SLAVA GRIGORYAN SONATAS & FA NTASIES HANDEL MOZART PAGANINI SOR GIULIANI

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Edmund Riley
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1 SLAVA GRIGORYAN SONATAS & FA NTASIES HANDEL MOZART PAGANINI SOR GIULIANI

2 Sonatas & Fantasies NICOLÒ PAGANINI ( ) arr. Slava Grigoryan Caprice in A minor, Op. 1 No. 24 Theme (Quasi presto) Var. I-XI Finale 5 09 MAURO GIULIANI ( ) Grand Overture, Op. 61 [9 37] Introduction (Andante sostenuto) 1 58 Allegro maestoso 7 39 FERNANDO SOR ( ) Variations on a Theme by Mozart Das klinget so herrlich (from The Magic Flute), Op. 9 [8 39] Introduction 1 36 Theme 1 16 Variation Variation 2 (Minore) 1 40 Variation Variation Variation 5 Coda 1 31 FERNANDO SOR Grand Solo (Sonata Prima), Op. 14 [11 02] Introduction (Andante) 2 39 Allegro 8 23 MAURO GIULIANI Variations on a Theme by Handel Harmonious Blacksmith, Op. 107 [8 16] Theme 1 17 Variation Variation Variation Variation Variation 5 (Minore sostenuto) 2 09 Variation 6 Finale 1 09 FERNANDO SOR L Encouragement, Op. 34 [14 01] I. Cantabile 5 32 II. Theme 0 40 Variation Variation 2 (Minore) 2 03 Variation III. Valse 3 24 with Leonard Grigoryan, guitar Total Playing Time Slava Grigoryan, guitar 2 3

During the era in which these pieces were composed, there were only a few accepted forms of composition that most composers stuck to; most notably, these were the sonata or fantasia (variation).

3 During the era in which these pieces were composed, there were only a few accepted forms of composition that most composers stuck to; most notably, these were the sonata or fantasia (variation). All the works on this recording are structured around these two forms hence the title! I first heard and fell in love with this repertoire when I was about 12 years old. It was through the magical recordings by Julian Bream that I realized just how precious the music of this period was. I ve often heard musicians (especially guitarists) referring to this repertoire as being particularly light and insubstantial. These comments encouraged me to pursue and record this repertoire. The classic Bream recordings captured every aspect of this genre s grace and virtuosity and I hope that in some ways, the triumphant energy and his musical expression rubbed off on me (after all those years of listening) and helped capture the real character of these works. The only unusual inclusion, and the only piece not composed for the guitar, is the 24th Caprice by Paganini. This one is for my parents both violinists of course! Slava Grigoryan 5

4 The works on this album come from an extraordinary period in the guitar s history. By the early nineteenth century, the guitar had only recently found the form in which we know it today. This was not so much in its outward shape as in its stringing it was then a recent innovation to tune the guitar to a comparatively neutral pattern of intervals rather than something more tied to a particular key, and to tune one string to a note rather than having pairs of strings in unison courses. Both of these innovations helped bring the guitar from an instrument primarily suited to chordal accompaniments to one capable of realising full melodyaccompaniment textures, or even elaborate polyphony and the works of the early nineteenth-century guitarist-composers are distinguished early fruits of this development. By mid-century, the guitar merited a section in Hector Berlioz classic treatise on orchestration: The guitar is an instrument suited to accompanying the voice, and to taking part in certain intimate instrumental compositions, as well as performing solo pieces of varying degrees of complexity and in many parts, which have a genuine charm when they are played by true virtuosi. It is almost impossible to write well for the guitar without playing it oneself. Most composers who make use of it are nevertheless far from knowing it; thus they give it excessively difficult passages without good sonority or effect. 1 Besides being effectively the father of the study of orchestration, Berlioz was himself a capable guitarist. This was nothing out of the ordinary so, amongst his nearcontemporaries, were such major figures as Carl Maria von Weber and Franz Schubert, and less major figures such as Anton Diabelli. The entry in his treatise on orchestration reminds us of a time when the guitar, despite only recently having attained the form in which we know it today, had a legitimacy among serious composers that it has perhaps not known since. The guitar s glory days at the peak of serious composition were comparatively brief. In a later paragraph of his treatise, Berlioz notes that the decline of the guitar from its peak in classical music had already begun, partly because of the inability of its intimate sound to tell against the expanded Romantic orchestra. (He also notes, discouragingly but unsurprisingly, that the sound of twelve guitars in unison verges on the absurd.) Notably, he recommends Fernando Sor as a composer worth studying to gain an idea of the guitar s true potential: To give oneself an idea of what virtuosi can produce in [the solo] style, it is necessary to study the compositions of celebrated guitarists such as Zanni de Ferranti, Huerta, Sor, etc. 2 Besides their status as a central part of the guitar repertoire, Fernando Sor s works could even be said to have helped fix the instrument s final shape. Sor probably grew up playing a guitar with five double-strung courses, which he learnt from his father. He then came into contact with the music of Federico Moretti, who had revealed an unexplored polyphonic potential in the new single-strung six-string guitar, inspiring Sor to take up the new design. Sor served in the Spanish army, and fought against the French in the Napoleonic invasion of Eventually, however, he began working for them in a range of civil posts, as an afrancescado a collaborator with the Napoleonic occupation, as were many Spanish progressives of his day. He thus had no choice but to flee with them when they finally retreated, in Sor did not definitively settle in Paris then. Like many of the Spanish fleeing what became an oppressive counterrevolutionary regime, he spent many years in London. His music was well received in the English capital indeed it was effectively Sor who introduced the guitar as we know it to London. He gave many acclaimed concerts, including several for the Philharmonic Society, and became a founding honorary member of the Royal Academy of Music before embarking on further travels around Europe as far afield as Warsaw, St Petersburg and Moscow. He was travelling not only as an itinerant virtuoso, but as a composer, and not always for guitar. Sor s guitar music includes nearly 70 pieces, as well as an influential treatise but he also composed several operas, and his ballet Cendrillon received over a hundred performances at the Paris Opera. His more intimate music 1 Grand traité d instrumentation et d orchestration modernes, Op. 10, Henry Lemoine et Cie, Paris, 1843, p Ibid. 6 7

5 for voice also enjoyed great acclaim. An anonymous English writer (from the magazine Ackermann s Repository of Arts, in March 1820) placed him on a level with Sir Walter Scott: Mr Sor s vocal compositions have gained such favour among the higher order of musical dilettanti, that a new set of arietts (sic) from his pen causes almost as much sensation as the publication of a new novel by the author of Waverley. By 1827, Sor had finally settled in Paris, where he was to remain until his death in Fernando Sor s Variations on a Theme by Mozart, Op. 9 originally reached the English public under the misleadingly ponderous title: The Favorite Air, O Cara armonia, from Mozart s Opera Il Flauto Magico, Arranged with an Introduction and Variations for the Guitar, As Performed by the Author, at the Nobilities Concerts, Dedicated to his Brother, by F. Sor. In fact, Mozart would have known his own theme not as O Cara armonia from Il Flauto Magico, but as Das klinget so herrlich from Die Zauberflöte. (This was neither the first nor the last time the German of Die Zauberflöte would be rendered into a supposedly more musical language for the sake of public appeal or perhaps simply for snob value.) Die Zauberflöte has many sublime and famous arias of pivotal dramatic importance. O Cara armonia is not one of them. It is the song of Monostatos and his henchmen as they dance off the stage, their threat to Pamina and Papageno averted by Papageno s magic bells. Its simplicity suits it ideally for variation treatment. Sor makes the tune his own right from the beginning it is never presented exactly with Mozart s own outline, but instead with Sor s own ornaments and chromaticisms. Sor s Grand Solo was first published (as Sonata Prima) by Salvador Castro de Gistau, some time between 1810 and 1814; it was also published in London during Sor s stay there, and by Meissonnier in Paris. (The editions vary, with the adventurous modulations of Sor s original for some reason not reaching the Meissonnier print.) The title Grand Solo is certainly more apt; its main themes do not recur in a strict sonata form, but rather in the context of a free fantasy. Many works in the guitar duo form are intended as much for recreation or instruction as for concert performance. Sor s guitar duos are thus not all designated prosaically for first and second guitar. In one version of his duo Les Deux Amis, for example, the parts are designated Sor and Aguado, Dionisio Aguado being a long-time friend and fellow Spanish guitarist resident in the same Paris hotel. In L Encouragement, Op. 34 evidently intended first of all for study purposes the two lines are subtitled The Teacher and The Student. The Teacher takes the second part, giving appropriately encouraging support while the student goes through his paces in a Cantabile opening section followed by a theme, three variations and a concluding waltz. The version on this album was arranged by Sor for two equal parts, making it much more of a true duet, rather than one line playing the melody, the other, an accompaniment. Mauro Giuliani was Italian in origin, but moved to Vienna in 1806 the Italy of his day was far too interested in opera to have much time for instrumental music, but Vienna was another matter. He had also studied cello in his youth among other things, this would enable him to participate in the premiere of the seventh symphony by a certain Ludwig van Beethoven, despite the composer having thoughtlessly failed to provide a guitar part. Unsurprisingly, Giuliani soon established himself as the Austrian capital s pre-eminent guitar virtuoso (and guitar composer), quickly displacing the native competition. The title Harmonious Blacksmith has long been given to the last movement of Handel s fifth keyboard suite in E major, HWV430. The theme has a distinctive swagger, and is eminently suitable for variation indeed, Handel gave it five variations of his own. Giuliani s Variations on a Theme by Handel Harmonius Blacksmith, Op. 107 has six variations and a brief finale, and transposes Handel s E major into A major. No mention of a blacksmith reaches the title page of the early editions; the nickname was quite likely unknown to Giuliani, as it may originate from as late as It is often noted how Handel s music took on a taste of Italy after his move there near the beginning of his career. Perhaps something similar happened with Giuliani, whose guitar music took on many Viennese characteristics in its forms, textures and harmonies. Unlike Sor s Grand Solo, Giuliani s Grand Overture is a fully-fledged sonata form movement. It even boasts a slow introduction, featuring typically symphonic elements: the initial outlining of the tonality (in the descending arpeggios which begin the work); chromatic harmonies over a dominant pedal; even some orchestral writing, opposing the guitar s different registers in contrasting melodies and accompaniment patterns. Giuliani s Grand Overture boasts a deftness of harmony we associate more often with Schubert especially in the music s tendency to modulate by simply melting into the key a major third lower, as in many of Schubert s finest late works. 8 9

inspired this characteristic harmonic sensibility in both Schubert and his older contemporary.

6 Giuliani s Grand Overture, however, was published in 1814, when Schubert was 17 and himself not yet to create sonata forms of quite this fluency. Schubert himself played the guitar, and echoes of its characteristic textures may be found in the accompaniments to several of his songs so just possibly it is something inherent to the guitar which inspired this characteristic harmonic sensibility in both Schubert and his older contemporary. In any case, it is frustrating that Giuliani does not seem to have composed a complete multi-movement sonata. As musical fashions were soon to leave behind this kind of writing for guitar, this must count as a sadly missed opportunity. The famous (indeed notorious) violinist Paganini was another skilled guitarist. He had met Giuliani and Zanni de Ferranti, (from Berlioz list of eminent guitaristcomposers) and had, of course, also met Berlioz himself, another musical innovator with a taste for diablerie. Paganini composed over 100 minor works for guitar; from Berlioz, it seems only a Nocturne for two voices and guitar survives. It is Berlioz who supplies us with an anecdote concerning Paganini s recourse to the guitar as relaxation from his fearsomely virtuosic works for violin: Sometimes, when he tired of the violin, he took from his case a volume of duets that he had composed for violin and guitar (a collection which no-one knows); and taking for his partner a worthy German violinist, M. Sina, still active in Paris, he himself took the guitar part, drawing astonishing effects from the instrument. And the two performers, Sina the humble violinist, Paganini the incomparable guitarist, spent long evenings alone in this manner, to which even the most important people could never gain admission. 3 Few of Paganini s works in any form were published in his lifetime indeed, all but one of his five opus numbers involve the guitar. One should, however, be wary of deducing from this a particular affection for the guitar Paganini the violinist was understandably disinclined to reveal to potential imitators any secrets of his playing that were not simply to do with extraordinary agility, such as his techniques for harmonics and for left-hand pizzicato. Berlioz described Paganini as an incomparable guitarist, but it is perhaps fair to say that his guitar writing does not approach the vertiginous peaks of his music for violin. Guitar technique having advanced somewhat since Paganini s day, it thus seems only reasonable to borrow the incomparable guitarist s most famous piece for his other instrument, his Caprice in A minor, Op. 1 No. 24. Carl Rosman 3 Les soirées de l orchestre, Michel Lévy Frères, Paris, 1853, p

Slava Grigoryan Slava Grigoryan was born in 1976 in Khazakstan and immigrated with his family to Melbourne, Australia in 1981.

He made his formal debut as a solo guitarist at a recital in Sydney when he was 14.

Musikfestspiele, the City of London Festival, the Newbury Festival, the Guitar Festival of Great Britain, the GFA Festival in La Jolla, the Wirral International Guitar Festival, the Al Bustan

He has appeared with many of the world s leading orchestras including the London Philharmonic Orchestra, the BBC Concert Orchestra, the Northern Sinfonia, the Israel Symphony Orchestra, the Royal

7 Slava Grigoryan Slava Grigoryan was born in 1976 in Khazakstan and immigrated with his family to Melbourne, Australia in He began studying guitar with his father, a professional violinist, and by the age of 12, was the guitar soloist with the Melbourne Mandolin Orchestra, touring with the group to Japan and Europe. He made his formal debut as a solo guitarist at a recital in Sydney when he was 14. Since then he has performed at many national and international Festivals such as the Brighton International Festival, the Harrogate International Arts Festival, the Hong Kong Arts Festival, Dresden Musikfestspiele, the City of London Festival, the Newbury Festival, the Guitar Festival of Great Britain, the GFA Festival in La Jolla, the Wirral International Guitar Festival, the Al Bustan Festival in Beirut, the New Zealand Arts Festival, the Sydney Festival, Musica Viva Australia s Yarra Valley Festival and the Darwin International Guitar Festival. He has appeared with many of the world s leading orchestras including the London Philharmonic Orchestra, the BBC Concert Orchestra, the Northern Sinfonia, the Israel Symphony Orchestra, the Royal Scottish National Orchestra, the Dresden Radio Orchestra, the Hallé Orchestra and the Melbourne and Sydney Symphony Orchestras. His flexibility in music style is evident in the performances he has given at venues such as London s Jazz Café and at the Basement in Sydney. In 1998 Slava Grigoryan was named Young Australian of the Year for the Arts. He has appeared as soloist with the Australian Chamber Orchestra as part of the 2000 Sydney Olympic Arts Festival, has toured extensively for Musica Viva Australia, appeared with the Australian String Quartet and toured to Japan. In 2002 he will appear as soloist with the New Zealand Symphony Orchestra and the Australian Youth Orchestra. Recently Slava Grigoryan was appointed Artist in Residence at the Victorian College of the Arts, and received the Mo Award for Instrumentalist of the Year. As a major prize-winner at the Tokyo International Classical Guitar Competition, Slava Grigoryan was signed to Sony Classical (Australia) and released four solo albums including Spirit of Spain, a tango and bossa nova inspired album, Dance of the Angel, a recital album and a jazz-fusion influenced album, Another Night in London, featuring compositions by Al Slavik, William Lovelady as well as Slava Grigoryan himself. This is his debut album for ABC Classics. 13 Leonard Grigoryan Born in 1985, Leonard Grigoryan began studying guitar with his father at the age of four. Since then he has appeared at many guitar festivals and eisteddfods throughout Australia winning numerous prizes. Slava and Leonard Grigoryan frequently perform together and 2002 sees them touring nationally for Musica Viva Australia. Leonard Grigoryan

Executive Producers Robert Patterson, Lyle Chan Product Manager Anna-Lisa Whiting Recording Producers Jon Russell, Slava Grigoryan Recording Engineer Jon Russell Mastering Wayne Baptist/Sony Music

Slava Grigoryan uses D Addario Pro Arte EJ46 strings.

And, of course, Ingrid and little Isabella. www.slavagrigoryan.com This project has been assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body.

8 Executive Producers Robert Patterson, Lyle Chan Product Manager Anna-Lisa Whiting Recording Producers Jon Russell, Slava Grigoryan Recording Engineer Jon Russell Mastering Wayne Baptist/Sony Music Mastering Booklet Design Imagecorp Pty Ltd Photography Ingrid Kaiser Recorded December 2001 and January 2002 at Avalon Studio. Slava and Leonard Grigoryan play Simon Marty guitars. Slava Grigoryan uses D Addario Pro Arte EJ46 strings. Slava Grigoryan wishes to thank Patrick Togher and his team, Jon Russell, Wayne Baptist, Leonard Grigoryan, The Australia Council and Fritz for the encouragement. And, of course, Ingrid and little Isabella. This project has been assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body Slava Grigoryan Australian Broadcasting Corporation. Distributed in Australasia by Universal Classics & Jazz, a division of Universal Music Group, under exclusive licence. Made in Australia. All rights of the owner of copyright reserved. Any copying, renting, lending, diffusion, public performance or broadcast of this record without the authority of the copyright owner is prohibited

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