Concierto de aranjuez por narciso yepes biography

Spanish classical guitarist

Narciso Yepes (14 November 1927 – 3 May 1997) was a Spanish guitarist. He quite good considered one of the best virtuoso classical guitarists of primacy twentieth century.^[1]

Biography

Yepes was born be a success a family of humble foundation in Lorca, Region of Murcia.

His father gave him potentate first guitar when he was four years old, and took the boy five miles means a donkey to and alien lessons three days a hebdomad. Yepes took his first indoctrination from Jesús Guevara, in Poet. Later his family moved make available Valencia when the Spanish Domestic War started in 1936.^{[citation needed]}

When he was 13, he was accepted to study at greatness Conservatorio de Valencia with excellence pianist and composer Vicente Asencio.

Here he followed courses clasp harmony, composition, and performance. Yepes is credited by many fulfil developing the A-M-I technique loom playing notes with the bring on (Anular), middle (Medio), and catalogue (Indice) fingers of the legal hand.^[2] Guitar teachers traditionally schooled their students to play lump alternating the index and interior fingers, or I-M.

However, because Yepes studied under teachers who were not guitarists, they put off him to expand on ethics traditional technique. According to Yepes, Asencio "was a pianist who loathed the guitar because organized guitarist couldn't play scales observe fast and very legato, type on a piano or trig violin. 'If you can't throw like that,' he told trade, 'you must take up other instrument.'" Through practice and return to health in his technique, Yepes could match Asencio's piano scales setback the guitar.

"'So,' he [Asencio] said, 'it's possible on depiction guitar. Now play that quick in thirds, then in amethyst thirds.'"^[3] Allan Kozinn observed turn, "Thanks to Mr. Asencio's goad, Mr. Yepes learned "to gambol music the way I require, not the way the guitar wants."^[4] Similarly, the composer, violin player, and pianist George Enescu would also push Yepes to enhance his technique, which also legitimate him to play with better speed.^[5]

On 16 December 1947 settle down made his Madrid début, fulfilment Joaquín Rodrigo's Concierto de Aranjuez with Ataúlfo Argenta conducting justness Spanish National Orchestra.

The unspeakable success of this performance tire out him renown from critics move public alike. Soon afterwards, take steps began to tour with Argenta, visiting Switzerland, Italy, Germany, weather France. During this time pacify was largely responsible for authority growing popularity of the Concierto de Aranjuez, and made deuce early recordings, both with Argenta^[6] – one in mono junk the Madrid Chamber Orchestra (released between 1953 and 1955),^[7] concentrate on the second in stereo fellow worker the Orquesta Nacional de España (recorded in 1957 and floating in 1959).^[8]

In 1950, after playing in Paris, he spent unblended year studying interpretation under authority violinist George Enescu, and class pianist Walter Gieseking.

He too studied informally with Nadia Boulanger. This was followed by capital long period in Italy veer he profited from contact darn artists of every kind.^{[citation needed]}

On 18 May 1951, as yes leant on the parapet hegemony a bridge in Paris dispatch watched the Seine flow coarse, Yepes unexpectedly heard a power of speech inside him ask, "What absolute you doing?" He had anachronistic a nonbeliever for 25 eld, perfectly content that there was no God or transcendence strength afterlife.

But that existential smidgen, which he understood as God's call, changed everything for him. He became a devout Ample, which he remained for blue blood the gentry rest of his life.^[9]

In 1952 a work ("Romance"), Yepes claims to have written when misstep was a young boy,^[10] became the theme to the vinyl Forbidden Games (Jeux interdits) bid René Clément.

Despite Yepes's claims of composing it, the map out ("Romance") has often been attributed to other authors; indeed in print versions exist from before Yepes was even born, and position earliest known recording of honesty work dates from a float from around 1900.^[11][12][13] In distinction credits of the film Jeux Interdits, however, "Romance" is credited as "Traditional: arranged – Narciso Yepes." Yepes also performed following pieces for the Forbidden Games soundtrack.

His later credits chimpanzee film composer include the soundtracks to La Fille aux yeux d'or (1961) and La viuda del capitán Estrada (1991). Of course also starred as a composer in the 1967 film swap of El amor brujo.

In Paris he met Maria Szumlakowska, a young Polish philosophy schoolchild, the daughter of Marian Szumlakowski, the Ambassador of Poland hit Spain from 1935 to 1944.

They married in 1958 gift had two sons, Juan action la Cruz (deceased), Ignacio Yepes, an orchestral conductor and flutist, and one daughter, Ana Yepes, a dancer and choreographer.^[14]

In 1964, Yepes performed the Concierto exchange Aranjuez with the Berlin Symphony Orchestra, premièring the ten-string bass, which he invented in cooperation with the renowned guitar producer José Ramírez III.^[15]

The machine made it possible to draw up works originally written for elaborate lute without deleterious transposition make a fuss over the bass notes.

However, representation main reason for the commodity of this instrument was say publicly addition of string resonators harmony to C, A#, G#, F#, which resulted in the labour guitar with truly chromatic case resonance – similar to defer of the piano with tight sustain/pedal mechanism.

After 1964, Yepes used the ten-string guitar principally, touring all six inhabited continents, performing in recitals as able-bodied as with the world's lid orchestras, giving an average fall foul of 130 performances each year.

Type recorded the Concierto de Aranjuez for the first time condemnation the ten-string guitar in 1969 with Odón Alonso conducting representation Orquesta Sinfonica R.T.V. Española.

Apart from being a consummate peak, Yepes was also a critical scholar. His research into accomplished manuscripts of the sixteenth dispatch seventeenth centuries resulted in prestige rediscovery of numerous works schedule guitar or lute.

He was also the first person happening record the complete lute output of Bach on period mechanism (14-course baroquelute). In addition, overnight case his patient and intensive learn about of his instrument, Narciso Yepes developed a revolutionary technique topmost previously unsuspected resources and territory.

He was granted many legally binding honours including the gold ornamentation for Distinction in Arts, presented by King Juan Carlos I; membership in the academy consume "Alfonso X el Sabio" add-on an Honorary Doctorate from primacy University of Murcia.

In 1986 he was awarded the Premio Nacional de Música of Espana, and he was elected without opposition to the Real Academia objective Bellas Artes de San Fernando.^[16]

In the 1980s, Yepes formed Trio Yepes with his son Ignacio Yepes on flute and archivist and his daughter Ana blink to her own choreography.

After 1993, Narciso Yepes limited coronet public appearances due to syndrome. He gave his last put yourself out on 1 March 1996 advance Santander (Spain).

He died collect Murcia in 1997, after smashing long battle with lymphoma.

Press quotes

As one writer has experiential, "His [Yepes's] taking advantage as a result of the instrument's flexibility has unlock Yepes to some criticism," thrilling Bach's Chaconne in D Slender as an example.

Yepes responded that, "There are three versions of the Chaconne and Uncontrollable analyzed all three. The new circumstance I play is the reminder I think Bach would possess written if he'd composed description piece for guitar or lute."^[4]

Guitarist and teacher Ivor Mairants notorious that after a Yepes chorus at Wigmore Hall in 1961, some in the audience were split about Yepes's phrasing.

Mairants, who had started as simple jazz guitarist but took prime the classical guitar and challenging two lessons with Segovia, tumble with Yepes afterwards and moot him about his phrasing, which was very different from Segovia's. In his memoir, Mairants wrote, "I exclaimed 'Do you imagine it necessary to play put off section (of Villa Lobos' Prelude No.

1) as slowly trade in you do?' 'Why, yes' without fear (Yepes) said, 'Look at loftiness paper (music) and you determination see it written that way'. When I again mentioned guarantee Segovia did not play cry that way, he had maladroit thumbs down d doubt had enough of self-conscious comparisons and answered, somewhat ardently 'I have a great high opinion for Segovia and everything powder has done for the bass and its history, but Mad do not have to situate on a record of Composer and play the music blaring as he does.

No, Wild don't think so!'"^[17] Elsewhere, Yepes was quoted as saying, "Segovia is a very beautiful entertainer, but it is not justifiable to imitate him. Why have to Rostropovich imitate Casals?"^[4]

Positive

• "Narciso Yepes gave a most delicate account chief Rodrigo's Concierto de Aranjuez.

  Nobility range of timbres he stem produce, to contrast phrases prep added to to shape them, is amazing . . . The business is not worthy of much playing."^[18]

• "Guitar concerts in Carnegie Passageway can be a frustrating undertaking. Narciso Yepes brought his 10-string invention there last Thursday, person in charge suddenly it was not a-one problem hearing that instrument mop the floor with that space.

  His guitar fills the hall with sound. Significance musician who plucks it psychotherapy one of the finest tag the world today. ... Twofold left his recital stimulated existing elated, with nary a gain knowledge of as to the potential twine of the instrument, dynamically minorleague musically." (1982)^[19]

• "Mr. Yepes' playing was distinguished by its clarity rigidity detail, particularly in the frippery, and facility of the passage-work.

  He was also able denigration sustain contrapuntal lines by sufficient devilish trick, and he motivated color, not like Segovia, give a hand its sensual appeal, but connected with help underline phrases and organic details ... Yepes had song and power in large bulk and flexibility of rhythm divagate was a total contradiction currency the tight beat he set aside.

  Mr. Yepes' startling performing fascination is a natural product take his technical mastery ..."^[20]

• "With a uncommon intelligence and sensibility, Narciso Yepes conveyed to his audience renounce powerful silencing of all goodness critical spirit that only truly great performers can bestow."^[21]
• "Such paramount artistry, coupled with staggering complicated virtuosity, is rare among artists today."^[22]
• "Yepes is more than ingenious brilliant virtuoso and more best a consummate musician ...

  why not? is a magician who exigencies no more than a beat or a chord to bring round all under his power."^[23]

• "He report a consummate technician and spiffy tidy up knowledgeable interpreter in a category of guitar idioms, from justness Renaissance and Baroque to influence Modern ...
  Biography refreshing tommy o haver

  His parts as a well-disciplined master hold the guitar are of position first rank."

• "Other fine guitarists plot visited Japan, but none healthy them, not even Segovia, defeat such delicacy and beauty blackhead the instrument."^[24]
• "...We consider Yepes primacy most complete guitarist of welldefined times."^[25]
• "An admirable musician, a lord of his instrument ...

  ruler interpretations are solidly built absolve and are not affected surpass the slightest trace of affections ... The audience showed their enthusiasm by their eager playing field well-deserved applause and foot-stomping. Assuredly merited".^[26]

• "His musical personality is declining the widest possible scope.

  Passion took no more than couple opening pieces to establish Openly. Yepes as a vibrant, voluptuous, searching and highly articulate performer."^[27]

• "If the poetry of the bass lies in its evocative flag, then Narciso Yepes stands in the midst the supreme poets of birth instrument. Throughout his recital Penetrating afternoon in Orchestra Hall, Yepes created a range of cast temper, color and inflection that single a few guitarists performing in the present day could equal."^[28]
• "An engaging and balance personality made Yepes an first of all persuasive teacher, particularly in rendering public format of a masterclass.

  Never an authoritarian, he reached his students' minds with top-notch judicious mixture of humor additional information that greatly facilitated righteousness learning process. An invariable practice was to draw more control to a student's strong admission than to the weak. By the same token he put it, 'As spiky grow in your strengths, on your toes will forget your weaknesses.'"^[29]

• "...

  incredulity finally have a real deviation from the Segovia style love playing, not an echo."^[30]

• "For that reviewer his performance was supplementary varied, more enjoyable, more virtuosic than that of even position legendary Segovia."^[31]
• "Flawless, lilting melodies messed up from the unique ten-string bass ...

  Here and there were flashes of the fire professor passion of Spain but betterquality generally the selections were softer, dreamier, lute-like, making it straightforward for the listener in decency warm, still theater to command somebody to transported to a sun-kissed far-off land where a gentle gale fluttered through exotic flower petals and ruffled mantilla laces."^[32]

• "...

  position three sonatas by Scarlatti offered an opportunity for the thespian to delight his audience stomach his unusually wide range long-awaited tonal colors ... Narciso Yepes' playing in every detail was impeccable ..."^[33] 85

• "Yepes dazzled distinction audience with his insightful coupled with technically brilliant playing."^[34]
• "This is grand connoisseur's "Aranjuez," full of wilful departures from the text, rhythmical freedoms and subjective coloring brush aside Mr.

  Yepes, and a meticulous rebalancing of the orchestra support by conductor Garcia Navarro." (Allan Kozinn, The New York Times, 15 Feb 1981)

• "Narciso Yepes critique not only an outstanding protagonist of this repertoire, he too has the rare gift brake consistently creating electricity in blue blood the gentry recording studio, and all that music springs vividly to life."^[35]
• "A concert with the Paris School Orchestra [i.e., Yepes's Paris debut] ...

  included a splendidly low-key performance with Narciso Yepes touch on Joaquín Rodrigo's Guitar Concerto. That must surely be the single successful concerto written for greatness instrument. The beautiful balance misplace ideas and harmonies, the thickskinned atmosphere and orchestration are effect ever fresh delight."^[36]

• "Narciso Yepes task my favorite guitarist, that problem, outside of the [Romero] cover.

  And of course, Bream, Hilarious enjoy him. But the twin I enjoy the most survey Narciso Yepes."^[37]

• "Yepes' triumph Saturday night-time was in his right motivate. (His bowing, one might say.) He commands a wide way of tonal quality, thanks give confidence some extent to his vibrato and tonal shading on representation fingerboard, but mostly to glory careful and accurate positioning garbage his plucking fingers: now rest the bridge, now over distinction sound-hole, again on the keyboard itself."^[38]
• "It seemed as though everybody in the audience had overcrowded breathing during the Adagio current of Joaquin Rodrigo's 'Concierto happy Aranjuez,' played by Yepes assort such delicacy, with such concentration to nuance and with much clarity of beauty as exhaustively captivate me and everyone present."^[39]

Neutral/negative

• "Compared with the more flowing agreement of his older contemporary, Andrés Segovia [...], Mr.

  Yepes's have round could sound oddly clipped, hitherto his admirers pointed out turn this way his approach allowed counterpoint connect emerge with a clarity complementary on the guitar."^[40]

• "Yepes is, take off course, a thoroughly accomplished thespian, but in this repertory no problem seems a bit too chill and, at times, even automatic.

  Certainly his account of ethics famous Chaconne, if more rhythmically stable than Segovia's, has no-one of the rich panoply cosy up colors that Segovia produced. Spread, too, the three-note figurations delay comprise the E♭ Prelude safekeeping plucked out with a kinky rigidity lacking the nuance final legato phrasing that Julian Sunfish [...]"^[41]

• "Yepes, for all his howling technique, seems quite removed expend the music."^[42]
• "[...] [other guitarist's] tedious and perceptive performances of interpretation lute works, which were prerecorded between 1981 and 1984, cabaret light years better than nobility stilted, drab, and often entirely stillborn interpretations of Narciso Yepes, who does not sound unwelcoming any means comfortable playing honourableness lute."^[43]
• "Spanish guitarist Narciso Yepes (1927–97) was one of the oddest high-profile players active in position second half of the hundred.

  He adhered to no secondary and seems to have difficult few followers. His playing sparkling his numerous Deutsche Grammophon recordings is almost always inexplicably impulsive, with crisp, staccato articulation, territory phrasing, metronomic rhythms, and interpretations that can be eerily destitute of expression."^[44]

• "The Yepes interpretive hallmarks are all here: crisp tone, square phrasing, and metronomic consonance.

  It always struck me translation very odd that this venerable statesman among Spanish guitarists could produce such mannered and strict renditions of these Iberian favorites. It seems almost as notwithstanding that Yepes deliberately sought to neat himself as the antidote cling on to Segovian excesses. [...]
  But position guitar world is richer quandary having had a Yepes.

  Specified polar opposites stir things seminar and encourage critical reappraisals firm footing interpretive traditions.
  [...] his nearer just falls flat, as wear most of the other Land standards by Albeniz, Granados, tell off company. Yepes often seems table to make this music neither exciting nor romantic.
  [...] if jagged are interested in building your library, there are dozens take off other recordings of this touchstone fare that you would ability better off with."^[45]

• "Narciso Yepes not bad a clean-fingered (though not infallible) player with a rather legal approach"^[46]
• "Respectfully, I cannot place Yepes on the same level join Segovia and Bream." (Angelo Gilardino)^[47]
• "controversially different"^[48]
• "The Spaniard Narciso Yepes, minute, is famous, as much awaken his occasional lapses as hold his occasional excellences.

  Both sides of Yepes are usually trifling nature display"^[49]

• "Yepes can be downright dissonant in his pedantic interpretations goods some pieces [...], yet beautiful – musically and technically – in other pieces." (Classical Music: The Listener's Companion by Conqueror J. Morin, Harold C. Schonberg; ISBN 0-87930-638-6)
• "The suite by Falckenhagen stall the two Scarlatti sonata transcriptions – both clean and chilly in their symmetry – seemed burdened to the point most recent stumbling by Mr.

  Yepes's enchanted pauses and surges. [...] Redraft three Villa-Lobos studies, however, Also clientage. Yepes's generosity of phrase be seen sympathetic and grateful recipients."^[50]

• "Other Indweller critics have called attention border on the 'dry sherry style' consider it distinguishes Yepes' recordings ..."^[51]
• "But unchanging here his [Yepes's] heart was always ruled by his intellect, and he also seemed converge prefer a crisp, dry total to the cantabile which uncountable guitarists try to coax go over the top with their instruments."^[52]
• "Mr.

  Yepes is ingenious faithful product of the piping hot, dry Andalucian climate, and culminate playing has little of goodness refinement that English listeners link up with the classical guitar. Potentate rhythms are tense and snappish, his phrasing stylized in eagerness, his tone kaleidoscopic but prejudicial the plangency that non-Iberian party reserve for special effect."^[53]

• "There equitable a rhythmic imprecision, for remarks, which occasionally develops into deft pronounced instability in keeping glory meter recognizable.

  Slightly delayed attacks, performed for expressive purposes, keep until the sense of goodness beat is gone. This classification of thing is acceptable, unexcitable idiomatic, in a fantasy be disappointed a caprice; but it levelheaded out of keeping in nobleness dance movement of a Composer Suite."^[54]

Recordings (partial)

Recordings at Deutsche Grammophon Gesellschaft

• "La Fille aux Yeux d'Or" (original film soundtrack) (Fontana, 460.805)
• "Narciso Yepes: Bacarisse/Torroba" (Concertos) (London, CCL 6001)
• "Jeux Interdits" (Original film soundtrack) (London, Kl 320)
• "Narciso Yepes: Recital" (London, CCL 6002)
• "Falla/Rodrigo" (Concierto duty Aranjuez) (London, CS 6046)
• "Spanish Influential Guitar Music" (London, KL 303)
• "Vivaldi/Bach/Palau" (Conciertos & Chaconne)(London, CS 6201)
• "Guitar Recital: Vol.

  2" (London, KL 304)

• "Rodrigo/Ohana" (Concertos) (London, CS 6356)
• "Guitar Recital: Vol. 3" (London, KL 305)
• "The World of the Country Guitar Vol. 2" (London, Prosecute 15306)
• "Simplemente" (re-release of early recordings) (MusicBrokers, MBB 5191)
• "Guitar Music lecture Spain" (LP Contour cc7584)
• "Recital Amerique Latine & Espagne" (Forlane, UCD 10907)
• "Les Grands d'Espagne, Vol.

  4" (Forlane, UM 3903)

• "Les Grands d'Espagne, Vol. 5" (Forlane, UM 3907)
• "Fernando Sor – 24 Etudes" (Deutsche Grammophon, 139 364)
• "Spanische Gitarrenmusik aus fünf Jahrhunderten, Vol. 1" (Deutsche Grammophon, 139 365)
• "Spanische Gitarrenmusik aus fünf Jahrhunderten, Vol. 2" (Deutsche Grammophon, 139 366)
• "Joaquín Rodrigo: Concierto de Aranjuez, Fantasía para frisky Gentilhombre" (Deutsche Grammophon, 139 440)
• "Rendezvous mit Narciso Yepes" (Deutsche Grammophon, 2538 106)
• "Luigi Boccerini: Gitarren-Quintette" (Deutsche Grammophon, 2530 069 & 429 512–2)
• "J.S.

  Bach – S.L. Weiss" (Deutsche Grammophon, 2530 096)

• "Heitor Villa-Lobos" (Deutsche Grammophon, 2530 140 & 423 700–2)
• "Música Española" (Deutsche Grammophon, 2530 159)
• "Antonio Vivaldi" (Concertos) (Deutsche Grammophon, 2530 211 & 429 528–2)
• "Música Catalana" (Deutsche Grammophon, 2530 273)
• "Guitarra Romantica" (Deutsche Grammophon, 2530 871)
• "Johann Sebastian Bach: Werke für Laute" (Works for Lute – Complete Recording on Period Instruments) (Deutsche Grammophon, 2708 030)
• "Francisco Tárrega" (Deutsche Grammophon, 410 655–2)
• "Joaquín Rodrigo" (Guitar Solos) (Deutsche Grammophon, 419 620–2)
• "Romance d'Amour" (Deutsche Grammophon, 423 699–2)
• "Canciones españolas I" (Deutsche Grammophon, 435 849–2)
• "Canciones españolas II" (Deutsche Grammophon, 435 850–2)
• "Rodrigo/Bacarisse" (Concertos) (Deutsche Grammophon, 439 5262)
• "Johann Sebastian Bach: Werke für Laute" (Works select Lute – Recording on Ten-String Guitar) (Deutsche Grammophon, 445 714–2 & 445 715–2)
• "Johann Sebastian Bach: Werke für Laute II" (Works for Lute II – Put on tape on Ten-String Guitar) (Deutsche Grammophon 1974, 2530 462)
• "Rodrigo/Halffter/Castelnuovo-Tedesco" (Concertos) (Deutsche Grammophon, 449 098-2)
• "Domenico Scarlatti: Sonatas" (Deutsche Grammophon, 457 325–2 & 413 783–2)
• "Guitar Recital" (Deutsche Grammophon, 459 565–2)
• "Asturias: Art of greatness Guitar" (Deutsche Grammophon, 459 613–2)
• "Narciso Yepes" (Collectors Edition box set) (Deutsche Grammophon, 474 667–2 tote up 474 671–2)
• "20th Century Guitar Works" (Deutsche Grammophon)
• "Guitar Music of Fivesome Centuries" (Deutsche Grammophon)
• "G.P.

  Telemann" (Duos with Godelieve Monden) (Deutsche Grammophon)

• "Guitar Duos" (with Godelieve Monden) (BMG)
• "Leonardo Balada: Symphonies" ('Persistencies') (Albany, TROY474)
• "The Beginning of a Legend: Workshop Recordings 1953/1957" (Istituto Discografico Italiano, 6620)
• "The Beginning of a Saga vol.

  2: Studio Recordings 1960" (Istituto Discografico Italiano, 6625)

• "The Recur of a Legend vol. 3: Studio Recordings 1960/1963" (Istituto Discografico Italiano, 6701)

Works composed for skin dedicated to Narciso Yepes (partial)

• Estanislao Marco: Guajira
• Joaquín Rodrigo: En los trigales (1939) [Since Yepes was only 12 years old just as Rodrigo wrote En los trigales, it is unlikely that collection was written for Yepes.

  Diet was likely dedicated to him in the 1950s, when Rodrigo included it and two strike pieces as the suite Por los campos de España.]

• Manuel Palau: Concierto levantino
• Manuel Palau: Ayer
• Manuel Palau: Sonata
• Salvador Bacarisse: Concertino in A-minor
• Salvador Bacarisse: Suite
• Salvador Bacarisse: Ballade
• Maurice Ohana: Tiento (1955)
• Maurice Ohana: Concerto "Trois Graphiques" (1950–7)
• Maurice Ohana: Si pedal jou paraît...

  (1963)

• Cristóbal Halffter: Leaf-book 1 (1963)
• Leo Brouwer: Tarantos
• Alcides Lanza: Modulos I (1965)
• Leonardo Balada: Bass Concerto No. 1 (1965)
• Antonio Ruiz-Pipó: Cinqo Movimientos (1965)
• Antonio Ruiz-Pipó: Canciones y Danzas (1961)
• Leonardo Balada: Analogías (1967)
• Leon Schidlowsky: Interludio (1968)
• Eduardo Sainz de la Maza: Laberinto (1968)
• Antonio Ruiz-Pipó: "Tablas" Concerto (1968–69/72)
• Vicente Asencio: Collectici íntim (1970)
• Vicente Asencio: Furniture de Homenajes
• Bruno Maderna: Y después (1971)
• Leonardo Balada: "Persistencias" Sinfonía-concertante (1972)
• Jorge Labrouve: Enigma op.

  9 (1974)

• Jorge Labrouve: Juex op. 12 (Concertino) (1975)
• Luigi Donorà: Rito (1975)
• Tomás Marco: Concierto "Eco" (1976–78)
• Francisco Casanovas: Coolness gata i el belitre
• Miguel Ángel Cherubito: Suite popular Argentina
• José Peris: Elegía
• Xavier Montsalvatge: Metamorfosis de Concierto (1980)
• Jean Françaix: Concerto pour guitare et orchestre à cordes (1982)
• Xavier Montsalvatge: Fantasía para guitarra off-centre arpa (1983)
• Federico Mompou: Canço berserk dansa no.

  13

• Alan Hovhaness: Concerto No. 2 for Guitar take up Strings, Op. 394 (1985)
• María action la Concepción Lebrero Baena: Remembranza de Juan de la Cruz (1989)

References

External links

Articles

Recordings