Raphaella SMITS

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RECORDINGS -CD ACR -CD Walter-Brouwer-Henderickx -CD Mertz-Giuliani2 -CD Spanish Folksongs -CD Legnani-Sor -CD Manjon -CD Vila-Lobos a.o. -CD Weiss-Bach -CD Sor-Coste -CD 20th Century -CD Mertz-Giuliani -LP Tedesco -LP Coste -LP Sor-Kaufmann -LP Dowland -LP Blauwe Steen

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NEDERLANDSE
VERSIE

PROGRAM

Jorge MOREL (1931)
Sonatina:
1. Allegretto
2. Andante espressivo
3. Allegro

Augustin Mangore BARRIOS (1885-1944)
4. Choro de Saudade
5. Una Limosna por el Amor de Dios (Gran Tremolo)
6. Vals, Opus 8 No 4

Joaquin TURINA (1882-1949)
Sonata (opus 61):
7. Lento-Allegro-Allegretto tranquillo-...
8. Andante
9. Allegro vivo-Allegro moderato-...

Franz BURKHART (1902-1978)
10. Passacaglia

Richard Rodney BENNETT (1936)
Impromptus:
11. Recitativo
12. Agitato
13. Elegiaco
14. Con fuoco < audio sample >
15. Arioso

Frank MARTIN (1890-1974)
Quatre pièces brêves:
16. Prélude
17. Air
18. Plainte
19. Comme une gigue


FEATURES

artist: Raphaella Smits, guitar
titel:
LYRICAL 20TH CENTURY GUITAR MUSIC
composers: Jorge MOREL, Augustin Mangore BARRIOS, Joaquin TURINA, Franz BURKHART, Richard Rodney BENNETT, Frank MARTIN
label: Accent Records, BE
CD number: ACC2 8966
recorded: at Parochiecentrum Onze-Lieve-Vrouw, Boom, BE, July 1990
instrument : 8-string guitar by John Gilbert (USA) (1980)
total duration: 59'57"
illustration: 'Gitarre und Flasche', by Juan Gris (1887-1927)


LYRICAL 20TH CENTURY GUITAR MUSIC
Raphaella plays Jorge MOREL, Augustin Mangore BARRIOS, Joaquin TURINA, Franz BURKHART, Richard Rodney BENNETT and Frank MARTIN.

PROGRAM
FEATURES
ABOUT THE COMPOSERS
WHAT OTHER PEOPLE SAY


ABOUT THE COMPOSERS

The Argentinian Jorge Morel (1931), virtuoso and composer, who has been influenced by western music and South American folklore, can be considered as the successor of Barrios. The Sonatina, which opens this CD, is dedicated to David Russell.

The Paraguayen Augustin Mangore Barrios (1885-1944) was unquestionably the most colourful guitarist from the beginning of the 20th century. Dressed in an Indian costume with a feather head-dress, 'Chief Nitsuga Mangore' performed Bach, Sor, Tarrega and Albéniz. He called himself 'the Paganini of the guitar from the jungle of Paraguay'.

The Sevillian Joaquin Turina (1882-1949) was one of the first composers to respond to the wish of Andres Segovia to write more works for the guitar. Together with Albeniz, Granados and De Falla, he represented the nationalist school of Spanish music.

The Austrian Franz Burkhart (1902-1978) wrote the Passacaglia inspired by the baroque. It is an example of how the variations on a bass of the 17th century can be applied in a neo-classical context.

The British Sir Richard Rodney Bennett (1936) has written these five Impromptus in 1968 at guitarist Julian Bream's request to several British composers to expand both the guitar repertoire and the instrument's possibilities beyond the styles and conventions of Spanish guitar music. Yet it is odd to note how they turned, almost reflexively, to Spanish music for inspiration.

The Suiss Frank Martin (1890-1974) offered this four-part piece to Andres Segovia in 1933. The latter however never played it. In 1953 in caught the attention of Karl Scheit who made his own arragements. Raphaella has used the manuscript of Frank Martin (with a few alterations based on his piano version).


WHAT OTHER PEOPLE SAY

John Arran from <Guitar International (UK)> wrote:
"From the opening notes to the end, this disc is a winner. This is indeed the playing which can take the guitar into the 21st century, with this quality of musicianship the instrument would soon lose its poor relation tag. Wonderful programme, wonderful playing. Thank you Ms. Smits."

Ellis of the <American Record Guide (USA)> wrote:
"I'm not familiar with Raphaella Smits, but she's better than nearly every woman in the guitar field. Smits could show them a thing or two about lyricism and sentiment.
Martin's 'Quatre Pieces brÍves' ranks right up there with the best on disc thus far. When hearing Smits perform the work, it's hard to understand why Segovia rejected these attractive miniatures."

Leslie Gerber of the magazine <Fanfare> wrote:
"Smits's performance of the set is uncommonly penetrating, and she does see through some thorns to the lyrical heart of the music. It's a triumph. The most essential matter is what we hear, and that is truly fine: excellent performances of mostly excellent music, quite realistically recorded. This recital is highly recommended, and I will be looking for more from Smits."

Chris Kilvington from the <Classical Guitar (UK)> wrote:
"Anyone not acquainted with this music will do well to hear Smits with both her power and passion, and her reflective capability. Altogether a CD to enjoy. The music never once sounds anything other than grand."

T. W. from <High Performance Review> wrote:
"Raphaella Smits plays with the greatest subtlety, if not the greatest of serene warmth which for much of this music is just fine."

Alexandre Perrin of the magazine <Diapason (FR)> wrote:
"Raphaella Smits possède un argument majeur pour séduire: sa sonorité. A la fois ample, fin et précis, ce son-là n'est pas loin d'être un exemple."

S.B. from <Fono Forum (DE)> wrote:
"Tonlich akkurat, sensibel und geschmackvoll in ihrer Wahl der Tempi wie in der agogischen Gestaltung, bringt die Gitarristin gefühlshaften Ausdruck und spieltechnische Meisterschaft wirkungsvoll ins Lot. Vor allem ihr warmer, schwingender, dabei präzise fixierter Ton fasziniert. Über Raphaella Smits wünßte man gern mehr - doch das Booklet schweigt sich aus."

Peter Päffgen from <Gitarre und Laute(DE)> wrote:
"Die Platte mit "Lyrical 20th Century Music" von Raphaella Smits ist eine Neuerscheinung, die ich empfehlen kann! Da sind musikalische Interpretationen mit Klangsinnlichkeit und Virtuosität zu hören, mit Witz und Lyrik ... mit Saft und Kraft eben."

Paula Bach from <Independente (PT)> wrote:
"Raphaella Smits, with major elegance, plays with timbre and uses virtuosity as factors of aesthetic ornamentation. A very interesting recording." 


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