Fernando Sors (1778-1839) Grande Sonata op.22 1. Allegro (06:41) 2. Adagio (06:35) 3. Menuetto (02:56) 4. Rondo (04:19), Francisco Tárrega (1852-1909) 5. Adelita (01:43) 6. María (01:21) 7. Marieta (02:42), Aleksandr Borodín (1833-1887) from the “Petite Suite” 8. Au Couvent (05:09) 9. Reverie (02:08) 10. Serenade (01:30) 11. Nocturne (03:08), Štěpán Rak Rak (1945) 12. Homage to Tarrega (10:02), Anatoli Liádov (1855-1914) 13. Prelude op.40 nº3 (01:34) 14. Prelude op.39 nº2 (01:46) 15. Prelude op.36 nº3 (01:48), Sergey Rudnev (1955) 16. The Old Lime tree (07:02)
Total time: 67:14
White light falls in cold measure In damp forest on summer day In my heart I am slowly carrying Sadness, like bird colored gray.
What to do with a bird that is wounded? She went silent, then died as well. From a fogged-over belltower Someone has stolen the bell.
And here stands the silent Muted and orphaned height Like a tower white and empty In foggy and quiet night.
Morning abysmally tender Semi-awake, semi-dream, Foggy ringing of thoughts, Oblivion like a scream.
Rovshan Mamedkuliev, guitar
Suggestive verses from the pen of the Russian poet Osip Mandelstam (1891-1938) are the image that ties together a musical anthology woven together from works with strong attachments to both Russia and Spain. Mandelstam was a transcendental Warsaw-born Russian poet who was aligned with the Acmeist school in the first years of the twentieth century, poets who sought compactness and clarity through what they saw as a form of neo-classical modernism. The title verse adopted here is an evocation of solitary desolation of eternal sadness nurtured, in this case, in “the endlessly tender morning… semi awake, semi dream —oblivion unquenched— the foggy chiming of thoughts.”
While this nostalgic pining for ancestral reconciliation is reflected in many of the works in this collection, it has only indirect relevance to the Grande Sonate, Op. 22, of Fernando Sor. A work of fervent optimism in C major, it is a work that bears no biographical allusions other than its dedication to the “Prince de la paix” (The Prince of Peace), an unequivocal reference to Spanish Prime Minister Manuel Godoy who was ousted in 1808 in the political turmoil that led to the Napoleonic invasion of Spain in the same year. The detail that connects Spain and Russia in this work, however, is simply that at the time the Grande Sonate was published in Paris in 1825, its Spanish composer was living in Moscow. Cast in the classical mould, it echoes the piano music of Haydn, Mozart and the young Beethoven in a way that no other guitar composer had ever previously achieved. It adopts the four movement structure of the Viennese style and imitates it to perfection, going further than many other similar works in the motivic relationships between movements. It first movement, Allegro, adheres to the structural model of the classical sonata in all its detail, with even some tempestuous and unexpectedness Haydnesque twists of harmony and texture. The second movement is a classic Adagio in C minor, followed by Minuetto and trio in the tonic key, culminating in an energetic rondo marked Allegretto that draws the work to its splendidly triumphal conclusion.