Guitars International

in cooperation with the

Cleveland Institute of Music

Presents

Classical Guitar Weekend

March 9-11, 2007

BY ANY MEASURE, EXCEPTIONAL

cim.edu

GUITARS INTERNATIONAL
BY ARRANGEMENT WITH ARMIN KELLY

Exceptional New Individually Handcrafted

Classical Guitars from Around the World
CANADA
Burghardt
de Jonge, J.

ENGLAND
Ambridge
Aram
Dean
Fischer
Gee
Rodgers (tuners)
Southwell
FRANCE
Fanton d'Andon
GERMANY
Gropius
Panhuyzen
Wagner

ITALY
Bottelli
Galli Strings
Tacchi
SWEDEN
Fredholm
SPAIN
Chiesa
Gonzalez
Marin Montero
Plazuelo
U.S.A.
Byers
Elliott
Milburn
Monrad
Ruck
Vazquez Rubio
Velazquez
White

Cleveland, Ohio U.S.A.

By Appointment 216.752.7502

www.guitarsint.com

info@guitarsint.com

Welcome & Acknowledgements

Welcometoour seventh annual Classical Guitar Weekend. This year it is our privilegeto presentfour of theworlds finestclassical guitarists and one of the worldsforemost lutenistsina celebration of art music - old and new.Thediverse nationalorigins of our artists- China, Greece, Spain
and the United States - and theeven more diversetime and geographicaloriginsof the composers
whose workstheywill performtestifyto the fact that the arts we honor here this weekend are now,
more than ever, timeless, heart felt, and universal.
Guitars International wishes to thank the many members of the Cleveland Institute of Musics
administration, faculty, staff and student body who have worked so conscientiously to bring about
this event; in particular: David Cerone and Frank Caputo for their long standing support ofthe
Guitar Weekend,Marjorie Anderson and Cynthia Kazaroff of Concerts and Events forproduction
of this yearsconcerts and master classesat CIM, Susan Schwartz for help with the press, Barbara
Hosta for help with our mailing list, Elizabeth Osborne for generous mention in CIM Notes, Brenda
Watsonfor fielding as always with such good cheer our many phone calls and questions, and CIM
Guitar Department Head Jason Vieaux for contributing as always so generously of his time, energy,
enthusiasm, wisdom and art.
We also wish to thank Music Director Anne Wilson and Forest Hill Church for so kindly donating their Sanctuary for Friday evenings concert, Professor Ross Duffin and the Case Western Reserve
Uiversity Department of Music for donating Harkness Chapel forFriday afternoons master class
and Saturday afternoonsconcert, MarjorieComellaandMary Catherine Denham of theMuseum
Advisory Council of the Western Reserve Historical Society for so graciously sponsoring Saturday
morningsmaster classandTerri Paoletta who coordinated the WRHS staff.
One of the unique aspects of the Distinguished Artists Series of which this Guitar Weekend is
a significant part is that it is to the best of our knowledge the only classical guitar series in North
America to provide scholarly program notes on both the composers andmusic to be performed.For
their substantial contribution of time, expertise and patience in researching, writing and proofreading these notes, Guitars International wishes toextend a very special thanks to this years annotators;
in order of event: Tom Poore, Paul ODette, Dr. Brad DeRoche and Erik Mann.
In addition, many thanks go to the following individuals and organizations for their indispensable kindnesses over the years: Donald Rosenberg, Mark Rapp, Merlene Santiago and the Plain
Dealer,the Cleveland Free Times,Cleveland Scene, Elaine Guregian and the Akron Beacon Journal,
Jennifer Jumba, Jim Mehrling and A. Grace Lee Mims of WCLV 104.9FM,Brannan Willson
and Acoustic Guitar Magazine, Askonas Holt Ltd., Chicago Concert Artists,Jonathan Wethworth
Ltd., Bruce Egre and Azica Records, Tommaso Galli and Stefania Mercuri of Galli Strings, Scott
DeRoche of Strings By Mail, Debbie Dietz and AlphaGraphics downtown, the Greater Cleveland
Classical Guitar Society; and teachers, friends and long time supporters of this event: Don Better,
Professor James Boyce - Martin, Kathy and Colin Davin - Professor Gabriel Palmer-Fernandez, John
Fitzgerald, Robert and Melissa Gruca, Linda and Stephen Hall, Christoph and Iris Harlan, David
Hershberger - Tim, Tricia and Krystin OMara - Jean Price and Stuart Vokes.
Finally wewish to extenda very special thanksto our five performing artists and to all of you
who have traveled from near and far Illinois, Indiana, Kentucky, Maine, Michigan, New York,
North Carolina, Ohio, Pennsylvania, West Virginia, Wisconsin as well as Canada and Italy at last
count to join us in this yearscelebration of music for the lute and guitar.Enjoy the Weekend.
Armin Kelly
Guitars International

Guitar Weekend Concerts

Duo Melis Concert -Friday, March 9 at 8:00pm

Forest Hill Church, 3031 Monticello Blvd., Cleveland Heights, Ohio 44118 (free parking).
Tickets: $20; $17 students with ID (sorry, no credit cards or refunds). Presented with support
from Forest Hill Church.

Paul ODetteConcert -Saturday, March 10 at 4:00pm

Harkness Chapel, 11200 Bellflower Road, Cleveland, Ohio, 44106 on the Case Western
Reserve University campus. Tickets $20; $17 students with ID (sorry, no credit cards or
refunds). Presented in cooperation with the Case Western Reserve University Department
of Music.

Xuefei YangConcert -Saturday, March 10 at 8:00pm

Cleveland Institute of Music, Kulas Hall, 11021 East Boulevard, Cleveland, Ohio 44106.
Tickets: $25; $20 students with ID (sorry, no credit cards or refunds).

Jason Vieaux Gala Alumni Faculty Concert -Sunday, March 11 at 4:00pm

Cleveland Institute of Music, Kulas Hall, 11021 East Boulevard, Cleveland, Ohio 44106.Free
(no tickets required).

Guitar Weekend Master Classess

Paul ODetteMaster Class 1 -Friday, March 9 at 12:00 noon

Harkness Chapel, 11200 Bellflower Road, Cleveland, Ohio, 44106 on the Case Western
Reserve University campus.Case Western Reserve University students will perform and be
coached by Mr. ODette from noonto 1:30pm. Open to observers free of charge.Presented in
cooperation with the Case Western Reserve University Department of Music.

Paul ODetteMaster Class2 - Friday, March 9 at 3:00pm

Cleveland Institute of Music, Studio 113, 11021 East Boulevard, Cleveland, Ohio 44106.CIM
guitar students will perform and be coached by Mr. ODette from 3pm to 6pm. Open to observers free of charge.

Duo Melis Master Class -Saturday, March 10 at 9:30am

Western Reserve Historical Society, Norton Gallery, 10825 East Boulevard, Cleveland, Ohio,
44106 across the street from the Cleveland Institute of Music. CIM guitar students will perform and be coached by Duo Melis from 9:30amto 12:00 noon. Open to observers free of
charge. Presented in cooperation with the Museum Advisory Council of the Western Reserve
Historical Society.

Jason Vieaux Master Class -Saturday, March 10 at 1:00pm

Cleveland Institute of Music, Studio 113, 11021 East Boulevard, Cleveland, Ohio 44106.NonCIM guitar students will perform and be coached by Mr. Vieaux from 1:00pmto 3:30pm.
Open to observers free of charge.

Xuefei Yang Master Class -Sunday, March 11 at 12:00 noon

Cleveland Institute of Music, Studio 113, 11021 East Boulevard, Cleveland, Ohio 44106.CIM
guitar students will perform and be coached by Ms. Yang from noon until 3pm. Open to observers free of charge.

For more information about attending any programs or

membership, please telephone or email:
Marjorie Comella, President 440.442.7340
marjoriemdc@earthlink.net
Mary Catherine Denham, Vice President 440.498.1315
maeve1225@sbcglobal.net

DUO MELIS

Guitars
Friday, March 9 at 8pm
Forest Hill Church

Program
Danza Espaola N 2* from La Vida Breve
Manuel de FallaDanza
Danza de los Vecinos* from El Sombrero de Tres Picos (1876-1946)
Danza de la Molinera* from El Sombrero de Tres Picos

Duo N 1. Op. 31
Antoine de LHoyer
Moderato. Allegro brillate
(1768 - 1852)
Adagio cantabile
K Rondo
Otoo Porteo*

Astor Piazzolla
(1921-92)

Intermission
Allemande*
Les Rappel des Oiseaux*
Les Tendres Plaintes*
Les Cyclopes*
Danzas argentinas*
Danza del viejo boyero
Danza de la moza donosa
Danza del gaucho matrero
Mallorca*

Sonata-Fantasa
Allegro ritmico
Adagio, rubato
Allegro molto

* Works transcribed by Duo Melis.

Jean-Philippe Rameau
(1683-1764)

Alberto Ginastera
(1916-1983)

Isaac Albniz
(1860-1909)
Dusan Bogdanovic
(b. 1955)

Artists Biographies
Spanish guitarist Susana Prieto and Greek guitaristAlexis Muzurakis made their
debut as the Duo Melis in 1999 at the International Guitar Festival of Volos, Greece.
They have won numerous prizes and competitions, both
individually and as a duo. In 2003 they recorded their first
CD after winning the recording prize, Citta di Verona,
at the International Chamber Music Competition,
Gaetano Zinetti (Italy). Widely regarded for their impeccable ensemble, rhythmic vitality, melodic lyricism and
extraordinary virtuosity, they have performed extensively
throughout Europe both as a duo and in collaboration
with numerous orchestras. Duo Melis teaches at the
Conservatoire National de Region de Strasbourg, France.www.duomelis.com
Duo Melis playGernot Wagner double topguitars.
They are represented by Chicago Concert Artists.

NOTES
Had he wished, Manuel de Falla might have done well as a concert artist - he was
unanimously voted the best pianist during his studies at the Conservatorio de Madrid.
His real passion, however, lay in composition. He composed La Vida Breve, a two act
opera, in 1905, but wasnt able to get it performed in Spain. A trip to Paris changed his
fortunes for the better. Of a meeting with Paul Dukas, he wrote, I played him Lavida
breve, and his words were so animated that, as I said to him, I felt as though I was waking
up from a bad dream. As his fame grew, a de Falla premiere often read like a whos who
in art history: El Sombrero de Tres Picos, first performed in 1919, was commissioned
by Sergei Diaghilev for the Ballets Russes, conducted by Ernest Ansermet, and featured
sets and costumes by Pablo Picasso.
Little known Antoine de LHoyer served much of his career in the military, where
he managed to survive three successive revolutions in France. But he was also an accomplished guitarist, even serving a ten year stint as court musician to the Russian Tsar.
Surprisingly few of his surviving works are for solo guitar, most being for guitar duet,
voice and guitar, or guitar and other instrument.
Its difficult now to imagine the rancor that first met Astor Piazzollas innovative
music - novelist Terence Clarke wrote of an Argentine tanguera who snapped dismissively: Tango is tango, and Piazzolla is not! But perhaps this was inevitable. In a society
where the tango was seen mainly as dance music, Piazzollas music was written more to
be heard than danced. His studies with Nadia Boulanger and Alberto Ginastera, and his
love for Bartok, Ravel, and Stravinsky brought an astringency to his music that must have
grated on the ears of those accustomed to the easy melodies of the more traditional tango.
In his deepest despair, Piazzolla told a friend he was tempted to quit music and open a
hamburger stand. But his fortunes turned, and Piazzolla is now perhaps Argentinas best
known musical export. Otoo porteo, a depiction of autumn composed in 1969, eventually became one of four pieces Piazzolla grouped into a suite called Four Seasons.

Few who knew Jean-Philippe Rameau at the outset of his career would have expected him to go far. Eking out a living as a provincial organist, he was a prickly personality who wrote turbid prose that drew barbs from both friends and foes - famed
philosophe Rousseau grumped that he tried to read a Rameau treatise while recovering
from an illness, but quit after a few pages because he feared a relapse. Yet Rameaus 1722
Traitde Lharmonie became a landmark of modern music theory, prompting contemporary admirers to dub him the Isaac Newton of harmony. (Even today, when jazz bass
players improvise from a chord chart, theyre trodding a path first described by Rameau.)
He also became chief instigator in the War of the Buffoons, a Parisian musical controversy that set pro and anti Italian opera partisans bickering for the better part of the
mid to late 18th century. But for all his contentiousness, his harpsichord music displays a
delightfully light touch: Les Rappel des Oiseaux depicts a twittering flock of birds, and
Les Tendres Plaintes develops a tender lament. Sometimes Rameaus titles are obscurely
whimsical - after all, how does one musically portray a Cyclopes?
Alberto Ginastera is sometimes called the Argentine Aaron Copland. Cosmopolitan,
scholarly, and a fine musical craftsman, Ginastera often drew on his native Argentine folk
music. But where Copland began as a modernist and later switched to a more popular idiom, Ginastera did almost the opposite - most of his folk influenced works date from his
early years. His Three Argentine Dances is his first published work. Though composed for
piano, its permeated with references to the guitar, from a brief reference to the guitars
open strings at the end of the first movement to the languid guitaristic accompaniment
of the second. All three movements are character pieces: Danza del viejo boyero depicts
an old shepherds awkward dance (in the original piano score the right hand plays only
white keys, the left hand plays only black keys), Danza de la moza donosa is a beautiful
maidens dance, Danza del gaucho matrero is a wild finale depicting a somewhat selfabsorbed cowboy.
Were he around today, Isaac Albniz might be surprised at how often guitarists
perform his music, since he never wrote a note for the guitar. He might also be miffed at
how little his stage works are heard - he wrote sixteen operas, seven of them with English
librettos, including a trilogy based on the King Arthur legend. But his main reputation,
today as well as in his own lifetime, rests on his piano works. Mallorca is a gently swaying
evocation of the island of Mallorca, off the east coast of Spain. English guitarist Julian
Bream, noting its Chopinesque mood, wrote: I often wondered whether Albniz did
this deliberately, and in so doing is paying homage to the Polish composers sojourn on
that magical island. I like to think he did.
Born in Yugoslavia, Dusan Bogdanovic currently teaches guitar and improvisation
at the San Francisco Conservatory of Music. As a composer, he draws freely from varied
ethnic sources. He writes, All art in its origin reflects its ethnic sources. The oscillations
of its stylization vary historically and within bounds of a particular language. There is
nothing in the history of Western art music that can compare to the polyrhythmic complexity of the African or the melodic refinement of the Indian music. Completed in
1991, Sonata-Fantasa comprises three uninterrupted movements that freely mix jazz,
Balkan music, complex rhythms, and special effects in a musical tour de force.
Notes by Tom Poore

PAUL ODETTE

Baroque lute
Saturday, March10 at 4pm
Harkness Chapel

Program
J.S. Bach and the Lute

Pices pour la Luth Monsieur Schouster (BWV 995)

Prelude Trs Vite
Allemande
Courante
Sarabande
Gavotte I & II en Rondeaux
Gigue

Partita in E major (transposed to F major) BWV 1006a

Prelude
Loure
Gavotte en Rondeau
Minuet I & II
Boure
Gigue

Johann Sebastian Bach

(1685-1750)

Johann Sebastian Bach

Intermission

Suite in c minor (1706)

Fantasia
Allemande
Courante
Gavotte
Sarabande
Minuet
Gigue

Sonata in G minor, BWV 1001

Adagio
Fuga - Allegro
Siciliana
Presto

*Bach works arranged by Paul ODette.

Sylvius Leopold Weiss

(1686-1750)

Johann Sebastian Bach

Artists Biography
Lutenist Paul ODette has been described as the clearest case of genius ever to
touch his instrument. (Toronto Globe and Mail) One of the most influential figures
in his field, ODette has helped define the technical and
stylistic standards to which twenty-first century performers of early music aspire. By so doing, he has helped infuse
the performance practice movement with a perfect combination of historical awareness, idiomatic accuracy, and
ambitious self-expression. His impressive output of more
than 120 recordings includes his collection of English lute
music by Daniel Bacheler (Harmonia Mundi), which was
recently nominated for a 49th Annual Grammy Award for
Best Instrumental Soloist performance (without orchestra).
Paul ODette is Professor of Lute and Director of Early
Music at the Eastman School of Music. www.harmoniamundi.com
Paul ODette plays a 13-course Baroque lute by Andrew Rutherford,
New York, 2002 after Sebastian Schelle (1727).

NOTES
Chear up, Brave Soul!And know that some YetLiving, who for Thee
will take such Care, (there are) That Thou shalt be Restord Thy former
Glory, And beEternizd to Eternal Story. Thomas Mace, writing to the
neglected and abused lute in 1676.

Throughout the Renaissance the lute was the most important of all musical instruments, according to John Dowland. The favorite instrument of court virtuosi and amateurs alike, the intimate, fragile tone quality of the lute embodied the ultra-refined tastes
of sixteenth-century culture. However, numerous changes had to be made to the solo lute
in the 17th century to make it more suitable for the richer sonorities and bass-dominated
writing of the early Baroque. First, additional bass strings were added, increasing the six
pairs of strings on the early Renaissance lute, to seven, eight, ten and eventually eleven
courses. The Italians added a second peg box, permitting the addition of more courses,
bringing the total to 14, resulting in a 28-string instrument. These archlutes were too
dry sounding for the French taste and they tried to solve the problem in a different way.
They began by experimenting with different scordatura tunings to try and create a more
resonant, sonorous sound. Marin Mersenne reported that some lutenists even attached
organ pipes to the neck of the lute to match the pitches of the open strings in an attempt
to encourage additional sustain. To further assist the organ pipes, the bellows of a musette
(Baroque bagpipe) were strapped to the waist of the lutenist to allow him to pump air
through the organ pipes while playing the lute! This arrangement was clearly too cumbersome and eventually a new tuning, one producing a d minor chord with the open strings,
was adapted in France and quickly exported to Germany and England. The top two
strings were single to allow for clearer articulation of the elaborate ornamentation often

used in the melody line. This eleven-course Baroque lute was the standard instrument
played during the second half of the 17th and beginning of the 18th century. The great
Silesian virtuoso, Sylvius Leopold Weiss added two more pairs of strings some time after
1710, resulting in an instrument with 13 courses (24 strings).
Sylvius Leopold Weiss was the most famous performer and composer for the
Baroque lute. He was in great demand throughout Europe, working in Breslau, Dsseldorf,
Rome, Kassel, Prague, London, Vienna, Munich, Berlin and finally Dresden, where he
was the highest-paid instrumentalist at the illustrious Saxon court. He befriended Bach
in Leipzig, where, in 1739, the two engaged in a friendly fugue-improvising competition. Johann Friedrich Reichardt reported, Those who know the difficulty of the lute
in its harmonic modulations and in very elaborate pieces remained astonished and could
hardly believe their eyes and ears that the great lutenist of Dresden, Weiss, improvised
and played fugues in contest with Sebastian Bach. It was recently discovered that Bachs
A major Sonata for harpsichord and violin, BWV 1025 is, in fact, a solo lute sonata by
Weiss, played by the harpsichord, to which Bach added the violin part. The present Suite
in c minor is Weisss earliest dated work. It is firmly in the French style of Gallot and
Mouton with its dark, brooding tessitura and classically French dance movements. The
original suite begins with the Allemande, but I have added the famous c minor Fantasia
as a prelude.
Johann SebastianBach was quite enamored of the lute, though apparently he did
not play it himself. He designed a gut-strung harpsichord, called the Lautenwerk, which
sounded so much like the lute that it deceived the ears of the best lutenists. Bachs
contemporary Jakob Adlung described the Lautenwerk as the most beautiful of the keyboard instruments after the organ from the fact that it imitates the sound of the lute...its
only failing is that it cannot produce soft and loud sounds, as the lute is able to do...[the
Lautenwerk] must always be played quickly and arpeggiated as we usually hear skilled
lutenists do.... Bachs so-called lute suites were written for the Lautenwerk and do
not fit the lute particularly well without transposing them into different keys, changing
the octave of many bass notes, revoicing certain chords, and making other adjustments
required to render an idiomatic result.
The Pices pour la Luth BWV 995 is an arrangement of the c minor Cello Suite
BWV 1011. It survives in an autograph manuscript notated in two staffs in the manner
of Bachs keyboard works. The autograph is in g minor, but this version is unplayable on
the standard 13-course lute in use at the time because the bass descends to a low GG. An
18th-century lutenist, possibly Adam Falckenhagen, arranged the work for lute by leaving out the low GG, but that note is such a prominent feature throughout the work that
many of todays lutenists have asked their luthiers to construct special 14-course lutes to
accommodate the extra note. There is little historical evidence for this kind of instrument
however. Hopkinson Smith discovered that by transposing the work into a minor, the
suite can be played on a 13-course lute and the most colorful harmonies in the piece are
much more resonant and satisfying than in g minor. The practice of notating pieces a
tone lower than they sound is a standard practice in Bachs cantatas and may well have
been his intent here. In any case, this is the most idiomatic of all of Bachs lute works
and is one of the most rewarding to play on the lute.
According to one source, Bach often played [the sonatas and partitas for solo violin] himself on the clavichord, adding whatever harmonies he found necessary. This is

exactly what he did with the E major Violin Partita BWV 1006. His arrangement for
Lautenwerk, BWV 1006a provides extra bass notes and chords filled out in the style of lute
music. Unfortunately, it is in the unlutenistic key of E major and requires transposition
to F to make it playable on the lute. Bachs brilliant combining of a virtuosic Italianate
Prelude with a suite of purely French dance movements creates a suite epitomizing the
gots renis (the uniting of French and Italian styles) which had been enthusiastically
embraced by early 18th-century German composers. The passion for French dancing
and dance music throughout Germany at this time, and Bachs personal friendship with
many French dancing masters, leaves no doubt that he took French ornamentation and
the use of notes ingales and separ for granted in the performance of dance movements.
Other violin works can also be convincingly adapted for lute, requiring only the addition of a more complete bass line and fuller chords to create idiomatic lute pieces. The
g minor Violin Sonata, BWV 1001, is an obvious choice for lute since Johann Christian
Weyrauch published the fugue in a version for lute (BWV 1000). There is another version of the Fugue for organ, BWV 539, and I have found it helpful to compare all three
versions in coming up with my own arrangement. The other movements fit the lute
extremely well, especially the florid, Corellian Adagio and the lilting Siciliana. The perpetual motion of the last movement is remarkably similar to the late Prestos of Weiss.
Ironically, the violin and cello works of Bach suit the lute better than his so-called lute
suites. Bachs love of the lute and his delight in playing these works on the Lautenwerk
suggest that arranging these works for lute would certainly have met with his approval,
and may indeed come closest to an ideal version of this incomparable music.
Notes by Paul ODette

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WCLV can be
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1/15/07 10:29:24 AM

STRINGS

by Mail

Strings by Aquila, Aranjuez, Augustine,

DAddario, Dean Markley, Elixer, Galli,
GHS, Hannabach, Hense, LaBella,
Luthier, Martin, Savarez, & Thomastik-Infeld
sheet music, instructional books, dvds, cejillas,
footrests, music stands, humidifiers & much more.
phone 800.513.8271
www.stringsbymail.com

XUEFEI YANG

Guitar
Saturday, March10 at 8pm
Cleveland Institute of Music

Program
Two Sonatas
Domenico Scarlatti

(1685-1757)

Variations on a Theme of Mozart, Opus 9

Fernando Sor
(1778-1839)
Blue Kite
Yellow Earth
Farewell My Concubine
(from Raise the Red Lantern)*

Works fromSuite Espanola, Op. 47

Granada
Asturias
Sevilla

Stephen Goss
(b.1964)

Isaac Albniz Granada

(1860-1909)

Intermission

Grand Sonata Nicolo Paganini

Allegro Risoluto (1782-1840)
Romanze
Andantino Variato

Un Sueo en la Floresta
Agustin Barrios

(1885-1944)

Sonata
Leo Brouwer
Fandangos y Boleros
(b.1939)
Sarabanda de Scriabin
La Toccata de Pasquini

*Written for Xuefei Yang.

Artists Biography
Born in Beijing, China, Xuefei Yang began playing the guitar at the age of seven.
Soon after she made her debut at the First China International Guitar Festival, and immediately gained such acclaim that the Spanish Ambassador
in China presented her with a concert guitar. When she
was 11 she won 2nd prize in the Beijing Senior Guitar
competition, being the only child competitor. She is a
graduate of Englands Royal Academy of Music where she
was awarded the Principals Prize for exceptional all-round
scholarship. Xuefei Yang has given numerous recitals
around the world including: the UK, Germany, Finland,
France, Singapore and the U.S.A. In 2005 she signed an
exclusive recording contract with EMI Classics.
www.xuefeiyang.com
Xuefei Yang plays a Greg Smallman guitar with DAddario
Strings. She is represented by Askonas Holt, Ltd.

NOTES

The sixth of ten children born to the famous Italian opera composer Alessandro
Scarlatti, Domenico Scarlatti (1685-1757) possessed a rare talent for performing and
composing.In his early years he occupied posts in Naples and Rome where he produced
sacred and secular works of little interest.In 1719, he obtained the position of mestre of
the patriarchal chapel in Lisbon, Portugal.It was here that his talents would find fruitful
ground.His duties included training King John Vs daughter, the Infanta Maria Barbara
and her younger brother Don Antonio.Scarlatti had a lifelong affiliation with Maria
Barbara and would move as part of her entourage to Madrid in 1728 when she married
the Spanish Crown Prince Fernando.It was this relationship that would foster an incredibly creative atmosphere for Scarlatti, encouraging him to write some 550 keyboard
sonatas for Maria Barbara.
The musical environment of Madrid was far removed from the European mainstream at that time and the sound of gypsies strumming guitars was more of an influence
than were operas or fugues.Perhaps this relative isolation proved to be one of the most
important factors regarding the development of his style and taste.One of the most
unique characteristics of his style is the use of the acciaccatura, a dissonant pitch within
a chord which resolved in a non-traditional manner.The most common acciaccatura
used by Scarlatti is the 5-4 dissonance in which the 4th should resolve downward by step,
but does not since it theoretically has already resolved to the 5th contained in the same
chord.This has caused much debate for theorists over the years as to the actual harmony
and voice-leading used by Scarlatti.If one thinks of the tuning of the guitar, however, it
can be argued that Scarlatti was simply imitating harmonies that are typically produced
by guitarists (since the instrument is tuned in 4ths) and these non-harmonic tones are
a very normal inclusion in a strummed guitar chord.From this, many historians agree
that the guitar has played an integral role in shaping the style of a number of Scarlattis
compositions.

Of note in his Sonatas, Scarlatti used binary form almost exclusively.The simple
two-part form used for many Baroque dances was greatly extended by his creative
genius.There is so much variety of style, texture, rhythm, and harmony, that each
piece is a truly unique gem: cut, polished and set individually and in no way like the
others.Many guitarists have transcribed Scarlattis keyboard Sonatas to great effect on
the guitar and these works have proven to be an effective addition the guitar literature
for many years.
The name Stephen Goss may not be familiar to most guitarists, yet the British
composer has written many significant works for guitar and has had a considerable number of fine performers commission works from him, including Xuefei Yang.Goss draws
on many styles and influences to create works that contain traditional elements - such
as the inclusion of an entire Scarlatti Sonata as a movement in his Looking Glass Tiles blended with new timbres and textures, to provide listeners with a unique experience of
hearing the past and present come together in a single work.
In Raise the Red Lantern, written for Xuefei Yang in 2004, he blends beautiful tremolo
melodies with microtonal string bends, plectrum-style strumming and other exotic effects
to create a work reminiscent of that for a Pipa or Cheng.Movements from this work
were recorded byMs. Yangon her 2004 CD, Xuefei Yang Si Ji (Four Seasons),for the
GSP label.Among his many other pieces, Goss has also written a work for two guitars,
a 6-string and a 10-string instrument to be played by one performer simultaneously.In
Oxen of the Sun (2003), performer Jonathan Leathwood played both instruments to a
compelling and thought-provoking effect. As composers look for new and inspirational
ideas, one might find that the commingling of styles, textures, and timbres as done by
Stephen Goss, will provide new vistas in the years to come.
In an attempt to provide new literature for the guitar, many guitarists have transcribed works written for other instruments to extend the repertoire.Few transcriptions
have made such an impact or have been as successful as those of IsaacAlbniz (18601909).Guitarists, beginning withTrrega and Llobet, have transcribed many of Albnizs
piano pieces including Asturias (Leyenda-Preludio), Cordoba, Granada, Mallorca, Sevilla
and many others.These works have become so engrained in the guitarists repertoire that
it is hard to imagine that they were not originally intended for it.
Born in Camprodn, Spain,Albniz was an exceptionally gifted pianist who made
his public debut at the age of four.So outstanding was his performance that many believed they had been the subject of some sort of trickery.However, time would prove
that the youngster was no mere side-show act, as he would go on to become one of the
finest concert pianists and composers Spain has ever produced.His early studies were
done in Madrid and Paris, and later at the Brussels Conservatory.Although it has been
often written that he studied with Franz Liszt in Budapest, it now appears that the two
may never have met since Liszt was appointed in Rome at the time thatAlbniz traveled
to study with him.Regardless of this, his virtuosic technique and colorful compositions
would earn him the respect and friendship of Claude Debussy, Erik Satie, Paul Dukas,
Felipe Pedrell, Enrique Granados, Manuel Da Falla and many others.Albniz, along
with Pedrell, Granados and Falla are considered to be the founders of and most influential composers in the popular Spanish Nationalist style.Their works would inspire many
composers, Debussy and Ravel to mention only two, to include Spanish elements in their
compositions and would collectively reestablish Spanish music into the mainstream of
European culture after a long absence.

Granada, Asturias (Leyenda), and Sevilla all belong to a collection of piano pieces
published as Suite Espanola, Op. 47.These works date from 1886-7, but several pieces
were added (by publishers) to the collection in 1918.Asturias was one of the later additions that was likely written between 1895 and 1905.This is significant since Albnizs
style changed from the simpler folk-like melodies and harmonies of his earlier salon style
to the more complex impressionistic harmonies and melodies evident in his later works
such as Iberia.
Each of the three works on Xuefei Yangs program are in ternary form (ABA), a
three-part architecture that features a return of the opening material after a contrasting
section. This formis used effectively by Albniz to give the listener a wonderful change of
mood and style in the B section, while anticipating the return of the opening material.In
Granada,Albniz uses a parallel key modulation from major to minor to major in the
respective sections of the piece.Within this framework, he weaves a beautiful 16th note
melody between the stable 8th note harmonies.Triplet figures in the melody punctuate
the cadences while the insistent pulse of the harmonies move the piece forward with ease
and grace.Asturias (Leyenda) has its roots in the flamenco tradition with its cante jondo
(deep song) inspired melody, rhythmic rasgueados (strums) and hypnotic pulse, one can
well imagine a flamenco singer and guitarist engaged in a soulful duet.The subtitles
Leyenda Preludio refer to a story or a prelude and the piece is often referred to
simply asLeyenda. Albnizmodeled many of his pieces on folkloric music a beautiful, poignant music with the guitar at its heart.Sevilla features a scordatura or altered
tuning.It is traditionally played with the 6th string tuned to D and the 5th string to G
as in theTrrega and Llobet transcriptions.The first copla (verse) in G Major features
a cheerful melody in the highest register of the instrument.This is followed by coplas in
g minor and Eb Major respectively.Following these is a falseta (solo passage) featuring a
winding scale run before the codetta which has a series of ascending chords.A meandering cante (song) characterizes the slower B section, followed by the return of the sprightly
opening material.
Nicolo Paganini was born in Genoa, Italy, in 1782. He was one of six children
born to Teresa and Antonio Paganini. The great Italian violinist and composer was
thought to be in league with the devil because of his unparalleled performance abilities
and is considered one of the greatest violinists in history.What is perhaps less well known
is that he was also a highly skilled guitarist and nearly every one of his published works
features the guitar either as a solo instrument or in an accompanying role.
Paganini likely suffered from Ehlers-Danlos syndrome, an ailment marked by excessive flexibility of the joints. This enabled Paganini to perform the astonishing doublestoppings and roulades for which he was famous, Sandblom writes, His wrist was so
loose that he could move and twist it in all directions. Although his hand was not disproportional he could thus double its reach and play in the first three positions without shifting. He died in Nice, France on May 27, 1840. The Grand Sonata M.S.3 was written
for guitar and violin duo.In typical Paganinian fashion, he wrote the more challenging
part for himself- this time the guitar accompaniment!The violin part, being very modest, makes little demand on the performer.This was likely done when one of the many
fine guitarists whom he knew asked him to write a duet for guitar and violin- Paganini
would play the guitar - and the guitarist the violin!In recent years, guitarists have taken
it upon themselves to play both parts simultaneously by arranging both melody and

accompaniment for guitar solo.The Grand Sonata features three movements:a spirited
Allegro Risoluto opens, followed by a lyrical Romanze and last, an Andantino Variato third
movement.The work contains many of the popular techniques of the day, including fast
octave passages, tremolo, passages in thirds, long scale runs, harmonics, and chromatic
scales.
The Paraguayan guitarist Agustin Barrios (1885-1944) was one of the greatest virtuoso performers in the 20th century.His performing abilities were legendary
though his career was not nearly as highly recognized as was his contemporary Andres
Segovia.Unlike Segovia, Barrios was a prolific composer, having written some 300 guitar solos and duets.His style can largely be called romantic, though he wrote many
pieces based on South America folk songs as well.His compositions passed into relative
obscurity before being rescued by guitarists in the 1980s and 90s.Today, his works are
very popular and can heard regularly from the conservatory to the concert hall.Among
his finest compositions are: La Catedral, Una Limonso por el Amor de Dios, Julia Florida,
three Paraguayan Dances and Un Sueo en la Floresta.All of these works, and many others, now form a standard part of guitarists repertoire.
Un Sueo en la Floresta may be translated as a dream in the forest or a sleep in the
forest.The opening two phrases provide a fleeting, playful melody in G Major.A short,
pizzicato melody in g minor interrupts the bliss and introduces one of the most stunning
tremolo pieces ever conceived.Barrios was a very fine composer and this work represents
him in his most contemplative mood.The melody soars throughout the high registers,
reminiscent of a Schubert Lied before the dream turns dark and agitated with a 16th note
bass passage supporting a series of diminished harmonies.But, all is well as the dream
returns to its peaceful state with another tremolo section in G major before evaporating
with a breathtaking pianissimo on the guitars highest pitch.
The name Fernando Sor needs no introduction to guitarists.He is one of the most
prolific and best-known guitar composers in the history of the instrument.Sor was born
in Barcelona in 1778 and educated in music at the monastery of Montserrat.After a stint
in the military, he would seek his fortunes in Paris in 1813.Following this, and his rising
fame, Sor would travel to London, then later to Moscow and eventually back to Paris
where he died in 1839.
While his guitar works have been known and played by guitarists for nearly 200 years
now, he also wrote in many other genres including compositions for guitar and voice,
guitar duets, piano pieces, string quartets, ballets, symphonies, a mass, and eventwo
operas.Few other guitar composers have written such an eclectic collection of pieces.
His Variationen ber Das klinget so herrlich aus der Oper Die Zauberflte von W.A.
Mozart, Opus 9 is a fine work showing the imaginative use of a famous theme from
Mozarts opera The Magic Flute.In it, Sor begins with the theme in the upper voice,
supported by an ostinato figure outlining the primary harmonies in E major.In the first
variation, a four-note melodic gruppetto figure outlines the primary tone, resolving to
a chordal harmony on the next beat.Marked Lento expressivo, Sor uses the key of e
minor for Variation II.The melody is unadorned and in a lower range to compliment the
somber key.In the third variation, Sor uses arpeggios, scales and block chords to support
the melody.In it, he places the theme as a repeated pitch in the highest voice.Variation
IV has the theme in a rapid ostinato figure in octaves, followed by a 32nd note arpeggio.In
the final variation, Sor places the theme as the first note of a triplet figure and includes

some interesting chromaticisms along the way.In the final 16 bars, audiences are treated
to sweeping arpeggios and fast diatonic scale runs before the work closes with a triumphant final cadence.
Born March 1st, 1939, Cuban-born guitarist composer Leo Brouwer stands as one
of the most influential individuals in the guitar world. His performances were critically
acclaimed and his Twenty Etudes Simples have become some of the most often studied
works of any 20th century guitar composer.In addition to his works for guitar, which
include many studies, solo pieces, quartets and concertos; Brouwer has made a name for
himself as a composer of numerous film scores.
The Sonata was composed in 1990 for the English guitarist, Julian Bream.It features three movements:Fandangos y Boleros, Sarabanda de Scriabin, and La Toccata de
Pasquini.This work comes from what has been called his 3rd style period which began
around 1980.In this style, Brouwer blends elements of tonality, modality, traditional
forms (such as 3 movement sonatas), Afro-Cuban rhythms, and minimalism.Many of
these elements are present in this Sonata as well as in his more famous El Decameron
Negro.
Another unique characteristic of Brouwers style is the use of motivic cells.These cells
are short melodic/rhythmic fragments which can be manipulated by augmentation and
diminution.In this way, his works have a suppleness and quasi-improvised quality that
is unique to them.Also in this Sonata are a great many detailed performance indications.
Taking advantage of Breams colorful playing style, Brouwer went to extremes to extract
the entire gamut of timbres, tempos, dynamics, and expressive devices that lend great affect to this significant, but less well-known work from one of the guitars greatest modern
composers.
Notes by Dr. Brad DeRoche

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Join the
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The Cleveland Institute of Music, founded in

1920, is a leading international conservatory
that is distinguished by an exceptional degree
of collaboration between students and teachers.
Students come from all over the world, often
to work with a particular teacher, bringing
extraordinary talent to northeast Ohio.
CIM is one of only eight independent degreegranting conservatories of music in the United
States today. Through its unique Joint Music
Program with Case Western Reserve University,
students can take advantage of the resources
of a large university, yet enjoy the nurturing
environment of a small professional music
school. CIM also enjoys a close relationship with
The Cleveland Orchestra. Forty of its members
are on CIMs faculty and 35 alumni currently
hold positions in the Orchestra.
Since 1985, students and alumni in CIMs guitar
program have distinguished themselves locally, nationally and internationally through
competitions, performances and recordings. In 1992 Jason Vieaux, alumnus and now head of
the CIM guitar department, was the youngest performer ever to win the Guitar Foundation
of America International Competition. Alumnus Troy King won first prize at the Portland
Guitar International Competition shortly thereafter. Alumnus Daniel Lippel won first prize
in the American String Teachers Competition and the Staffordshire International Guitar
Competition in Great Britain. Alumnus Robert Gruca won both the Appalachian Guitar
Competition and the Columbus, Georgia Guitar Symposium Competition. And most recently,
Colin Davin, a former student of Jason Vieaux, won both the first prize and audience award
in the Portland Solo Classical Guitar Competition.
In addition to the conservatory program, over 1300 young people, ages three to eighteen,
and 400 adults receive music instruction each year. CIMs highly respected Preparatory
Guitar Program focuses on work with grade school and high school students as well as adult
continuing education. Classes are available at four branch locations.
CIM offers a broad range of performances and master classes by its world renowned faculty
and visiting artists, as well as recitals, student concerts and family events. Hundreds of events
are held each year, most presented free to the public.
For further information, call 216-791-5000 or visit CIM on the Web at cim.edu

JASON VIEAUX
Gala Alumni Faculty Concert
Guitar

Sunday, March 11 at 4pm

Cleveland Institute of Music

Program
Preludio y Danza Julin Orbn

(1925-1991)

Prelude, Fugue and Allegro, BWV 998 Johann SebastianBach

(1685-1750)

El Decameron Negro
Leo Brouwer
El arpa del guerrero
(b.1955)
La huida de los amantes por el valle de los ecos
Ballada de la doncella enamorada Intermission

Intermission

Lute Suite No. 2, BWV 997 Johann SebastianBach

Prelude
Fugue
Sarabande
Gigue & Double

Cuba
Isaac Albniz
Asturias
(1860-1909)

Artists Biography
Jason Vieaux is one of the most highly acclaimed guitarists of his generation. His
expressive gifts and consummate virtuosity have earned
him an active schedule of solo, chamber and concerto appearances around the US and abroad. Of his eight highly
regarded recordings, Sevilla: The Music of IsaacAlbniz
(Azica) was rated one of the Top Ten Classical CDs of
2003 by The Philadelphia Inquirer and Clevelands
Plain Dealer. A passionate advocate of new music, he has
premired numerous solo and chamber works for guitar.
He is the youngest First Prize winner in the history of the
prestigious Guitar Foundation of America International
Competition and a Naumburg International Guitar
Competition prize winner. Jason Vieaux is Head of the
Cleveland Institute of Musics Guitar Department. www.jasonvieaux.com
Jason Vieauxplaysa Gernot Wagner double top classical guitar with
Galli Genius Strings.He is represented by Jonathan Wentworth, Ltd.

NOTES

Spanish-born Julin Orbn moved to Cuba in 1940, and for more than two de-

cades he was an important part of that countrys musical scene before eventually settling in the United States. While in Cuba, he joined the Grupo de Renovacin Musical
(Group for the Renewal of Music) in 1942, an organization devoted to creating Cuban
art music. In 1946, he studied with Aaron Copland at Tanglewood, and in 1949 he left
the Grupo de Renovacin Musical, feeling that their ideas were too restrictive. Orbn
now began to assimilate his various influences and to compose in a more personal style.
It is at the beginning of this new stage in his composition that Orbn wrote Preludio y
Danza.
Written in 1950-51 for the Cuban guitarist Jos Rey de la Torre, Preludio y Danza
is Orbns only guitar work. Throughout, he combines neoclassicism with Cuban influences and a touch of the avant garde. The main feature of the Preludio is a flowing
arpeggio figure reminiscent of a Baroque prelude, but with modern harmonies derived
from Cuban jazz and polytonality, as well as occasional syncopation. This is broken up
by brief lento sections which lend an improvisatory feel that recalls both the Baroque
prelude and Cuban jazz influences.
The Danza is driven primarily by a recurring rhythmic pattern of 3+3+2. This is the
distinguishing rhythm in, for example, Argentine tangos and milongas, but here it has a
much more driving, Afro-Cuban feel. In addition, instead of fitting this pattern evenly
into measures of 4/4, Orbn places the downbeat at varying points within the 3+3+2,
creating shifting time signatures. This is achieved in the very beginning of the movement,
for example, by a 4-note motive (with the last note held longer than the rest) which is
expanded to 6 notes, then 11 notes.
Johann SebastianBach infused many of his works with symbolism, including
numerology. The Prelude, Fugue, and Allegro centerson the number three in an A-B-

A form. Each of the three movements contains a three-note motive which descends by
step before returning to the original note, which is a miniaturized A-B-A form. The first
movement returns to the opening material at the very end, giving it an A-B-A form. The
central movement is a da capo fugue, which is a very clear A-B-A form, and somewhat
unusual for a fugue. The rhythmic subdivisions of the outer movements are three - the
time signatures are 12/8 in the Prelude and 3/8 in the Allegro - while the inner movement uses subdivisions of two and four, giving the entire work another A-B-A relationship through the contrasting meters. Even the original key of E-flat (transposed to D for
the guitar) has three flats. It is said that for Bach this key had sacred meaning, as the three
flats represented the Holy Trinity.
Leo Brouwer began composing in 1955, and his early compositions leaned toward
neo-classical forms and a strong influence of popular Cuban music. In 1961, however, he attended Warsaw Autumn and very quickly began composing in the style of the
Polish avant garde school. Throughout the 1970s, Brouwers music moved gradually
away from the avant garde and toward a style which he termed the New Simplicity or
National Hyper-Romanticism. He had found a way to merge such diverse elements as:
quartal harmonies, clusters, and aleatoric sections borrowed from the avant garde; dance
rhythms and jazz harmonies from his native Cuba; the repetition and manipulation of
simple cells borrowed from minimalism; non-functional though neo-tonal harmonies;
colorful timbral effects; and the use of multiple tonal centers. This is the style in which
Brouwer still composes today, and the most important work to herald his latest phase is
1981s El Decamern Negro.
El Decamern Negro is based on a collection of African folk tales by the same name,
compiled by the German anthropologist Leon Frobenius. The first movement, El arpa
del guerrero (The Warriors Harp), depicts a great warrior who yearns to trade his life of
fighting for music, leading to his exile. When his former home is attacked, he leads his
people to victory, but is then sent into exile again with his lover. Both the power of the
soldier and the beauty of the harp are present in this movement.
In the second movement, La huida de los amantes por el valle de los ecos (Flight of the
Lovers through the Valley of Echoes) the galloping horses of the feeling lovers are heard
twice, interspersed with shorter, nostalgic sections. In the first galloping section, a steady
stream of notes are expanded from a four-note cell to six notes, then eight, ten, and
twenty, before gradually diminishing to only two notes. In the second galloping section,
marked Por el Valle de los Ecos (Through the Valley of Echoes), a different figuration is
used, with loud, marcato measures alternating with quiet, legato measures. The final
movement, Ballada de la doncella enamorada (Ballad of the Young Girl in Love), is a
rondo, with a beautiful love song alternating with more driving parts.
While only one copy of the Prelude, Fugue, and Allegro survives (written in grand
staff with keyboard tablature in the empty spaces when Bach ran out of room on the staff
itself), the Suite BWV 997 has many different extant copies. Also unlike the former
work, none of the surviving versions of this suite are in Johann Sebastian Bachs
own hand, and many do not have all five movements. Of these various sources, some
of interest include two which have two versions each of the fugue; and one which was
transcribed into lute tablature by Johann Christian Weyrauch, but which leaves out the
two most difficult movements, the fugue; and the double to the gigue.
The fugue to this suite is a complex but passionate work in three voices. It begins

with a subject which climbs by step and drops down a major seventh before rising again,
this time chromatically. The second entrance comes in stretto (overlapping the first entrance) inversion. Bach masterfully weaves different versions of the subject, including
inversions and fragments, throughout.
The Sarabandesmain motive (which beginsthis movementand which the bass
then imitates)seems to quote the last chorus of the St. Matthew Passion. It is also similar to the opening motive of the Sarabande from his English Suite No.1 for keyboard.
Much of the music of Isaac Albniz was written to evoke regions of Spain,
as is the case with the two pieces on this program. As a young teen, he traveled the
Americas (according to his own account he stowed away on a ship and supported
himself by giving concerts on the piano), including Cuba, which was then still a Spanish
colony.Cubacombines the salon music of romantics such as Chopin and the distinctive,
Arabic-influenced melodies of Spain.
Though he never wrote for the guitar, much of the music of Albniz imitates the
sound of this quintessentially Spanish instrument. In fact, after hearing his friend the
guitarist Francisco Trrega play an arrangement of one of his pieces, Albniz commented
that is what I imagined. Indeed, this is one reason that Asturias (Leyenda) is now
better known on the guitar than on the piano. Pedal tones in this piece lend themselves
well to open strings, big chords that punctuate the melody recall a guitarist sweeping the
strings with the thumb or striking them with rasqueado, and the heartbreaking melody of
the middle section is enriched by the slurs, glissandi, and vibrato of the guitar.
Notes by Erik Mann

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Downtown Cleveland Cleveland, Ohio 44114
ph 216.623.1005 fax 216.623.1185
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