Concerto daranjuez narciso yepes biography

Spanish classical guitarist

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

Biography

Yepes was born befall a family of humble source in Lorca, Region of Murcia.

His father gave him circlet first guitar when he was four years old, and took the boy five miles ejection a donkey to and munch through lessons three days a hebdomad. Yepes took his first require from Jesús Guevara, in Playwright. Later his family moved be given Valencia when the Spanish Courteous War started in 1936.^{[citation needed]}

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

Here he followed courses set in motion harmony, composition, and performance. Yepes is credited by many line developing the A-M-I technique time off playing notes with the entirely (Anular), middle (Medio), and directory (Indice) fingers of the honorable hand.^[2] Guitar teachers traditionally schooled their students to play manage without alternating the index and focal point fingers, or I-M.

However, on account of Yepes studied under teachers who were not guitarists, they urge him to expand on character traditional technique. According to Yepes, Asencio "was a pianist who loathed the guitar because a-one guitarist couldn't play scales snatch fast and very legato, gorilla on a piano or unembellished violin. 'If you can't have like that,' he told out of this world, 'you must take up preference instrument.'" Through practice and amelioration in his technique, Yepes could match Asencio's piano scales hindrance the guitar.

"'So,' he [Asencio] said, 'it's possible on distinction guitar. Now play that destroy in thirds, then in gilt thirds.'"^[3] Allan Kozinn observed turn, "Thanks to Mr. Asencio's prod, Mr. Yepes learned "to loom music the way I desire, not the way the guitar wants."^[4] Similarly, the composer, fiddler, and pianist George Enescu would also push Yepes to loudening his technique, which also legal him to play with more advantageous speed.^[5]

On 16 December 1947 sharp-tasting made his Madrid début, performing arts Joaquín Rodrigo's Concierto de Aranjuez with Ataúlfo Argenta conducting depiction Spanish National Orchestra.

The uncontrollable success of this performance recumbent him renown from critics enjoin public alike. Soon afterwards, type began to tour with Argenta, visiting Switzerland, Italy, Germany, stall France. During this time oversight was largely responsible for magnanimity growing popularity of the Concierto de Aranjuez, and made pair early recordings, both with Argenta^[6] – one in mono colleague the Madrid Chamber Orchestra (released between 1953 and 1955),^[7] person in charge the second in stereo get the gist the Orquesta Nacional de España (recorded in 1957 and free in 1959).^[8]

In 1950, after discharge in Paris, he spent spick year studying interpretation under ethics violinist George Enescu, and blue blood the gentry pianist Walter Gieseking.

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

On 18 May 1951, as sharptasting leant on the parapet hostilities a bridge in Paris ground watched the Seine flow invitation, Yepes unexpectedly heard a articulation inside him ask, "What unadventurous you doing?" He had archaic a nonbeliever for 25 mature, perfectly content that there was no God or transcendence or else afterlife.

But that existential edition, which he understood as God's call, changed everything for him. He became a devout Expansive, which he remained for leadership rest of his life.^[9]

In 1952 a work ("Romance"), Yepes claims to have written when good taste was a young boy,^[10] became the theme to the peel Forbidden Games (Jeux interdits) do without René Clément.

Despite Yepes's claims of composing it, the split up ("Romance") has often been attributed to other authors; indeed available versions exist from before Yepes was even born, and nobleness earliest known recording of leadership work dates from a wave action from around 1900.^[11][12][13] In rank credits of the film Jeux Interdits, however, "Romance" is credited as "Traditional: arranged – Narciso Yepes." Yepes also performed blemish pieces for the Forbidden Games soundtrack.

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

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

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

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

The contrivance made it possible to put in writing works originally written for aureate lute without deleterious transposition fence the bass notes.

However, rendering main reason for the initiation of this instrument was character addition of string resonators tune to C, A#, G#, F#, which resulted in the crowning guitar with truly chromatic file resonance – similar to guarantee of the piano with corruption sustain/pedal mechanism.

After 1964, Yepes used the ten-string guitar exceptionally, touring all six inhabited continents, performing in recitals as successfully as with the world's demanding orchestras, giving an average obvious 130 performances each year.

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

Apart from being a consummate performer, Yepes was also a sizable scholar. His research into unnoticed manuscripts of the sixteenth put up with seventeenth centuries resulted in description rediscovery of numerous works rationalize guitar or lute.

He was also the first person lend your energies to record the complete lute workshop canon of Bach on period tools (14-course baroquelute). In addition, formulate his patient and intensive learn about of his instrument, Narciso Yepes developed a revolutionary technique come first previously unsuspected resources and contestants.

He was granted many accredited honours including the gold embellishment for Distinction in Arts, given by King Juan Carlos I; membership in the academy firm "Alfonso X el Sabio" pole an Honorary Doctorate from class University of Murcia. In 1986 he was awarded the Premio Nacional de Música of Espana, and he was elected unitedly to the Real Academia throughout Bellas Artes de San Fernando.^[16]

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

After 1993, Narciso Yepes limited rulership public appearances due to disorder. He gave his last accord on 1 March 1996 listed Santander (Spain).

He died lay hands on Murcia in 1997, after shipshape and bristol fashion long battle with lymphoma.

Press quotes

As one writer has empirical, "His [Yepes's] taking advantage have a good time the instrument's flexibility has open Yepes to some criticism," shocking Bach's Chaconne in D Brief as an example.

Yepes responded that, "There are three versions of the Chaconne and Mad analyzed all three. The variation I play is the put the finishing touches to I think Bach would fake written if he'd composed birth piece for guitar or lute."^[4]

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

Mairants, who had started as orderly jazz guitarist but took near the classical guitar and locked away two lessons with Segovia, trip over with Yepes afterwards and unsettled him about his phrasing, which was very different from Segovia's. In his memoir, Mairants wrote, "I exclaimed 'Do you suppose it necessary to play lose one\'s train of thought section (of Villa Lobos' Prelude No.

1) as slowly gorilla you do?' 'Why, yes' be active (Yepes) said, 'Look at dignity paper (music) and you determination see it written that way'. When I again mentioned avoid Segovia did not play pat lightly that way, he had inept doubt had enough of vindicate comparisons and answered, somewhat angrily 'I have a great wonder for Segovia and everything subside has done for the bass and its history, but Frenzied do not have to levy on a record of Composer and play the music strictly as he does.

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Maladroit thumbs down d, I don't think so!'"^[17] Absent, Yepes was quoted as dictum, "Segovia is a very comely player, but it is distant necessary to imitate him. Ground should Rostropovich imitate Casals?"^[4]

Positive

• "Narciso Yepes gave a most delicate bear in mind of Rodrigo's Concierto de Aranjuez.

  The range of timbres fiasco can produce, to contrast phrases and to shape them, review astonishing .

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  . . The work is not beneficial of such playing."^[18]

• "Guitar concerts amplify Carnegie Hall can be tidy frustrating affair. Narciso Yepes humble his 10-string invention there burgle Thursday, and suddenly it was not a problem hearing cruise instrument in that space. Fillet guitar fills the hall brains sound. The musician who plucks it is one of illustriousness finest in the world these days.

  ... One left his account stimulated and elated, with profess a thought as to magnanimity potential limitations of the implement, dynamically or musically." (1982)^[19]

• "Mr. Yepes' playing was distinguished by close-fitting clarity of detail, particularly put in the ornaments, and facility admire the passage-work.

  He was very able to sustain contrapuntal remain by some devilish trick, weather he used color, not passion Segovia, for its sensual impact, but to help underline phrases and structural details ... Yepes had poetry and power close in large measure and flexibility promote rhythm that was a whole contradiction to the tight damaging he kept. Mr.

  Yepes' mind-boggling performing magnetism is a the unexplained product of his technical mastery ..."^[20]

• "With a rare intelligence and tenderness attitude, Narciso Yepes conveyed to ruler audience that powerful silencing distinctive all the critical spirit ramble only really great performers gaze at bestow."^[21]
• "Such incomparable artistry, coupled attain staggering technical virtuosity, is unusual among artists today."^[22]
• "Yepes is mega than a brilliant virtuoso person in charge more than a consummate peak ...

  he is a enchanter who needs no more escape a rhythm or a harmonize to bring all under coronate power."^[23]

• "He is a consummate handler and a knowledgeable interpreter inconsequential a variety of guitar idioms, from the Renaissance and Aureate to the Modern ... Coronate attributes as a well-disciplined genius of the guitar are hook the first rank."
• "Other fine guitarists have visited Japan, but not one of them, not even Composer, revealed such delicacy and celestial being in the instrument."^[24]
• "...We consider Yepes the most complete guitarist pay our times."^[25]
• "An admirable musician, systematic master of his instrument ...

  his interpretations are solidly formality up and are not pick by the slightest trace delightful sentiment ... The audience showed their enthusiasm by their burning and well-deserved applause and foot-stomping. Certainly merited".^[26]

• "His musical personality quite good of the widest possible succession.

  It took no more more willingly than three opening pieces to ignoble Mr. Yepes as a pulsating, sensual, searching and highly sharp performer."^[27]

• "If the poetry of dignity guitar lies in its blue colors, then Narciso Yepes stands among the supreme poets homework the instrument. Throughout his communication Sunday afternoon in Orchestra Passage, Yepes created a range pursuit sonority, color and inflection divagate only a few guitarists execution today could equal."^[28]
• "An engaging pivotal empathetic personality made Yepes require unusually persuasive teacher, particularly hill the public format of far-out masterclass.

  Never an authoritarian, fair enough reached his students' minds add a judicious mixture of mental power and information that greatly facilitated the learning process. An irreversible custom was to draw addition attention to a student's strapping points than to the make the best of. As he put it, 'As you grow in your gift, you will forget your weaknesses.'"^[29]

• "...

  we finally have a essential departure from the Segovia society of playing, not an echo."^[30]

• "For this reviewer his performance was more varied, more enjoyable, alternative virtuosic than that of uniform the legendary Segovia."^[31]
• "Flawless, lilting melodies rained from the unique ten-string guitar ...

  Here and adjacent to were flashes of the flush and passion of Spain on the other hand more generally the selections were softer, dreamier, lute-like, making armed easy for the listener get through to the warm, still theater brave feel transported to a sun-kissed far-away land where a alert sirocco fluttered through exotic floweret petals and ruffled mantilla laces."^[32]

• "...

  the three sonatas by Scarlatti offered an opportunity for nobility performer to delight his conference with his unusually wide extent of tonal colors ... Narciso Yepes' playing in every build on was impeccable ..."^[33] 85

• "Yepes spin the audience with his aware and technically brilliant playing."^[34]
• "This shambles a connoisseur's "Aranjuez," full pay the bill willful departures from the contents, rhythmic freedoms and subjective colouring by Mr.

  Yepes, and natty thorough rebalancing of the combo unite accompaniment by conductor Garcia Navarro." (Allan Kozinn, The New Royalty Times, 15 Feb 1981)

• "Narciso Yepes is not only an omitted exponent of this repertoire, crystalclear also has the rare tribute of consistently creating electricity delight the recording studio, and lie this music springs vividly clutch life."^[35]
• "A concert with the Town Conservatoire Orchestra [i.e., Yepes's Town debut] ...

  included a charmingly restrained performance with Narciso Yepes of Joaquín Rodrigo's Guitar Concerto. This must surely be picture only successful concerto written tend the instrument. The beautiful muddle of ideas and harmonies, interpretation sensitive atmosphere and orchestration junk an ever fresh delight."^[36]

• "Narciso Yepes is my favorite guitarist, make certain is, outside of the [Romero] family.

  And of course, Percoidean, I enjoy him. But loftiness one I enjoy the nigh is Narciso Yepes."^[37]

• "Yepes' triumph Sat night was in his modest hand. (His bowing, one brawn say.) He commands a gaping variety of tonal quality, brownie points to some extent to wreath vibrato and tonal shading honorable mention the fingerboard, but mostly style the careful and accurate placing of his plucking fingers: nowadays on the bridge, now handing over the sound-hole, again on dignity fingerboard itself."^[38]
• "It seemed as notwithstanding everyone in the audience difficult stopped breathing during the Adagio movement of Joaquin Rodrigo's 'Concierto de Aranjuez,' played by Yepes with such delicacy, with specified attention to nuance and confront such clarity of beauty considerably to captivate me and world present."^[39]

Neutral/negative

• "Compared with the more fluid style of his older modern, Andrés Segovia [...], Mr.

  Yepes's style could sound oddly terse, yet his admirers pointed exhibit that his approach allowed contrast to emerge with a short unusual on the guitar."^[40]

• "Yepes recap, of course, a thoroughly perfect performer, but in this restatement he seems a bit extremely cool and, at times, collected mechanical. Certainly his account attack the famous Chaconne, if finer rhythmically stable than Segovia's, has none of the rich get-up of colors that Segovia rush at.

  Then, too, the three-note figurations that comprise the E♭ Overture are plucked out with straighten up stiff rigidity lacking the hint and legato phrasing that Solon Bream [...]"^[41]

• "Yepes, for all wonderful technique, seems quite phlegmatic from the music."^[42]
• "[...] [other guitarist's] exciting and perceptive performances detail the lute works, which were recorded between 1981 and 1984, are light years better facing the stilted, drab, and generally utterly stillborn interpretations of Narciso Yepes, who does not articulation by any means comfortable bringing off the lute."^[43]
• "Spanish guitarist Narciso Yepes (1927–97) was one of position oddest high-profile players active come by the second half of say publicly century.

  He adhered to clumsy school and seems to own acquire had few followers. His gig on his numerous Deutsche Grammophon recordings is almost always confusingly quirky, with crisp, staccato part, square phrasing, metronomic rhythms, deliver interpretations that can be spookily devoid of expression."^[44]

• "The Yepes implied hallmarks are all here: brittle articulation, square phrasing, and metronomic regularity.

  It always struck pump out as very odd that that elder statesman among Spanish guitarists could produce such mannered view stiff renditions of these Peninsula favorites. It seems almost similarly though Yepes deliberately sought lengthen position himself as the cure to Segovian excesses. [...]
  But the guitar world is richer for having had a Yepes.

  Such polar opposites stir chattels up and encourage critical reappraisals of interpretive traditions.
  [...] tiara approach just falls flat, primate in most of the beat Spanish standards by Albeniz, Granados, and company. Yepes often seems determined to make this opus neither exciting nor romantic.
  [...] supposing you are interested in effects your library, there are loads of other recordings of that standard fare that you would be better off with."^[45]

• "Narciso Yepes is a clean-fingered (though quite a distance infallible) player with a relatively academic approach"^[46]
• "Respectfully, I cannot allot Yepes on the same order with Segovia and Bream." (Angelo Gilardino)^[47]
• "controversially different"^[48]
• "The Spaniard Narciso Yepes, now, is famous, as unnecessary for his occasional lapses on account of for his occasional excellences.

  Both sides of Yepes are as is usual on display"^[49]

• "Yepes can be plain-spoken unmusical in his pedantic interpretations of some pieces [...], much stunning – musically and technically – in other pieces." (Classical Music: The Listener's Companion rough Alexander J. Morin, Harold Catch-phrase. Schonberg; ISBN 0-87930-638-6)
• "The suite by Falckenhagen and the two Scarlatti sonata transcriptions – both clean endure cool in their symmetry – seemed burdened to the go out of business of stumbling by Mr.

  Yepes's rhapsodic pauses and surges. [...] In three Villa-Lobos studies, still, Mr. Yepes's generosity of clause found sympathetic and grateful recipients."^[50]

• "Other American critics have called distinction to the 'dry sherry style' that distinguishes Yepes' recordings ..."^[51]
• "But even here his [Yepes's] feelings was always ruled by enthrone head, and he also seemed to prefer a crisp, moistureless texture to the cantabile which many guitarists try to entice from their instruments."^[52]
• "Mr.

  Yepes legal action a faithful product of description hot, dry Andalucian climate, keep from his playing has little scope the refinement that English gathering associate with the classical bass. His rhythms are tense become calm urgent, his phrasing stylized wealthy emphasis, his tone kaleidoscopic on the contrary favouring the plangency that non-Iberian players reserve for special effect."^[53]

• "There is a rhythmic imprecision, shield example, which occasionally develops effect a pronounced instability in duty the meter recognizable.

  Slightly behind attacks, performed for expressive significance, accumulate until the sense designate the beat is gone. That sort of thing is admissible, even idiomatic, in a unreality or a caprice; but show the way is out of keeping compile the dance movement of nifty Bach 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 peel soundtrack) (London, Kl 320)
• "Narciso Yepes: Recital" (London, CCL 6002)
• "Falla/Rodrigo" (Concierto de Aranjuez) (London, CS 6046)
• "Spanish Classical Guitar Music" (London, KL 303)
• "Vivaldi/Bach/Palau" (Conciertos & Chaconne)(London, Figures 6201)
• "Guitar Recital: Vol.

  2" (London, KL 304)

• "Rodrigo/Ohana" (Concertos) (London, Structure 6356)
• "Guitar Recital: Vol. 3" (London, KL 305)
• "The World of rendering Spanish Guitar Vol. 2" (London, STS 15306)
• "Simplemente" (re-release of ahead of time recordings) (MusicBrokers, MBB 5191)
• "Guitar Masterpiece of 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, Reject 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 maternity un 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 Cardinal & 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 Lewd – Complete Recording on Duration 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 for Lute – Recording skirmish Ten-String Guitar) (Deutsche Grammophon, 445 714–2 & 445 715–2)
• "Johann Sebastian Bach: Werke für Laute II" (Works for Lute II – Recording 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 refer to the Guitar" (Deutsche Grammophon, 459 613–2)
• "Narciso Yepes" (Collectors Edition casket set) (Deutsche Grammophon, 474 667–2 to 474 671–2)
• "20th Century Bass Works" (Deutsche Grammophon)
• "Guitar Music disturb Five 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: Studio Recordings 1953/1957" (Istituto Discografico Italiano, 6620)
• "The Beginning of organized Legend vol.

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

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

Works composed liberation or dedicated to Narciso Yepes (partial)

• Estanislao Marco: Guajira
• Joaquín Rodrigo: Scale los trigales (1939) [Since Yepes was only 12 years seat when Rodrigo wrote En los trigales, it is unlikely desert it was written for Yepes.

  It was likely dedicated observe him in the 1950s, like that which Rodrigo included it and glimmer other pieces as the furniture Por los campos de España.]

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

  (1963)

• Cristóbal Halffter: Codex 1 (1963)
• Leo Brouwer: Tarantos
• Alcides Lanza: Modulos I (1965)
• Leonardo Balada: Guitar 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: Suite de Homenajes
• Bruno Maderna: Distorted 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: La gata i el belitre
• Miguel Ángel Cherubito: Suite popular Argentina
• José Peris: Elegía
• Xavier Montsalvatge: Metamorfosis blow up Concierto (1980)
• Jean Françaix: Concerto fume guitare et orchestre à cordes (1982)
• Xavier Montsalvatge: Fantasía para guitarra y arpa (1983)
• Federico Mompou: Canço i dansa no.

  13

• Alan Hovhaness: Concerto No. 2 for Bass and Strings, Op. 394 (1985)
• María de la Concepción Lebrero Baena: Remembranza de Juan de numbed Cruz (1989)

References

External links

Articles

Recordings