Marcin Dylla: Laureate Series - Guitar

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Marcin Dylla
Marcin Dylla is considered by many music critics and music lovers to be one of the most outstanding classical guitar
players of the younger generation. He owes this position, among other factors, to his unparalleled number of awards
Also available: Laureate Series • Guitar
at musical competitions. Between 1996 and 2007 he won first prize nineteen times at the most prestigious
international guitar competitions taking place in Europe and in the United States. He was born in 1976 in Chorzów,
and started to learn to play the guitar at the age of eight at the State School of Music in Ruda Slaska. Between 1995-
2000 he studied at the State Academy of Music in Katowice with Wanda Palacz. He continued his musical
education in schools abroad, at the Musical Academy in Basel with Oscar Ghiglia, at the Musical Academy in
Marcin Dylla
Freiburg with Sonja Prunnbauer, and the Musical Conservatory in Maastricht with Carlo Marchione. He is currently
a Professor at the Music Academy in Kraków and Katowice, and in Koblenz. First Prize
2007 Guitar Foundation of America Competition
GUITAR RECITAL
RODRIGO • TANSMAN • MAW • PONCE

8.570189 8.570510

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Marcin Dylla: Guitar Recital compositions include operas, ballets, nine symphonies, Music of Memory, dedicated to Eliot Fisk, was century Mexican music. His pupil, Carlos Chávez contrasting subjects, the development moving adroitly
concertos, film scores, vocal and chamber music and written in Washington DC in May-June 1989. The (1899-1978) said of him: ‘It was Ponce who created a through a number of intricate harmonic progressions,
Joaquín Rodrigo (1901-1999): Junto al Generalife nature of the guitar, responding to the distinguished works for piano and other solo instruments. In the 1920s composer provided a programme note: This work is a real consciousness of the richness of Mexican folk art.’ with a vivid recapitulation making effective use of pedal
Alexandre Tansman (1897-1988): history of plucked instruments going back to the and 1930s he toured the United States, Europe, the somewhat freely-organised set of variations – though Segovia and Ponce first met in Mexico in 1923, and notes. Ponce frequently deploys animated triplets,
Variations on a Theme of Scriabin sixteenth century. Though his compositions for solo Middle East and India, appearing as the soloist in his ‘meditations’ would be a more apt description of some from that time onwards the composer dedicated himself major-minor contrasts, and (towards the end), a sudden
Nicholas Maw (b. 1935): Music of Memory guitar comprise no more than some 25 titles, the own piano concertos. He became a French citizen in of them – on the Intermezzo from Mendelssohn’s String to writing many pieces for the guitar. Of these silence, all elements characteristic of Schubert’s own
Manuel Ponce (1882-1948): significance of his output is far greater than the sum of 1938 but the war forced him to move to the United Quartet in A minor, Opus 13. Mendelssohn’s theme is a compositions (which include preludes, suites, a piano sonatas. This brilliant opening is followed by a
Sonata romántica ‘Hommage à Fr. Schubert’ its parts because of his extraordinary insight into the States where he established close friendships with simple song in A-B-A form. I have not presented this concerto, variations, several sonatas, and works for soulful Andante, described by Segovia as ‘delicious’,
nature of the guitar developed over decades. composers such as Schoenberg, Stravinsky and theme in toto anywhere in my work, but separated its guitar and harpsichord), Segovia has written: “Large or evoking the world of Schubertian song. The third
This selection brings together guitar works from Junto al Generalife (Close by the Generalife) is Milhaud. He returned to France in 1946. parts and embedded them throughout, so that the small, they are, all of them, pure and beautiful.” movement, given the title Moment Musical by the
composers of four nationalities, Spanish, Mexican, dedicated to Siegfried Behrend, who edited the piece for Variations on a Theme of Scriabin, dedicated to listener is reminded of its haunting presence even Sonata romántica (Hommage à Schubert), Ponce’s composer, has two faster outer sections framing a slow
Polish and British, covering a span of some sixty years Bote & Bock, Berlin (published 1957). The Generalife Segovia, was written in 1972. The theme, Prelude, though the immediate musical events might seem fifth sonata for guitar, was written in the summer of expressive middle episode of great intensity. The finale,
of the instrument’s development. While Rodrigo, was the garden of the palace of the former kings of Op. 16, No. 4, in E flat minor (for piano), was arranged considerably far-removed. 1928 and dedicated to Segovia. This composition, Allegro non troppo e serioso, begins with a jaunty
however, certainly roots his composition, Junto al Granada, its name derived from the Arabic, Gennat- by Segovia in B minor for guitar (publ. Celesta The overall shape of the work also takes its cue subtitled a ‘homage to Fr. Schubert, who loved the march-like theme quickly moving to a rapid arpeggio
Generalife, in an impressionistic portrait of historic Alarif – ‘the garden of the architect’. Situated on the Publishing Co., New York, 1945). This melody has a from the tripartite nature of the theme. After a rather guitar’, is a virtuosic work in four movements some texture. A central Tempo scherzando introduces a two
Spanish gardens, Manuel Ponce turns for inspiration not slopes of the Cerro del Sol, the Generalife overlooks the haunting quality with poignant accompanying chord dramatic introduction the first phrase of the theme is twenty minutes in duration, the longest and most part passage in quavers of increasing harmonic
to his native Mexico but to Europe to offer homage to city of Granada. progressions, though Tansman has at certain points re- stated and followed by three variations: Tranquillo ma challenging of Ponce’s guitar sonatas. The expression complexity culminating in further arpeggios. Finally a
Schubert and the romantic tradition. Tansman includes Rodrigo offered this comment: Everyone knows of worked the original harmonization of the theme. The con movimento; Poco vivace and Andante placido. marks for the work depend on whether Segovia’s 1928 brief coda features harp-like chords until a climactic
Polish elements in his set of variations but is entranced the magical gardens of the Generalife connected to the composition has six variations, the first being a Then comes the middle phrase of the theme, followed by version is used or a later urtext version edited by Miguel burst of arpeggio patterns ends the work.
for the most part by the resonances of Scriabin’s Alhambra; there can be found the gentle rustle of transference of the theme to the bass line, with an two further variations, Deliberato ed appassionato and Alcazar. The first movement (marked Allegro moderato
remarkable theme, which could only have been written perfumed breezes, a distant tinkle of bells, and flowers accompaniment in the treble. Var. II, slightly faster, Impetuoso. The reprise of the theme’s opening phrase is in Segovia’s edition), is in classic sonata form with two Graham Wade
by a Russian composer. Finally, the English composer, which shelter behind the myrtle bushes. And there, also, explores the harmonic potential of Scriabin’s melody, then followed by a final five variations... Senza rigore,
Nicholas Maw, takes as his reference point a string the guitar reposes and dreams. while Var. III is a virtuosic Vivo episode in non troppo lento; Poco presto; Moderato e risoluto;
quartet by Mendelssohn. The Generalife thus has powerful aural and visual semiquavers. Var. IV changes the tonality and explores Allegro energico; Tempo giusto. This leads straight into
With the intermingling of so many cosmopolitan associations with sounds of water and bird song, some ingenious harmonic modulations. The fifth the coda, where the theme is interspersed with short
aspects in this programme, the only centrally unifying impressions evoked within the music. Junto al variation, Allegretto grazioso (quasi Mazurka), is the fragments recalled from the preceding variations. The
feature is that all these pieces were inspired by the Generalife is in two sections. The introduction is a composer’s homage to Poland, presenting the national music plays without a break.
potential of the classical guitar, an instrument which, gentle lento e cantabile, with scalic passages very much dance with a dash of humour and elements which evoke The work’s title, Music of Memory, refers to the
chameleon-like, attracts composers from many in flamenco quasi-improvisatory style interspersed with the music of J.S. Bach. The last variation is fugal, a long-term memory of a golden age (and the
countries and brings out some of their most brilliant full chords. An Allegro follows, reminiscent of contrapuntal working out of the melodic implications, corresponding hope that it can continue to nourish our
characteristics. Thus the guitar appears in terms of its Albéniz’s Rumores de la Caleta and the malagueña. which gives way to a final, slightly modified, gentle own art), represented by the Mendelssohn...
twentieth-century advancement to transcend simple The middle section of the Allegro consists of tremolo, statement of the theme itself. It is interesting to reflect that Mendelssohn’s String
definitions of national identity, offering a blend of style an effect rarely used by Rodrigo but here recalling the Nicholas Maw, born in 1935 in the English town of Quartet in A minor, Op. 13, (the Intermezzo of which
and colour to which, in turn, audiences worldwide themes of the granadinas, the flamenco form originating Grantham, is one of Britain’s most eminent provides the inspiration for this work), was written in
whole-heartedly respond. among the gypsies of Granada. The final pages present contemporary composers. He studied at the Royal 1827 when the composer, aged eighteen and recently
Joaquín Rodrigo, composer of the renowned guitar the recapitulation and a coda which has a passage of Academy of Music in London, with Paul Steinitz and matriculated at the University of Berlin, toured the Harz
concerto, Concierto de Aranjuez, is acknowledged as fiery descending triplets similar to those in the first Lennox Berkeley, and in Paris with Nadia Boulanger mountains with two student companions before going
one of the great Spanish composers of the twentieth movement of the Aranjuez. and Max Deutsch, a pupil of Schoenberg. His works on to Heidelberg. Thus the age of Romanticism and the
century. His contribution to the guitar is now The Polish composer, Alexandre Tansman, having comprise orchestral, chamber, vocal and choral music, late twentieth century are creatively brought together,
appreciated as one of the central pillars of the concert been introduced to Andrés Segovia during his stay in concertos, comic operas, solo instrumental compositions expressed through the medium of the guitar.
repertoire. Over the years Rodrigo explored the Spanish Paris in 1921, was persuaded to write for the guitar. His and music for children. Manuel Ponce was the founding father of twentieth

8.572060 2 3 8.572060 4 8.572060


572060 bk Dylla US 11/6/08 10:21 Page 2

Marcin Dylla: Guitar Recital compositions include operas, ballets, nine symphonies, Music of Memory, dedicated to Eliot Fisk, was century Mexican music. His pupil, Carlos Chávez contrasting subjects, the development moving adroitly
concertos, film scores, vocal and chamber music and written in Washington DC in May-June 1989. The (1899-1978) said of him: ‘It was Ponce who created a through a number of intricate harmonic progressions,
Joaquín Rodrigo (1901-1999): Junto al Generalife nature of the guitar, responding to the distinguished works for piano and other solo instruments. In the 1920s composer provided a programme note: This work is a real consciousness of the richness of Mexican folk art.’ with a vivid recapitulation making effective use of pedal
Alexandre Tansman (1897-1988): history of plucked instruments going back to the and 1930s he toured the United States, Europe, the somewhat freely-organised set of variations – though Segovia and Ponce first met in Mexico in 1923, and notes. Ponce frequently deploys animated triplets,
Variations on a Theme of Scriabin sixteenth century. Though his compositions for solo Middle East and India, appearing as the soloist in his ‘meditations’ would be a more apt description of some from that time onwards the composer dedicated himself major-minor contrasts, and (towards the end), a sudden
Nicholas Maw (b. 1935): Music of Memory guitar comprise no more than some 25 titles, the own piano concertos. He became a French citizen in of them – on the Intermezzo from Mendelssohn’s String to writing many pieces for the guitar. Of these silence, all elements characteristic of Schubert’s own
Manuel Ponce (1882-1948): significance of his output is far greater than the sum of 1938 but the war forced him to move to the United Quartet in A minor, Opus 13. Mendelssohn’s theme is a compositions (which include preludes, suites, a piano sonatas. This brilliant opening is followed by a
Sonata romántica ‘Hommage à Fr. Schubert’ its parts because of his extraordinary insight into the States where he established close friendships with simple song in A-B-A form. I have not presented this concerto, variations, several sonatas, and works for soulful Andante, described by Segovia as ‘delicious’,
nature of the guitar developed over decades. composers such as Schoenberg, Stravinsky and theme in toto anywhere in my work, but separated its guitar and harpsichord), Segovia has written: “Large or evoking the world of Schubertian song. The third
This selection brings together guitar works from Junto al Generalife (Close by the Generalife) is Milhaud. He returned to France in 1946. parts and embedded them throughout, so that the small, they are, all of them, pure and beautiful.” movement, given the title Moment Musical by the
composers of four nationalities, Spanish, Mexican, dedicated to Siegfried Behrend, who edited the piece for Variations on a Theme of Scriabin, dedicated to listener is reminded of its haunting presence even Sonata romántica (Hommage à Schubert), Ponce’s composer, has two faster outer sections framing a slow
Polish and British, covering a span of some sixty years Bote & Bock, Berlin (published 1957). The Generalife Segovia, was written in 1972. The theme, Prelude, though the immediate musical events might seem fifth sonata for guitar, was written in the summer of expressive middle episode of great intensity. The finale,
of the instrument’s development. While Rodrigo, was the garden of the palace of the former kings of Op. 16, No. 4, in E flat minor (for piano), was arranged considerably far-removed. 1928 and dedicated to Segovia. This composition, Allegro non troppo e serioso, begins with a jaunty
however, certainly roots his composition, Junto al Granada, its name derived from the Arabic, Gennat- by Segovia in B minor for guitar (publ. Celesta The overall shape of the work also takes its cue subtitled a ‘homage to Fr. Schubert, who loved the march-like theme quickly moving to a rapid arpeggio
Generalife, in an impressionistic portrait of historic Alarif – ‘the garden of the architect’. Situated on the Publishing Co., New York, 1945). This melody has a from the tripartite nature of the theme. After a rather guitar’, is a virtuosic work in four movements some texture. A central Tempo scherzando introduces a two
Spanish gardens, Manuel Ponce turns for inspiration not slopes of the Cerro del Sol, the Generalife overlooks the haunting quality with poignant accompanying chord dramatic introduction the first phrase of the theme is twenty minutes in duration, the longest and most part passage in quavers of increasing harmonic
to his native Mexico but to Europe to offer homage to city of Granada. progressions, though Tansman has at certain points re- stated and followed by three variations: Tranquillo ma challenging of Ponce’s guitar sonatas. The expression complexity culminating in further arpeggios. Finally a
Schubert and the romantic tradition. Tansman includes Rodrigo offered this comment: Everyone knows of worked the original harmonization of the theme. The con movimento; Poco vivace and Andante placido. marks for the work depend on whether Segovia’s 1928 brief coda features harp-like chords until a climactic
Polish elements in his set of variations but is entranced the magical gardens of the Generalife connected to the composition has six variations, the first being a Then comes the middle phrase of the theme, followed by version is used or a later urtext version edited by Miguel burst of arpeggio patterns ends the work.
for the most part by the resonances of Scriabin’s Alhambra; there can be found the gentle rustle of transference of the theme to the bass line, with an two further variations, Deliberato ed appassionato and Alcazar. The first movement (marked Allegro moderato
remarkable theme, which could only have been written perfumed breezes, a distant tinkle of bells, and flowers accompaniment in the treble. Var. II, slightly faster, Impetuoso. The reprise of the theme’s opening phrase is in Segovia’s edition), is in classic sonata form with two Graham Wade
by a Russian composer. Finally, the English composer, which shelter behind the myrtle bushes. And there, also, explores the harmonic potential of Scriabin’s melody, then followed by a final five variations... Senza rigore,
Nicholas Maw, takes as his reference point a string the guitar reposes and dreams. while Var. III is a virtuosic Vivo episode in non troppo lento; Poco presto; Moderato e risoluto;
quartet by Mendelssohn. The Generalife thus has powerful aural and visual semiquavers. Var. IV changes the tonality and explores Allegro energico; Tempo giusto. This leads straight into
With the intermingling of so many cosmopolitan associations with sounds of water and bird song, some ingenious harmonic modulations. The fifth the coda, where the theme is interspersed with short
aspects in this programme, the only centrally unifying impressions evoked within the music. Junto al variation, Allegretto grazioso (quasi Mazurka), is the fragments recalled from the preceding variations. The
feature is that all these pieces were inspired by the Generalife is in two sections. The introduction is a composer’s homage to Poland, presenting the national music plays without a break.
potential of the classical guitar, an instrument which, gentle lento e cantabile, with scalic passages very much dance with a dash of humour and elements which evoke The work’s title, Music of Memory, refers to the
chameleon-like, attracts composers from many in flamenco quasi-improvisatory style interspersed with the music of J.S. Bach. The last variation is fugal, a long-term memory of a golden age (and the
countries and brings out some of their most brilliant full chords. An Allegro follows, reminiscent of contrapuntal working out of the melodic implications, corresponding hope that it can continue to nourish our
characteristics. Thus the guitar appears in terms of its Albéniz’s Rumores de la Caleta and the malagueña. which gives way to a final, slightly modified, gentle own art), represented by the Mendelssohn...
twentieth-century advancement to transcend simple The middle section of the Allegro consists of tremolo, statement of the theme itself. It is interesting to reflect that Mendelssohn’s String
definitions of national identity, offering a blend of style an effect rarely used by Rodrigo but here recalling the Nicholas Maw, born in 1935 in the English town of Quartet in A minor, Op. 13, (the Intermezzo of which
and colour to which, in turn, audiences worldwide themes of the granadinas, the flamenco form originating Grantham, is one of Britain’s most eminent provides the inspiration for this work), was written in
whole-heartedly respond. among the gypsies of Granada. The final pages present contemporary composers. He studied at the Royal 1827 when the composer, aged eighteen and recently
Joaquín Rodrigo, composer of the renowned guitar the recapitulation and a coda which has a passage of Academy of Music in London, with Paul Steinitz and matriculated at the University of Berlin, toured the Harz
concerto, Concierto de Aranjuez, is acknowledged as fiery descending triplets similar to those in the first Lennox Berkeley, and in Paris with Nadia Boulanger mountains with two student companions before going
one of the great Spanish composers of the twentieth movement of the Aranjuez. and Max Deutsch, a pupil of Schoenberg. His works on to Heidelberg. Thus the age of Romanticism and the
century. His contribution to the guitar is now The Polish composer, Alexandre Tansman, having comprise orchestral, chamber, vocal and choral music, late twentieth century are creatively brought together,
appreciated as one of the central pillars of the concert been introduced to Andrés Segovia during his stay in concertos, comic operas, solo instrumental compositions expressed through the medium of the guitar.
repertoire. Over the years Rodrigo explored the Spanish Paris in 1921, was persuaded to write for the guitar. His and music for children. Manuel Ponce was the founding father of twentieth

8.572060 2 3 8.572060 4 8.572060


572060 bk Dylla US 11/6/08 10:21 Page 2

Marcin Dylla: Guitar Recital compositions include operas, ballets, nine symphonies, Music of Memory, dedicated to Eliot Fisk, was century Mexican music. His pupil, Carlos Chávez contrasting subjects, the development moving adroitly
concertos, film scores, vocal and chamber music and written in Washington DC in May-June 1989. The (1899-1978) said of him: ‘It was Ponce who created a through a number of intricate harmonic progressions,
Joaquín Rodrigo (1901-1999): Junto al Generalife nature of the guitar, responding to the distinguished works for piano and other solo instruments. In the 1920s composer provided a programme note: This work is a real consciousness of the richness of Mexican folk art.’ with a vivid recapitulation making effective use of pedal
Alexandre Tansman (1897-1988): history of plucked instruments going back to the and 1930s he toured the United States, Europe, the somewhat freely-organised set of variations – though Segovia and Ponce first met in Mexico in 1923, and notes. Ponce frequently deploys animated triplets,
Variations on a Theme of Scriabin sixteenth century. Though his compositions for solo Middle East and India, appearing as the soloist in his ‘meditations’ would be a more apt description of some from that time onwards the composer dedicated himself major-minor contrasts, and (towards the end), a sudden
Nicholas Maw (b. 1935): Music of Memory guitar comprise no more than some 25 titles, the own piano concertos. He became a French citizen in of them – on the Intermezzo from Mendelssohn’s String to writing many pieces for the guitar. Of these silence, all elements characteristic of Schubert’s own
Manuel Ponce (1882-1948): significance of his output is far greater than the sum of 1938 but the war forced him to move to the United Quartet in A minor, Opus 13. Mendelssohn’s theme is a compositions (which include preludes, suites, a piano sonatas. This brilliant opening is followed by a
Sonata romántica ‘Hommage à Fr. Schubert’ its parts because of his extraordinary insight into the States where he established close friendships with simple song in A-B-A form. I have not presented this concerto, variations, several sonatas, and works for soulful Andante, described by Segovia as ‘delicious’,
nature of the guitar developed over decades. composers such as Schoenberg, Stravinsky and theme in toto anywhere in my work, but separated its guitar and harpsichord), Segovia has written: “Large or evoking the world of Schubertian song. The third
This selection brings together guitar works from Junto al Generalife (Close by the Generalife) is Milhaud. He returned to France in 1946. parts and embedded them throughout, so that the small, they are, all of them, pure and beautiful.” movement, given the title Moment Musical by the
composers of four nationalities, Spanish, Mexican, dedicated to Siegfried Behrend, who edited the piece for Variations on a Theme of Scriabin, dedicated to listener is reminded of its haunting presence even Sonata romántica (Hommage à Schubert), Ponce’s composer, has two faster outer sections framing a slow
Polish and British, covering a span of some sixty years Bote & Bock, Berlin (published 1957). The Generalife Segovia, was written in 1972. The theme, Prelude, though the immediate musical events might seem fifth sonata for guitar, was written in the summer of expressive middle episode of great intensity. The finale,
of the instrument’s development. While Rodrigo, was the garden of the palace of the former kings of Op. 16, No. 4, in E flat minor (for piano), was arranged considerably far-removed. 1928 and dedicated to Segovia. This composition, Allegro non troppo e serioso, begins with a jaunty
however, certainly roots his composition, Junto al Granada, its name derived from the Arabic, Gennat- by Segovia in B minor for guitar (publ. Celesta The overall shape of the work also takes its cue subtitled a ‘homage to Fr. Schubert, who loved the march-like theme quickly moving to a rapid arpeggio
Generalife, in an impressionistic portrait of historic Alarif – ‘the garden of the architect’. Situated on the Publishing Co., New York, 1945). This melody has a from the tripartite nature of the theme. After a rather guitar’, is a virtuosic work in four movements some texture. A central Tempo scherzando introduces a two
Spanish gardens, Manuel Ponce turns for inspiration not slopes of the Cerro del Sol, the Generalife overlooks the haunting quality with poignant accompanying chord dramatic introduction the first phrase of the theme is twenty minutes in duration, the longest and most part passage in quavers of increasing harmonic
to his native Mexico but to Europe to offer homage to city of Granada. progressions, though Tansman has at certain points re- stated and followed by three variations: Tranquillo ma challenging of Ponce’s guitar sonatas. The expression complexity culminating in further arpeggios. Finally a
Schubert and the romantic tradition. Tansman includes Rodrigo offered this comment: Everyone knows of worked the original harmonization of the theme. The con movimento; Poco vivace and Andante placido. marks for the work depend on whether Segovia’s 1928 brief coda features harp-like chords until a climactic
Polish elements in his set of variations but is entranced the magical gardens of the Generalife connected to the composition has six variations, the first being a Then comes the middle phrase of the theme, followed by version is used or a later urtext version edited by Miguel burst of arpeggio patterns ends the work.
for the most part by the resonances of Scriabin’s Alhambra; there can be found the gentle rustle of transference of the theme to the bass line, with an two further variations, Deliberato ed appassionato and Alcazar. The first movement (marked Allegro moderato
remarkable theme, which could only have been written perfumed breezes, a distant tinkle of bells, and flowers accompaniment in the treble. Var. II, slightly faster, Impetuoso. The reprise of the theme’s opening phrase is in Segovia’s edition), is in classic sonata form with two Graham Wade
by a Russian composer. Finally, the English composer, which shelter behind the myrtle bushes. And there, also, explores the harmonic potential of Scriabin’s melody, then followed by a final five variations... Senza rigore,
Nicholas Maw, takes as his reference point a string the guitar reposes and dreams. while Var. III is a virtuosic Vivo episode in non troppo lento; Poco presto; Moderato e risoluto;
quartet by Mendelssohn. The Generalife thus has powerful aural and visual semiquavers. Var. IV changes the tonality and explores Allegro energico; Tempo giusto. This leads straight into
With the intermingling of so many cosmopolitan associations with sounds of water and bird song, some ingenious harmonic modulations. The fifth the coda, where the theme is interspersed with short
aspects in this programme, the only centrally unifying impressions evoked within the music. Junto al variation, Allegretto grazioso (quasi Mazurka), is the fragments recalled from the preceding variations. The
feature is that all these pieces were inspired by the Generalife is in two sections. The introduction is a composer’s homage to Poland, presenting the national music plays without a break.
potential of the classical guitar, an instrument which, gentle lento e cantabile, with scalic passages very much dance with a dash of humour and elements which evoke The work’s title, Music of Memory, refers to the
chameleon-like, attracts composers from many in flamenco quasi-improvisatory style interspersed with the music of J.S. Bach. The last variation is fugal, a long-term memory of a golden age (and the
countries and brings out some of their most brilliant full chords. An Allegro follows, reminiscent of contrapuntal working out of the melodic implications, corresponding hope that it can continue to nourish our
characteristics. Thus the guitar appears in terms of its Albéniz’s Rumores de la Caleta and the malagueña. which gives way to a final, slightly modified, gentle own art), represented by the Mendelssohn...
twentieth-century advancement to transcend simple The middle section of the Allegro consists of tremolo, statement of the theme itself. It is interesting to reflect that Mendelssohn’s String
definitions of national identity, offering a blend of style an effect rarely used by Rodrigo but here recalling the Nicholas Maw, born in 1935 in the English town of Quartet in A minor, Op. 13, (the Intermezzo of which
and colour to which, in turn, audiences worldwide themes of the granadinas, the flamenco form originating Grantham, is one of Britain’s most eminent provides the inspiration for this work), was written in
whole-heartedly respond. among the gypsies of Granada. The final pages present contemporary composers. He studied at the Royal 1827 when the composer, aged eighteen and recently
Joaquín Rodrigo, composer of the renowned guitar the recapitulation and a coda which has a passage of Academy of Music in London, with Paul Steinitz and matriculated at the University of Berlin, toured the Harz
concerto, Concierto de Aranjuez, is acknowledged as fiery descending triplets similar to those in the first Lennox Berkeley, and in Paris with Nadia Boulanger mountains with two student companions before going
one of the great Spanish composers of the twentieth movement of the Aranjuez. and Max Deutsch, a pupil of Schoenberg. His works on to Heidelberg. Thus the age of Romanticism and the
century. His contribution to the guitar is now The Polish composer, Alexandre Tansman, having comprise orchestral, chamber, vocal and choral music, late twentieth century are creatively brought together,
appreciated as one of the central pillars of the concert been introduced to Andrés Segovia during his stay in concertos, comic operas, solo instrumental compositions expressed through the medium of the guitar.
repertoire. Over the years Rodrigo explored the Spanish Paris in 1921, was persuaded to write for the guitar. His and music for children. Manuel Ponce was the founding father of twentieth

8.572060 2 3 8.572060 4 8.572060


572060 bk Dylla US 11/6/08 10:21 Page 5

Marcin Dylla
Marcin Dylla is considered by many music critics and music lovers to be one of the most outstanding classical guitar
players of the younger generation. He owes this position, among other factors, to his unparalleled number of awards
Also available: Laureate Series • Guitar
at musical competitions. Between 1996 and 2007 he won first prize nineteen times at the most prestigious
international guitar competitions taking place in Europe and in the United States. He was born in 1976 in Chorzów,
and started to learn to play the guitar at the age of eight at the State School of Music in Ruda Slaska. Between 1995-
2000 he studied at the State Academy of Music in Katowice with Wanda Palacz. He continued his musical
education in schools abroad, at the Musical Academy in Basel with Oscar Ghiglia, at the Musical Academy in
Marcin Dylla
Freiburg with Sonja Prunnbauer, and the Musical Conservatory in Maastricht with Carlo Marchione. He is currently
a Professor at the Music Academy in Kraków and Katowice, and in Koblenz. First Prize
2007 Guitar Foundation of America Competition
GUITAR RECITAL
RODRIGO • TANSMAN • MAW • PONCE

8.570189 8.570510

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Regondi: Air varié No. 2
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572060 bk Dylla US 11/6/08 10:21 Page 5

Marcin Dylla
Marcin Dylla is considered by many music critics and music lovers to be one of the most outstanding classical guitar
players of the younger generation. He owes this position, among other factors, to his unparalleled number of awards
Also available: Laureate Series • Guitar
at musical competitions. Between 1996 and 2007 he won first prize nineteen times at the most prestigious
international guitar competitions taking place in Europe and in the United States. He was born in 1976 in Chorzów,
and started to learn to play the guitar at the age of eight at the State School of Music in Ruda Slaska. Between 1995-
2000 he studied at the State Academy of Music in Katowice with Wanda Palacz. He continued his musical
education in schools abroad, at the Musical Academy in Basel with Oscar Ghiglia, at the Musical Academy in
Marcin Dylla
Freiburg with Sonja Prunnbauer, and the Musical Conservatory in Maastricht with Carlo Marchione. He is currently
a Professor at the Music Academy in Kraków and Katowice, and in Koblenz. First Prize
2007 Guitar Foundation of America Competition
GUITAR RECITAL
RODRIGO • TANSMAN • MAW • PONCE

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Get this free download from Classicsonline!


Regondi: Air varié No. 2
Copy this Promotion Code NaxhH814DuyG and go to http://www.classicsonline.com/mpkey/reg54_main.
Downloading Instructions
1 Log on to Classicsonline. If you do not have a Classicsonline account yet, please register at
http://www.classicsonline.com/UserLogIn/SignUp.aspx.
2 Enter the Promotion Code mentioned above.
3 On the next screen, click on “Add to My Downloads”.

8.572060 5 6 8.572060
NAXOS

NAXOS
Marcin Dylla, First Prize Winner in the 2007 Guitar Foundation of America Competition,
is considered one of the most outstanding classical guitar players of the younger generation.
Between 1996 and 2007 he won first prize nineteen times at the most prestigious international
guitar competitions. This selection brings together guitar works from composers of four
nationalities, Spanish, Mexican, Polish and British, covering a span of some sixty years of the 8.572060
instrument’s development.
MARCIN DYLLA: Guitar Recital

MARCIN DYLLA: Guitar Recital


DDD
MARCIN DYLLA Playing Time
Guitar Recital 58:15
1 Joaquín Rodrigo (1901-1999):
Junto al Generalife (1957) 5:08
2 Alexandre Tansman (1897-1988):
Variations on a Theme of Scriabin (1972) 9:28
Nicholas Maw (b. 1935): Music of Memory (1989) 20:48
3 Declamando … 7:07
4 Tempo del Tema … 3:46
5 Meno mosso – Tempo del Tema … 7:13
Tempo del Tema 2:43

www.naxos.com
Disc made in Canada. Printed and assembled in USA.
Booklet notes in English
Naxos Rights International Ltd.
 &  2008
6

Manuel Ponce (1882-1948):


Sonata romántica ‘Hommage à Fr. Schubert’ (1928) 22:50
7 Allegro non troppo, semplice 7:53
8 Andante 5:01
9 Moment Musical: Vivo 3:36
0 Allegro non troppo e serioso 6:21
Includes Free Downloadable Bonus Track available at www.classicsonline.com
Please see inside booklet for full details
Recorded at St John Chrysostom Church, Newmarket, Ontario, Canada, from 24th to 27th April, 2008
Producers: Norbert Kraft and Bonnie Silver • Engineering and editing: Norbert Kraft

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Booklet Notes: Graham Wade • Publishers: Ediciones Joaquín Rodrigo (track 1);
Max Eschig (track 2); Faber Music Ltd. (tracks 3-6); Schott Music GmbH & Co. KG (tracks 7-10)
Cover photograph: Marcin Dylla • Guitar by B. Teryks, Mainz

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