Francisco Tárrega (1852-1909): Recuerdos De La Alhambra; Lágrima; Danza mora; Etc.

IM – PER – DÍ – VEL!!!! Este CD é um super-clássico da discografia de todos os tempos. Não sei quantas vezes foi reeditado. Francisco Tárrega foi um gênio espanhol que não julgava necessário refrigerar o violão abanando-o loucamente. É o anti-Al Di Meola, o calorento norte-americano que, quando não sabe o que fazer, usa a mão direita como leque. No violão, claro. Tárrega revolucionou a composição para o instrumento. Defendeu uma metodologia diferente da que era usada em sua época. Segundo ele, o toque realizado pela mão direita no violão devia ser feita num ângulo de 90º, e com a parte “macia” do dedo, ou seja, a unha não deveria ser utilizada. Tárrega justificava essa metodologia afirmando que o toque do dedo “nu” causava uma sensação de maior “controle emocional” e técnico da obra em execução.

Deve ter razão, pois aqueles abanos à base de unhadas — as quais apenas incentivam as dançarinas a matar todas as baratas do salão a sapatadas fulminantes — são detestáveis.

A obra mais famosa música de Tárrega é conhecida não é conhecida integralmente pela maioria das pessoas… Mas todas já ouviram um pedaço: é o toque padrão do celular Nokia…

Aqui estamos da mão de outro gênio: Narciso Yepes.

Abaixo, uma nota biográfica do violonista. Vai em inglês, acho que tudo lê, né?

Yepes was born into a family of humble origin in Lorca, southern Spain. His father gave him his first guitar when he was four years old. He took his first lessons from Jesus Guevara, in Lorca. Later his family moved to Valencia when the Spanish Civil War started in 1936.

When he was 13, he was accepted to study at the Conservatorio de Valencia with the pianist and composer Vicente Asencio. Here he followed courses in harmony, composition, and performance.

On December 16th 1947 he made his Madrid début, performing Joaquin Rodrigo’s Concierto de Aranjuez with Ataúlfo Argenta conducting the Spanish National Orchestra. The overwhelming success of this performance brought him renown from critics and public alike. Soon afterwards, he began to tour with Argenta, visiting Switzerland, Italy, Germany and France. During this time he was largely responsible for the growing popularity of the Concierto de Aranjuez.

In 1950, after performing in Paris, he spent a year studying interpretation under the violinist George Enesco, and the pianist Walter Gieseking. He also studied informally with Nadia Boulanger. This was followed by a long period in Italy where he profited from contact with artists of every kind.

In 1952 a song Yepes wrote when he was a young boy became the theme to the film Forbidden Games (Jeux interdits) by René Clément. However, the piece, Romance, has often speculatively been attributed to other authors, without conclusive evidence that can stand up to scientific scrutiny, and despite the fact that Yepes confessed to being its composer. If you have a good look at the credits of the movie “Jeux Interdits” however, you will see that Romance is credited as “Traditional: arranged – Narciso Yepes.” Yepes also performed other pieces for the “Forbidden Games” soundtrack. His later credits as film composer include the soundtracks to La Fille aux Yeux d’Or (1961) and ‘La viuda del capitán Estrada’ (1991). He also starred as a musician in the 1967 film version of El amor brujo.

In 1958 he married Marysia Szumlakowska, then a young Polish Philosophy student. They had two sons, Juan de la Cruz (deceased), Ignacio Yepes, an orchestral conductor and flautist, and one daughter, dancer and choreographer Ana Yepes.

In 1964, Yepes performed the Concierto de Aranjuez with the Berlin Philharmonic Orchestra, premièring the ten-string guitar, which he invented in collaboration with the renowned guitar maker José Ramírez III.

Yepes’ 10-string guitar tuning

The instrument made it possible to transcribe works originally written for baroque lute without deleterious transposition of the bass notes. However, the main reason for the invention of this instrument was the addition of string resonators tuned to C, A#, G#, F#, which resulted in the first guitar with truly chromatic string resonance – similar to that of the piano with its sustain/pedal mechanism.

After 1964, Yepes used the ten-string guitar exclusively, touring to all six inhabited continents, performing in recitals as well as with the world’s leading orchestras, giving an average of 130 performances each year.

Aside from being a consummate musician, Yepes was also a significant scholar. His research into forgotten manuscripts of the sixteenth and seventeenth centuries resulted in the rediscovery of numerous works for guitar or lute. He was also the first person to record the complete lute works of Bach on period instruments (14-course baroque lute). In addition, through his patient and intensive study of his instrument, Narciso Yepes developed a revolutionary technique and previously unsuspected resources and possibilities.

He was granted many official honours including the Gold Medal for Distinction in Arts, conferred by King Juan Carlos I; membership in the Academy of “Alfonso X el Sabio” and an Honorary Doctorate from the University of Murcia. In 1986 he was awarded the National Music Prize of Spain, and he was elected unanimously to the Real Academia de Bellas Artes de San Fernando.

Since 1993 Narcisco Yepes limited his public appearances due to illness. He gave his last concert on March 1st 1996, in Santander (Spain).

He died in Murcia in 1997, after a long battle with lymphoma.

Tárrega – Recuerdos de la alhambra

01. Lagrima – Andante
02. Estudio en forma de Minuetto
03. La Cartagenera
04. Danza mora
05. Columpio – Lento
06. Endecha – Andante
07. Oremus – Lento
08. La Mariposa – Allegro Vivace
09. Recuerdos de la Alhambra – Andante
10. Preludio in G major – Allegretto
11. Adelita – Lento
12. Sueno
13. Minuetto
14. Pavana – Allegretto
15. Estudio de velocidad – Allegro
16. Jota – Andante-Allegro-Tempo primo-Lento, expressivo-Cantabile

Narciso Yepes, violão

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