Category Archives: 10-string guitar

Narciso Yepes: The Complete Solo Recordings with DG

After a conspicuous absence of over two decades, the complete solo recordings of Narciso Yepes are again in print internationally:

https://www.amazon.com/Yepes-Complete-Solo-Recordings-Narciso/dp/B06Y1XGS1Y

http://www.deutschegrammophon.com/en/cat/4797316

71MCmyERTxL._SL1200_

Someone at Deutsche Grammophon is to be commended for bringing that label to its senses in this respect. Something has budged. Some ten years ago, when encouraged to do so, some head honcho at DG still replied with nonchalant intractability that “There is enough of Yepes already” – while his finest interpretations were unknown to guitarists and complete box sets of Segovia – and the less salable Bream – were, of course, available. Needless to say, in the post-print, digital-download era of music, there was no “economic” excuse for this suppression. But, happily, the situation has finally been remedied.

And yet… Unfortunately someone else at DG – whoever is responsible for commissioning booklet notes – is once again to be censured for a lack of historical awareness and the insult that they bring to the work of Yepes by associating it with the writing of one of the chief architects of anti-Yepes bigotry. Is it not high time to recognize the outdated but lingeringly toxic influence of such so-called guitar experts as Graham Wade – who long denigrated the non-formalist approach of Yepes as “wayward” and “destructive”; who promoted such untenable and deleterious ideological positions as the belief that “true creativity…[is] a continual extinction of personality”, that there is only one permissible tempo or interpretation (which happens to be Segovia’s or Bream’s); and who encouraged the “cast[ing]…into outer darkness” of artists (Yepes, first and foremost) who did not parrot Segovia’s particular brand of formalism (a.k.a. “Apollonian restraint”)?

So, regrettably, one has to say, with mixed feelings: Congratulations, DG, and shame on you.

A highly recommended set of very important recordings, nonetheless.

 

* * *

Tracks that used to be unavailable and/or are of particular interest are highlighted below, in bold:

CD 1: Spanish Guitar Music Of Five Centuries, Vol. 1
Alonso de Mudarra (1510 – 1580)
Luys Don Milan (1500 – 1562)
2.
9:00
Luys de Narváez (1490 – 1547)
Mille Regretz
Diego Pisador
6.
1:01
Gaspar Sanz (1640 – 1710)
Suite Española
Arr. For Guitar By Narciso Yepes
7.
1:18
12.
1:34
13.
2:31
15.
3:07
Antonio Francisco Javier Jose Soler Ramos (1729 – 1783)
Narciso Yepes
Total Playing Time 52:41
CD 2: Spanish Guitar Music Of Five Centuries, Vol. 2
Fernando Sor (1778 – 1839)
Francisco Tárrega (1852 – 1909)
5.
3:58
Isaac Albéniz (1860 – 1909)
España, Op.165
Manuel de Falla (1876 – 1946)
Joaquín Rodrigo (1901 – 1999)
Por los campos de España
Ernesto Halffter (1905 – 1989)
9.
5:51
Federico Moreno Torroba (1891 – 1982)
10.
3:25
Bassols Javier Montsalvatge (1912 – 2002)
Mauricio Ohana (1914 – 1992)
Antonio Ruiz-Pipo (1933 – 1997)
Narciso Yepes
Total Playing Time 50:07
CD 3: Sor: 24 Études For Guitar
Fernando Sor (1778 – 1839)
12 Etudes, Op.29
24 Etudes, Op.35
2.
 
2:59
3.
 
1:30
12 Etudes, Op.6
4.
 
1:41
24 Etudes, Op.35
5.
 
1:38
12 Etudes, Op.29
6.
 
3:35
24 Etudes, Op.35
Etudes for Guitar, Op.31
9.
 
1:45
24 Etudes, Op.35
10.
 
1:44
11.
 
1:36
12 Etudes, Op.29
Etudes for Guitar, Op.31
12 Etudes, Op.6
15.
 
3:31
Etudes for Guitar, Op.31
16.
 
2:48
17.
 
2:44
12 Etudes, Op.29
18.
 
3:48
Etudes for Guitar, Op.31
19.
 
0:55
12 Etudes, Op.29
20.
 
3:13
12 Etudes, Op.6
21.
 
1:56
Etudes for Guitar, Op.31
22.
 
1:17
12 Etudes, Op.6
23.
 
1:07
Etudes for Guitar, Op.31
24.
 
2:07
Narciso Yepes
Total Playing Time 52:19
CD 4: Música Española
Isaac Albéniz (1860 – 1909)
Suite española, Op.47
Transcr. A. Segovia
Recuerdos de Viaje, Op.71
Transcription by Narciso Yepes
Piezas caracteristicas, Op.92
Transcription by Narciso Yepes
Enrique Granados (1867 – 1916)
Spanish Dance, Op.37, No.4 – “Villanesca”
Manuel de Falla (1876 – 1946)
El Amor Brujo
Arr. For Guitar By Narciso Yepes
El sombrero de tres picos
Arr. N. Yepes
Pt. 1
Joaquín Pérez Turina (1882 – 1949)
Sonata For Guitar Solo, Op.61
Narciso Yepes
Total Playing Time 42:31
CD 5: J.S. Bach / Weiss: Works For Guitar
Johann Sebastian Bach (1685 – 1750)
Partita For Violin Solo No.2 In D Minor, BWV 1004
Arr. For Guitar By Narciso Yepes
2.
 
15:29
Partita For Violin Solo No.1 In B Minor, BWV 1002
Silvius Leopold Weiss (1686 – 1750)
4.
 
2:30
Suite In E Major
5.
 
1:58
Suite In E Major
6.
 
3:38
Suite In E Major
7.
 
3:53
Suite In E Major
8.
 
1:35
Suite In E Major
9.
 
5:22
Suite In E Major
10.
 
1:15
Suite In E Major
11.
 
3:00
Narciso Yepes
Total Playing Time 47:50
CD 6: Villa-Lobos: 12 Etudes; 5 Preludes
Heitor Villa-Lobos (1887 – 1959)
12 Etudes, W235
5 Preludes, W419
13.
4:54
14.
3:08
15.
3:10
16.
3:42
17.
4:24
Narciso Yepes
Total Playing Time 55:21
CD 7: Rendezvous With Narciso Yepes
Francisco Tárrega (1852 – 1909)
Domenico Scarlatti (1685 – 1757)
Johann Sebastian Bach (1685 – 1750)
Suite In E Minor For Lute, BWV 996
Arr. For Guitar
3.
1:27
Adrien Le Roy
Johann Sebastian Bach (1685 – 1750)
Suite In E Minor For Lute, BWV 996
Arr. For Guitar
5.
4:53
Anonymous
Francisco Tárrega (1852 – 1909)
La Alborada
7.
1:52
Manuel de Falla (1876 – 1946)
Danza del Molinero
8.
2:56
Miguel Llobet (1878 – 1938)
Antonio Ruiz-Pipo (1933 – 1997)
La Danza
10.
1:37
Heitor Villa-Lobos (1887 – 1959)
5 Preludes, W419
11.
4:39
Emilio Pujol Villarrubí (1886 – 1980)
Salvador Bacarisse (1898 – 1963)
13.
2:01
Narciso Yepes (1927 – 1997)
Narciso Yepes
Total Playing Time 39:33
CD 8: Música Catalana
Andrés Segovia (1893 – 1987)
1.
 
3:01
Miguel Llobet (1878 – 1938)
3.
 
1:23
4.
 
3:16
Francisco Casanovas
Federico Mompou (1893 – 1987)
Cançons i dansas
7.
 
4:24
Narciso Yepes (1927 – 1997)
8.
 
2:12
Oscar Esplá (1886 – 1976)
Tres Levantinas
Arr. For Guitar By Narciso Yepes
10.
 
2:34
11.
 
1:38
12.
 
1:19
Ruano Vincente Asencio (1908 – 1979)
Collectici intim
13.
 
4:38
14.
 
2:46
15.
 
2:42
16.
 
2:03
17.
 
2:47
Narciso Yepes
Total Playing Time 47:07
CD 9: J.S. Bach: Works For Lute
Johann Sebastian Bach (1685 – 1750)
Suite In G Minor For Lute, BWV 995
1.
6:56
2.
6:28
3.
2:39
4.
2:59
6.
2:52
Suite In E Minor For Lute, BWV 996
7.
3:10
8.
2:08
9.
3:19
10.
2:56
11.
1:33
12.
3:15
Prelude, Fugue And Allegro In E-Flat Major, BWV 998
Arr. For Guitar And Lute
13.
3:28
14.
5:59
15.
1:58
Narciso Yepes
Total Playing Time 54:44
CD 10: J.S. Bach: Works For Lute
Johann Sebastian Bach (1685 – 1750)
Partita In C Minor For Lute, BWV 997
1.
3:21
2.
7:09
3.
5:32
Suite In E Major For Lute, BWV 1006a/1000
7.
4:14
8.
3:59
10.
4:30
11.
1:43
12.
1:50
Narciso Yepes
Total Playing Time 47:30
CD 11: J.S. Bach: Works For Lute
Johann Sebastian Bach (1685 – 1750)
Suite In G Minor For Lute, BWV 995
1.
6:56
2.
5:30
3.
2:21
4.
2:41
6.
2:33
Suite In E Major For Lute, BWV 1006a/1000
7.
4:21
8.
4:14
10.
4:35
12.
1:49
Narciso Yepes
Total Playing Time 51:09
CD 12: J.S. Bach: Works For Lute
Johann Sebastian Bach (1685 – 1750)
Prelude, Fugue And Allegro In E-Flat Major, BWV 998
Arr. For Guitar And Lute
1.
3:26
2.
5:58
3.
2:00
Suite In E Minor For Lute, BWV 996
Arr. For Guitar
4.
3:10
5.
2:26
6.
2:36
7.
3:15
8.
1:24
9.
3:09
Partita In C Minor For Lute, BWV 997
Arr. For Guitar
11.
3:35
12.
7:51
13.
5:38
Narciso Yepes
Total Playing Time 52:17
CD 13: Poulenc / Brouwer / Ruiz-Pipó / Maderna / Balada / Kucera
Francis Poulenc (1899 – 1963)
Leo Brouwer (1939 – )
2.
 
6:13
Antonio Ruiz-Pipo (1933 – 1997)
3.
 
7:19
Bruno Maderna (1920 – 1973)
4.
 
7:48
Leonardo Balada
Analogías
5.
 
2:21
Analogías
6.
 
2:14
Analogías
7.
 
1:18
Analogías
8.
 
1:43
Václav Ku?era
Diario Omaggio A Che Guevarra
Diario, omaggio a Che Guevarra
9.
 
3:04
10.
 
2:38
11.
 
2:31
12.
 
2:17
13.
 
3:37
Narciso Yepes
Total Playing Time 46:44
CD 14: Guitarra Romantica
Mauro Giuliani (1781 – 1829)
Sonata In C Major, Op.15
3.
 
2:14
Fernando Sor (1778 – 1839)
Mauro Giuliani (1781 – 1829)
Sonatina In D Major, Op.71 No.3
6.
 
3:55
7.
 
3:36
Francisco Tárrega (1852 – 1909)
Preludio In D Minor
8.
 
1:50
Preludio In E Major
9.
 
1:49
10.
2:15
11.
4:43
Narciso Yepes
Total Playing Time 45:27
CD 15: Guitar Music By Brouwer / Carulli / Conge / Kühnel / Robinson / Sor
Johann Michael Kühnel (1665 – 1725)
Suite For Lute In A Major
Arr. For Guitar
1.
 
3:55
2.
 
1:41
3.
 
2:54
4.
 
1:58
5.
 
1:15
Thomas Robinson
The Schoole Of Musicke
Four Sacred Songs – Arr. For Guitar
7.
 
0:58
Michel Conge
La mort de Berenguer
Anonymous
Irish March
Ferdinando Carulli
Méthode complète pour le decadorde, Op. 293
Méthode complète pour le decadorde Op. 293
No. 30 Divertissement
12.
 
4:43
13.
 
2:55
Fernando Sor (1778 – 1839)
Fantaisie villageoise, Op. 52
14.
 
3:10
15.
 
0:35
16.
 
3:22
17.
 
3:08
Leo Brouwer (1939 – )
18.
 
4:54
Narciso Yepes
Total Playing Time 45:52
CD 16: Guitar Music Of Five Centuries
Emanuel Adriaenssen (1550 – 1604)
Chanson Anglaise
David Kellner (1670 – 1748)
XVI Auserlesene Lauten-Stücke
Arr. For Guitar
2.
 
2:30
3.
 
2:42
4.
 
2:37
John Dowland (1562 – 1626)
Rudolf Straube
Sonata For Lute No.1
Arr. For Guitar
6.
 
4:15
7.
 
3:55
8.
 
3:27
Eugène Roldán
Au claire de la lune
9.
 
5:47
Francis Poulenc (1899 – 1963)
Gerardo Gombau
Trois morceaux de la “Belle époque”
11.
 
2:29
12.
 
2:21
13.
 
1:53
Joaquín Pérez Turina (1882 – 1949)
14.
 
5:03
15.
 
2:33
Narciso Yepes
Total Playing Time 46:54
CD 17: Recuerdos De La Alhambra
Francisco Tárrega (1852 – 1909)
Lágrima
1.
 
2:07
3.
 
5:20
4.
 
1:54
5.
 
2:25
Endecha
6.
 
0:52
Oremus
7.
 
1:00
8.
 
0:58
10.
 
1:06
12.
 
4:52
13.
 
1:47
14.
 
2:13
15.
 
1:16
16.
 
9:12
Narciso Yepes
Total Playing Time 41:33
CD 18: Scarlatti: Sonatas
Domenico Scarlatti (1685 – 1757)
Narciso Yepes
Total Playing Time 46:17
CD 19: Rodrigo: Tres Piezas Españolas; Sonata Giocosa
Joaquín Rodrigo (1901 – 1999)
1.
 
7:36
Ya se van los pastores
2.
 
3:17
Por caminos de Santiago
3.
 
2:56
Tres piezas españolas
Fandango
4.
 
4:06
Passacaglia
5.
 
5:26
Zapateado
6.
 
3:23
Por los campos de España: En tierras de Jerez
8.
 
4:58
Sonata giocosa
9.
 
4:08
10.
 
3:40
11.
 
3:17
Junto al Generalife
Entre olivares
Narciso Yepes
Total Playing Time 57:08
CD 20: Romance D’Amour
Alfonso X El Sabio (1221 – 1284)
Cantigas de Santa Maria
Isaac Albéniz (1860 – 1909)
Suite For Piano España, Op. 165
Arr. For Guitar By Narciso Yepes
2.
3:53
Regino Sainz de la Maza (1896 – 1981)
3.
2:21
4.
2:51
Federico Moreno Torroba (1891 – 1982)
5.
3:33
Mateo Perez de Albeniz (1755 – 1831)
Emilio Pujol Villarrubí (1886 – 1980)
Miguel Llobet (1878 – 1938)
Fernando Sor (1778 – 1839)
Bassols Javier Montsalvatge (1912 – 2002)
Enrique Granados (1867 – 1916)
Manuel de Falla (1876 – 1946)
Homenaje “Le tombeau de Debussy”
Danza del Molinero
Arr. For Guitar By Narciso Yepes
14.
3:02
Antonio Ruiz-Pipo (1933 – 1997)
Narciso Yepes (1927 – 1997)

 

INTERLUDIO (1968) for 10-string guitar by Leon Schidlowsky (ed. Viktor van Niekerk)

Schidlowsky

One of the earliest compositions for the ten-string guitar of Narciso Yepes is now available in an edition published by the Israel Music Institute.

Dating from 1968, Chilean-Israeli composer Leon Schidlowsky‘s Interludio was written for Yepes and his guitar in a graphic ‘space-time’ notation widely adopted during the 1960s when Western art music entered its ‘liquid’ (or ‘post-‘) modern phase.

Excerpt from INTERLUDIO by Leon Schidlowsky (ed. Viktor van Niekerk), Israel Music Institute.

Schidlowsky originally notated Interludio across two staves with (transposing) treble and bass clefs. However, one of the composer-approved changes to the score was the relocation of all notes played on strings 1-6 to the upper staff, and all notes played on strings 7-10 to the lower one. This allowed us to minimize string and fingering indications (and thus limit entropy) in an already cluttered score. (Strings 7-10 are only indicated when fretted.) Incidentally, in Interludio, strings 7-10 are used over 120 times in the space of about 2’12”, making for a challenging addition to the repertoire of the virtuoso ten-string guitarist. The piece also provides extensive opportunities for the use of Yepes techniques like prestissimo flourishes with three fingers of the right hand, and cross-string trills.

The score is available from the Israel Music Institute*, catalogue number IMI 8002: http://imi.org.il/by_instrument.php?cat=guitar%20solo

A few minor errata have to be pointed out:

  • Bar 41: either slur or attack the G#, but of course not both.
  • Bar 115: the arrow indicating the simultaneous playing of two strings (8-7) by the right-hand thumb should point down.
  • Bars 122-23: left hand fingering (3 4) should be 4 then 3.
  • The explanation of symbols used in the score has been omitted; I include both Schidlowsky’s original Spanish instructions and my English version below.
Symbols (Spanish)
Symbols (English)

 

(For an example of Schidlowsky’s style, click here for his Piano Quartet on YouTube.)


*The score is also available from the following IMI representatives abroad:

Theodore Presser (USA, Canada, Mexico), Peer Musikverlag (Germany, Austria, Switzerland), Melos Ediciones Musicales / Ricordi Americana (South America), Albersen (The Netherlands), Cesky Rozhlas – Fond Hudebnin (Czech Republic, Slovak Republic, Hungary), AB Nordiska (Sweden), Intermusica (Spain, Portugal), Danmusik (Denmark), and Harald Lyche (Norway).

Narciso Yepes 1979 Recital, 1984 Concert Programmes

This 1979 recital of Narciso Yepes has to date received over a million views, on this video alone. Including uploads of individual items (e.g. Recuerdos de la Alhambra), it has in fact been viewed c. 6 million times.

The recital is now also available with restored audio quality in the following playlist:

Alternatively, click on an item below for easy navigation.

PROGRAMME:

KÜHNEL: Suite (for baroque lute)

-Allemande
-Courante
-Sarabande
-Menuet
-Gigue

BACH: Sarabande & Double BWV 1002 – @11:43

BACH: Chaconne BWV 1004 – @18:46

SOR: Fantasie Villageoise, op. 52 – @33:38

SOR: Variations sur “Marlborough s’en va-t-en guerre”, op. 28 – @42:37

PERIS: Elegía para Gisela (for 10-string guitar) – @48:29

KUČERA: Diary (Homage to Che Guevara) – @55:50

-Day of Love
-Day of Hate
-Day of Decision
-Day of Battle
-Day of Death

BROUWER: Tarantos – @01:08:41

VILLA-LOBOS: Etudes nos. 1, 11, 12 – @1:13:14

BACARISSE: Passepied (encore 1) – @1:23:33

ANONYMOUS: Brian Boru’s March (encore 2) – @1:27:42

TÁRREGA: Recuerdos de la Alhambra (encore 3) – @1:33:20

GALILEI: Saltarello (encore 4)- @1:38:35

RUIZ-PIPÓ: Danza no. 1 (encore 5) – @1:42:02

* * *

As Fritz Buss points out (in this interview), Yepes usually had about four or five programmes of this length committed to memory at any given time (excluding concertos). As an example, here are a few recital programmes from April-May 1984:

  • May 1, 1984, Great Hall, University of the Witwatersrand, Johannesburg:

IMG_0668

Music by Alfonso X, Kellner, Bach, Giuliani, Satie, Villa-Lobos, Peris, Balada, Tárrega:

IMG_0669

  • May 10, 1984, Linder Auditorium, Johannesburg:

IMG_0670

Music by Adriaensen, Falckenhagen, Scarlatti, Bach, Falla, Sainz de la Maza, Castelnuovo-Tedesco, Brouwer, Ginastera:

IMG_0671

  • May 20, 1984, Civic Theatre, Johannesburg, in duo with Godelieve Monden:

IMG_0672

Music by Johnson, Ford, Telemann, Carulli, Gurdjieff, Petit, Castelnuovo-Tedesco, Rodrigo:

IMG_0673

* * *

Moreover, as Yepes mentioned (in this  interview), by 1981/’82 he had c. 23 concertos in his repertoire, to which could be added (at least) those by Françaix, Marco (Eco), Balada (Persistencias), Moreno-Buendía, and Hovahness (No. 2) that came later.

Yepes’s performance of the Adagio from Rodrigo’s Concierto de Aranjuez (with its transcendent, non-textual elements that so nag at the straitjackets of formalist minds) has received c. 4 million views, on this upload alone:

 

New 10-String Guitars by Hans van den Berg

Master luthier Hans van den Berg recently completed two more ten-string guitars for students of Fritz Buss. (Photos below.)

Said one of the proud new owners: “I never expected such a result. What a fine, sensitive humble, respectful human being. I am completely honoured to own and play a guitar he has constructed.”

All we have to add is that these are world-class instruments that are inspiring to play. Hans van den Berg’s consummate professionalism, his desire always to keep refining his craft, the fact that he cares about his customers and the meaningful position that a musical instrument could occupy in a person’s life: all these are quite extraordinary qualities, as are those of his beautiful guitars.

We have no reservations about recommending Hans van den Berg’s masterful ten-string guitars. (Viktor van Niekerk, Fritz Buss)

* * *

The people at Guitar Salon International have also described Berg’s six-string guitars as having “a very silky, textured and rich quality of sound, while at the same time [being] clear in every register. … Overall a very impressive and unique instrument by all standards.” (http://www.guitarsalon.com/store/p4780-hans-van-den-berg.html)

For a GSI article about Hans, see: http://www.guitarsalon.com/blog/?p=8932

For an earlier review of Berg’s first ten-string guitar, see: http://blog.tenstringguitar.info/archives/32

* * *

For orders, please contact Hans at bergguitars@gmail.com

* * *

Photos of Tsivia’s Guitar:

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0619

0633

0625

0631

0627

0621


Photos of Carlo’s Guitar:

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0645