Performers
- Emmanuel Rossfelder guitar
- Splot Quartet
- Karolina Gutowska violin
- Kornelia Grądzka violin
- Agnieszka Podłucka viola
- Dobrawa Czocher cello
Programme
Francisco Tárrega La Gran Jota [5’]
Francisco Tárrega Memories of the Alhambra [5’]
Enrique Granados Andaluza from Twelve Spanish Dances* [5’]
Isaac Albéniz Asturias from Spanish Suite No. 1, Op. 47* [6’]
Niccolò Paganini Rondo : La Campanella from Violin Concerto No. 2 in B minor, Op. 7* [6’]
Luigi Boccherini Guitar Quintet in D major Fandango G.448 [18’]:
I. Pastorale
II. Allegro maestoso
III. Grave assai
IV. Fandango
* trb. Emmanuel Rossfelder
Concert description
The twentieth century became the golden age of the guitar – that’s when the most works were written for it, performance techniques developed, and even technological innovations introduced into the instrument itself. But it gained popularity much earlier, as early as the 18th century with the Classical and Romantic pieces by Italian composers such as Luigi Boccherini and Mauro Giuliani. Even Niccolò Paganini also played the guitar (in addition to violin and viola).
The guitar continues to be considered essentially Spanish (although it had its English variety, among others). This association was used by composers who, at the end of the 19th century and the beginning of the 20th, formed a kind of local “national school” (even if they didn’t play the guitar themselves!): Francisco Tárrega, Isaac Albéniz, Enrique Granados and, slightly later, Joaquín Rodrigo.
In addition to the eager use of the guitar (or imitation of guitar techniques in music for piano – like Albéniz in the Spanish Suites), they gave local color to their pieces by employing dance rhythms – jota, fandango or flamenco – often associated with specific lands (Asturias, Andalusia) or even buildings with symbolic meaning (the palace in the Alhambra).
– Dominika Micał, “Ruch Muzyczny”