of the chase.
Nocturne sets a meditative atmosphere with subtle dark
melodic lines and an insistent bass line in contrast to the
lightly tripping energies of Toccata, presenting an incisive
finale to the suite.
Miguel Llobet, born in Barcelona, Catalonia, was one of
the most influential guitarists of the early twentieth century.
A student of Francisco Tárrega and a profound influence
on Andrés Segovia in his formative years, Llobet gave
recitals in many countries, made recordings and wrote
various original compositions. He also became renowned
as both teacher and editor. In recent years Llobetʼs
compositions have seen a revival but his lasting monu-
ment has been his exquisite harmonisations of Catalan
folk-songs, arrangements of Granadosʼs La Maja de Goya
and Spanish Dances Nos 5 and 10 and the editing of
Manuel de Fallaʼs guitar work, Homenaje, Le Tombeau de
Debussy.
Variations on a Theme of Sor, Op. 15, begins with
Fernando Sorʼs arrangement of La Folia de España and
his first two variations. Only in Variation 3 does Llobet first
show his hand, beginning with brilliant descending triplet
arpeggio patterns. Then comes a variation presenting a
different kind of arpeggio where a theme in the bass is
complemented by harmonic progressions across treble
strings. Variation 5 consists of short semiquaver triplet
bursts in minor and major thirds in the treble, contrasting
with the next variation – a series of rapid ascending triplets
from bass to treble, rhythmically and harmonically similar
to Variation 5 but giving a quite different effect. An
Intermezzo is introduced, a legato melodic line in the major
key, the treble accompanied by chromatic chords
reminiscent of the technical figurations in Sorʼs Study Op.
6, No. 2. Variation 7 returns to the key of E minor for a
virtuosic exercise in demisemiquaver slurs, supported by
subtle chords. Variation 8 is in harmonics, one of the
guitarʼs most sensitive sonorities. This is succeeded by a
section where the guitarist uses only the left hand to pluck
and finger the notes, ending with a dramatic downward
sweep across the strings. The finale, Variation 10,
combines many techniques involving chords, slurs, and
harmonics in a dazzling coda.
Sergey Rudnev (b. 1955), was brought up in the small
village of Osinovka near the River Volga, and studied music
in Tula, Moscow and Sverdlovsk. He is a prolific composer
for the guitar and an album of his pieces has been
published in The Russian Collection series edited by
Matanya Ophee (Editions Orphée). The eminent Russian
guitarist and composer, Nikita Koshkin, has commented
that ʻsome compositions of Rudnev are lyrical in nature,
while others carry a more dramatic presence… His direct
familiarity with village life enables the artist to produce vivid
pictures of Russian life and ritualʼ.
The theme of Ivushka is a gentle folk-song of plaintive
beauty. The variations include arpeggiated embellish-
ments, rapid scale passages, and a thoughtful finale.
Isaac Albéniz was born in Camprodón, in northern
Spain, spending much of his childhood in Barcelona, the
capital of Catalonia. Yet though Catalan by birth his
celebration of the great cities of Andalusia remains a
perennial evocation of Iberian romanticism. Albéniz
composed mainly for piano, writing nothing directly for the
guitar, but ever since Tárrega first transcribed some of his
pieces, Albénizʼs music has remained at the very heart of
the guitar repertoire.
Sevilla evokes the vigorous flamenco dance, the
sevillanas, full of colour and vitality. The slow middle
section expresses the plaintiveness of cante jondo
(flamenco ʻdeep songʼ) before the dance returns in all its
gaiety and virtuosity.
Joaquín Turina was born in Seville, one of the great
Andalusian cities where flamenco reigns supreme. In 1905
he went to Paris and studied with dʼIndy and Moszkowski,
forming friendships with both Falla and Albéniz. On
returning to Madrid he spent the rest of his life in the
creation of music deeply representative of Spanish culture.
Among his prolific compositions, including symphonies,
piano pieces, operas, chamber works and incidental theatre
music, he wrote several remarkable solos for guitar inspired
by the art of Andrés Segovia.
Sevillana, Op. 29, (subtitled Fantasía) composed in
1923, evokes the colourful dance from Turinaʼs native city,
the sevillanas. The elements of the form are distilled and
integrated with considerable subtlety, involving techniques
such as rasgueado (strumming), fast scale passages, rapid
arpeggios, and poignant melodies.
Mario Castelnuovo-Tedesco, the great Italian composer
from Florence, was forced to leave his native country in
1939 by Mussoliniʼs anti-Jewish edicts. He ultimately settled
in California where he became a prolific writer of film music
between 1940 and 1956, in the same period composing
more than seventy concert works. As a mem-ber of the
faculty of the Los Angeles Conservatory of Music, he
numbered among his pupils Henry Mancini, André Previn,
and the composer, John Williams.
In 1932, Segovia had travelled with Manuel de Falla to
the International Festival of Music in Venice. At the Fest-
ival, Segovia was introduced to Castelnuovo-Tedesco who
became fascinated by the guitar and decided to explore
its possibilities. Between 1932 and his death in 1968, he
wrote over a hundred works for the instrument, including a
sonata, sets of variations, concertos, and impressionistic
pieces of various kinds.
Capriccio diabolico (Omaggio a Paganini) was written
in 1935 following a suggestion by Segovia that Castel-
nuovo-Tedesco should compose a homage to Paganini
who admired and played the guitar. Thus the opening bars
of the piece present the theme of La campanella from
Paganiniʼs Second Violin Concerto. The composition is an
extended work, exploring the virtuosic potential of the guitar
through the cumulative effect of diverse textures and
moods. As well as lyrical moments, chordal passages, and
rapid scale runs, a middle section breaks into a tremolo, the
technique by which a guitarist can weave the illusion of a
continuous line of melody. A vivid coda brings back La
campanella in a final dramatic flourish.
Andrew York is a multi-talented guitarist, composer,
teacher, and painter whose reputation was first established
world-wide by his composition Sunburst, performed and
recorded by John Williams. The composer studied at
James Madison University and the University of Southern
California, where he was the recipient of numerous awards.
He joined the Los Angeles Guitar Quartet in 1993, but has
also established a solo career as an international recitalist
of the first order.
Just How Funky Are You, composed for the Guitar
Foundation of America Competition 2012, is composed in
modernistic style, exploring multiple sonorities and
techniques of the guitar in sensitive fashion. Expanding
from a concentrated opening of separate, highly focused
notes, the work quickly evolves into a complex kaleido-
scope of colour and intensity. The techniques include
percussive effects as well as the many varied textures of
the guitarʼs capabilities. Virtuosic control is required
throughout the work.
Leo Brouwer, from Cuba, one of the most innovative
and popular contemporary composers, is also a renowned
conductor and recitalist. His prolific output ranges from a
multitude of guitar pieces to concertos, chamber music,
and scores for over a hundred films. His guitar works have
evolved over four decades embracing the avant-garde and
the experimental as well as neo-romanticism.
An Idea (Passacaglia for Eli), written in 1999, is dedi-
cated to Eli Kassner, the renowned Canadian teacher,
founder of the Guitar Society of Toronto and its
internationally famous guitar festival. The composition is
structured into two eight bar episodes set between a
recurrent four bar theme, heard three times at the be-
ginning, middle and ending. The two episodes themselves
are related in that the second segment is a form of
improvisation on its companion, each being prefaced by a
rapid scale run.
Francisco Tárrega was a leading personality of
immense significance in the guitarʼs development over the
last two centuries, in terms of technical innovations, com-
positions, and the art of arrangement. His advocacy of new
concepts of guitar construction embodied in the work of
Antonio de Torres (1817–1892), the great Spanish luthier,
has proved influential right up to the present time. Working
with the Torres type of instrument (with its enhanced tonal
qualities, fan strutting, and a 650 millimetre string length),
Tárrega established teaching methods including the most
practical way of holding the guitar (using a footstool to raise
the left leg), principles of left and right hand techniques,
and studies to develop a playerʼs skills. Furthermore,
Tárrega composed some remarkable music for the
instrument, meticulously indicating the precise placing of
notes on the fingerboard to produce the most vibrant
effects. In many exquisite miniatures, often influenced by
Chopin, he established a Spanish romantic voice for the there is often some discussion about the true authorship of
guitar which has enchanted public and players ever since. this engaging work. What is clear is that Tárregaʼs version
has reached a wide audience and his re-working of familiar
Jota, a set of witty and ebullient episodes which bring themes endears this piece to the hearts of guitarists and the
out the sheer bravura and versatility of the instrument, was public everywhere.
arranged by Tárrega from popular themes of the Spanish
province of Aragon originally written down by Julián Arcas Graham Wade
(1832-1882), an early, potent influence on Tárrega. Hence
Rovshan Mamedkuliev
Rovshan Mamedkuliev was born in Baku (Azerbaijan), and began studying classical guitar at the age of eleven in Nizhny
Novgorod (Russia). In 2004 he entered the Nizhny Novgorod Conservatory where he studied with Aleksey Petropavlovsky,
a nationally recognized performer and teacher. He completed his studies with honours in 2009 and joined the teaching
staff of the Conservatory. Since 1999 he has participated in many international competitions and has won more than
twenty awards including First Prize at the Sixth International Cup of the North Competition for performers on national
instruments (Cherepovets, Russia, 2006), First Prize and Special Prize for the best interpretation of the compositions
of Leo Brouwer at the Tenth International Guitar Competition Leo Brouwer (Antony, France, 2009), First Prize, Audience
Prize and Special Prize for the best interpretation of the compositions of Heitor Villa-Lobos at the First International Guitar
Competition “Heitor Villa-Lobos” (Salamanca, Spain, 2011), First Prize at the Second Alexander Frauchi International
Guitar Competition (Moscow, Russia, 2011), First Prize at the XXX Guitar Foundation of Americaʼs International Concert
Artist Competition (Charleston, USA, 2012), and Second Prize, Audience Prize and Special Prize for the best interpretation
of the compositions of Francisco Tárrega at the XLVI International Guitar Competition “Francisco Tárrega” (Benicàssim,
Spain, 2012). In 2006 he received a Grant from Vladimir Putin, Russian President, for high achievements in the arts.
As a soloist he has performed with a wide variety of distinguished ensembles and orchestras and played in major
concert venues throughout the world.
Music Publishers
1 De FALLA: used with permission of arranger • 2–7 AMIROV: used with permission of composerʼs son
8 LLOBET: Chanterelle • 9 RUDNEV: used with permission of composer • 0 ALBÉNIZ: Editions Berben
! TURINA: Columbia Music Co. • @ CASTELNUOVO-TEDESCO: Casa Ricordi / Universal Music Publishing Classical
# YORK: Seven Centers Publishing • $ BROUWER: Chester Music Ltd.• % TÁRREGA: Editions Berben
 Rovshan Mamedkuliev was first prize-winner at the prestigious Guitar Foundation of America
Competition in 2012, and now stands as one of the world’s most exciting young instrumentalists.

Dmitry Gurichev
He has constructed a programme with several themes. Iberian music is represented by Falla,
Albéniz and Turina, and by two of the titans of guitar playing, Miguel Llobet and Francisco
Tárrega. He also includes music by his Azerbaijani compatriot, Fikret Amirov, whose folkloric-
influenced music is another thematic link. The kaleidoscopic Just How Funky Are You by Andrew
York and Leo Brouwer’s An Idea explore the guitar’s contemporary vitality.

ROVSHAN MAMEDKULIEV
Guitar Recital
Manuel de FALLA (1876–1946) Variations) 3:27
1 La vida breve – Danza No. 1 Isaac ALBÉNIZ (1860–1909)
(Act II, Scene 1) 0 Suite española, Op. 47 –
(arr. Keigo Fujii) 3:57 No. 3 Sevilla (Sevillanas)
Fikret AMIROV (1922–1984) (arr. Tárrega) 5:19
12 Miniatures – excerpts Joaquín TURINA (1882–1949)
(arr. Rovshan Mamedkuliev) ! Sevillana (Fantasia) 6:33
8:39 Mario CASTELNUOVO-
2 I. Ballad 1:27 TEDESCO (1895–1968)
3 II. Ashug’s Song 0:58 @ Capriccio diabolico
4 V. Lyrical Dance 1:56 (Omaggio a Paganini) 10:12
5 VI. On Hunting 0:49 Andrew YORK (b. 1958)
6 III. Nocturne 2:37 # Just How Funky Are You 6:40
7 X. Toccata 0:49
Leo BROUWER (b. 1939)
Miguel LLOBET (1878–1938) $ An Idea (Passacaglia for Eli) 3:10
8 Variations on a Theme of Sor,
Francisco TÁRREGA
Op. 15 8:45 (1852–1909)
Sergey RUDNEV (b. 1955) % Jota 11:02
9 ‘Ivushka’ (Russian Folk Song

Recorded at St John Chrysostom Church, Newmarket, Ontario, Canada, 2–5 November 2012,
Producers: Norbert Kraft & Bonnie Silver • Engineer & Editor: Norbert Kraft
Booklet notes: Graham Wade • Cover photo of Rovshan Mamedkuliev by Dmitry Gurichev