Description
This IDENTIDADE recording of Goyescas for flute and guitar is the first recording of this work, originally written for and commissioned by flutist Marina Piccinini in 2008. It was premiered by Piccinini and guitarist Emanuele Segre at the Philadelphia Chamber Music Series in February of 2009. Later an arrangement for viola, flute and piano was also published but not recorded.
The performers in this recording are Andrea Gonzalez Caballero, guitar, and Amalia Tortajada Zanón, flute. The recording is available here.
Goyescas for flute and guitar is a cycle of seven short pieces inspired musically by my impressions of five paintings by Francisco Goya. This work has a Spanish folk flavor imparted by mysterious harmonic and modal overtones. The fiery dance rhythms and the infectious spirit imbue this cycle with a special fire and vitality only found in the music of the Spanish people. “I especially enjoy spicing up my melodies with grace notes and the elaborate, intricate melismas (ornamental melodic embellishments) found in Flamenco music and other traditional folk music of Spain. I have blended these beloved musical traditions with contemporary compositional techniques that meld these ancient forms into a poetic, lyrical and intimate personal musical language.”
- Pregón is a brilliant fanfare that echoes the brash trumpet calls (or pregones) that imperiously summoned villagers to important communal festivals.
- La familia de Carlos IV is inspired by a portrait of the majestic and noble royal family of Charles IV of Spain.
- Las majas en el balcón depicts two sultry ‘majas’ (maidens) flanked by two threatening ‘guadias civiles’ (Spanish police).
- El sueño (the dream) is Goya’s poetic, sensual and passionate depiction of a vulnerable and mysterious sleeping woman.
- La Fragua is a grim, dark portrait of three men toiling at a blazing forge.
- Toque is a variation of the initial Pregón that prepares the lightness and playfulness of La gallina Ciega.
- La gallina ciega is Goya’s humored, sunny depiction of a childhood game of “blind man’s bluff.”
This work has a Spanish folk flavor imparted by mysterious harmonic and modal overtones. The fiery dance rhythms and the infectious spirit imbue this cycle with a special fire and vitality only found in the music of the Spanish people. I especially enjoy spicing up my melodies with grace notes and the elaborate, intricate melismas (ornamental melodic embellishments) found in Flamenco music and other traditional folk music of Spain. I have blended these beloved musical traditions with contemporary compositional techniques that meld these ancient forms into a poetic, lyrical and intimate personal musical language.
