Tag Archives: guitarra de diez cuerdas

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).

Suite Popular Argentina (Miguel Angel Cherubito)

Miguel Angel CHERUBITO (*1941) - Suite Popular Argentina (1989)
dedicated to Narciso Yepes

• Zamba [00:00]
• Milonga [04:45]
• Chacarera [09:11]
• Vidala [11:18]
• Tango [14:32]
• Malambo [20:43]

Miguel Angel Cherubito was born in Buenos Aires in 1941. He studied the guitar and composition. Between 1974 and 1989 he lived in Barcelona where he was active as concert guitarist, composer and conductor. He subsequently returned to Argentina where he became the director of a music school. He has written music for guitar as well as orchestral music. His herculean Suite Popular Argentina (1989) was written for Narciso Yepes, who gave the première in Tokyo.

Yepes said the following about this work and its composer: “Cherubito has the gift of…refinement and creative vein of a man who has much to say to us through music and especially the guitar. His Suite Popular Argentina is an example of this. I play this work in all my recitals, being one of the most applauded of my vast repertoire.” (1992)

Cherubito has written the following about the folkloric movements of his suite:

The Zamba is a pair dance with a slow tempo and courtly, galant character. It is danced in all Argentinean provinces. Its origins may be traced back to a Spanish dance known as the Zambacueca, from which two different dances developed: the Argentinean Zamba and the Chilean Cueca. The Zamba can also be sung.

The Milonga also comes originally from Spain and can be danced as well as sung. It resembles the Habanera but is faster-moving. There are two kinds of Milonga: the country version, which is sung and in which the interpreter improvises; and the town version, from Buenos Aires, which may be sung and danced. This is faster than the country version and may contain various themes: melancholy, romantic or amusing. The Milonga from my suite has a dramatic character and belongs to the country type.

The Chacarera is sung and danced in the northern provinces of Argentina. There are three forms: the simple, the double and the long Chacarera. The most important composers of the dance come from Santiago del Estero. The Chacarera in my suite belongs to the simple form. In keeping with tradition, the guitar plays two parts: in thirds or in sixths.

The Vidala comes from Bolivia and the north of Argentina, and has its roots in [First Nations] culture. It is not a dance, but a musical form – sung or purely instrumental – whose melodies are reminiscent of the plateaus and mountains of the Andes.

The Argentinean Tango may also be sung. It came into being at the end of the nineteenth century in Rio de la Plata, and combines elements of African dance and European music. As a town dance, the Tango is now associated mainly with the area of Buenos Aires.

The Malambo, though to be found throughout Argentina, is cultivated mainly in the Andes and Central Pampas. It has a very dynamic character and continuous rhythm from beginning to end. It is danced principally by men – alone or in groups -, and the movements are limited to the feet. The origins of this dance are not known exactly, but I believe that it comes from Spain, where this footstamping represents an important feature of dance.

*

The sheet music is available to purchase from the Schott Shop:
http://www.schott-music.com/shop/show,49575,cmss,3210.html

It should be mentioned, however, that the composer revised the work in 2014. Changes (most extensively to the Chacarera and repeats) are not reflected in the Schott edition.

‘Remembranza de Juan de la Cruz’ by Concepción Lebrero (composition for 10-string guitar)


Concepción Lebrero
(*1937)
Remembranza de Juan de la Cruz (1989) for ten-string guitar (dedicated to Narciso Yepes)

1. Soñando [Dreaming]
2. Despertando [Awakening]
3. Cantando [Singing]
4. Tocando la guitarra [Playing guitar]
5. Arriesgando [Risking]
6. Pensando [Thinking]
7. Ascendiendo [Ascending]

María de la Concepción Lebrero Baena (*Toro, Zamora, 24-VII-1937) received First Prize in Piano at the Conservatory of Salamanca at the age of 10. At the age of 13 she graduated in Piano, in Madrid, with another first prize. She continued her musical studies in Madrid, studying piano virtuosity with José Cubiles, harmony with Jesus Arámbarri, counterpoint and fugue with Francisco Calés, accompaniment and piano transposition with Gerardo Gombau, organ with Jesus Guridi and composition with Cristóbal Halffter, obtaining at the end of all these matters the respective First Prizes and various other awards.

Her compositions include music for children, several song cycles for voice and piano, choral works, piano and organ works, cantatas and oratorios.

Narciso Yepes wrote the following about Lebrero and her only composition for guitar:

“Concepción Lebrero is an outstanding Spanish composer, pianist and teacher. She has taken over the musical education of my children during my absence. Many times, over many years, I asked her to compose something for me, but she never agreed, with the excuse of not knowing the resources of the guitar. She composed cantatas, oratorios, works for orchestra and piano, voice and piano, but never anything for guitar.

“A few days after the death of our son, Juan de la Cruz, whom she had taught music and cherished from an early age, Concepción gave me this work Remembranza de Juan de la Cruz and said tersely: ‘I’ve written it thinking of Juan, as if he had dictated it to me. Do what you want with it; I do not even know if it is playable on the guitar.’ From the first note I felt overwhelmed. Movements: Dreaming, Awakening, Singing, Playing guitar, Risking, Thinking and Ascending, are an interior glimpse of the eighteen years of our son on this earth, from his first steps in life and music through teenage risks to the fullness of true life. I put my guitar and my love in the service of this work, because it is not just art, it is also a message of timeless beauty.” (Narciso Yepes)

Excerpts from Yepes’s autograph manuscript:

Lebrero1

Lebrero4

Lebrero5

Lebrero6