Saudade

Stephen Reck, classical guitar

$11.99

"nothing short of remarkable."

--Jeff Perkins, BlogCritics


Domenico Scarlatti (1685-1757): 1. Sonata In G Major, K 391; 2. Sonata in D major, K177; 3. Sonata in D Minor, K213
Francisco Tarrega (1852-1909): 4. Alborada; 5. Tango
Joaquin Turina (1882-1949)
Sonata Op. 61: 6. Allegro; 7. Andante; 8. Allegro
Agustín Pío Barrios Mangore (1885-1944): 9. Mazurka Apasionata; 10. Choro de Saudade
Stephen Dodgson (1924-): 11. Fantasy Divisions
Andrés Segovia (1893-1987): 12. Oracion; 13. Estudio Sin Luz
William Lovelady (1945-): 14. Donegal

Reviews:

"Stephen Reck has produced a wide ranging, engaging, and highly satisfying album that showcases his extraordinary mastery of classical guitar playing. His choice of music has resulted in a wonderful range of styles, textures, and influences that sit seamlessly together with each piece enhancing the next.

--Jeff Perkins, BlogCritics (full text)

"Clean...pleasant tone" "His best work here is the most challenging piece, Dodgson's Fantasy Divisions, which he navigates with more involvment and imagination..."

--American Record Guide

"An imaginative choice of 12 works, sensitively played, intimately recorded and nicely presented"

--Jeremy Nicholas, Classic Fm Magazine-June 2008

"a considered interpretation. ..beautiful sound and control..."

--Dr. John Feeley, Chair of Guitar, D.I.T College of Music, Dublin

Stephen Reck, classical guitar

Stephen Reck is a distinctive talent and one of a new generation of classical guitarists emerging from Ireland.

He initially trained with the world renowned John Feeley, having started lessons at the relatively late age of seventeen, having switched from electric guitar. In a very short space of time, he attained such a high standard that he was accepted to the Dublin Conservatory of Music and Drama (D.I.T.) where he completed his undergraduate studies with John Feeley. Awarded a scholarship for postgraduate study abroad he then gained an MMus Performance Degree under the tutelage of Carlos Bonell in London.

With the generous financial support of the Irish Arts Council, Stephen was able to continue his studies with the great Cuban virtuoso and pedagogue Ricardo Iznaola at the University or Denver Colorado, who has said that Stephen's playing possesses "Great technique and beautiful sound".

As a soloist Stephen has performed extensively in the UK, Ireland and America. Recent performances include an acclaimed debut recital at the John Field Recital Room of the National Concert Hall in Dublin. He was also Ricardo Iznaola's performing assistant at Bowdoin International Music Festival, Maine, USA, for three years collaborating with many performers playing works by composers such as Tan Dun and George Crumb.

His recent CD "Saudade" released early in 2007 has been featured on RTE Lyric FM and according to Dr. John Feeley, Chair of Guitar, D.I.T College of Music, Dublin "a considered interpretation. …beautiful sound and control…" . Saudade is now distributed by Con Brio recordings.

Stephen regularly collaborates with the flautist David Cuthbert as part of the group Flautarra and have toured and played extensively in the UK. "...Performers David Cuthbert on flute and Stephen Reck on guitar gave an accomplished performance of technically demanding pieces with vitality and verve..." Jo Thewlis, Bury Free Press.

This is the first CD of Ireland's next master of classical guitar. Stephen Reck, a veteran of major performing venues on two continents, creates an atmosphere of wonder, calm, delicacy, vitality, and energy with a varied program from Scarlatti to the contemporary.

Live Concert Reviews:

"musical…great communication"

—Dr. Ita Beausang former Director of D.I.T. College of Music, Dublin

"very nice tone and playing"

—Tony Morris, Director of Classical Guitar Alive

" Great technique and beautiful sound"

—Ricardo Iznaola Chair for Guitar Faculty, Lamont School of Music , University of Denver, Colorado, USA.

"Accomplished sensitivity and musicianship"

—Ottavio Hegro Composer

"...Performers David Cuthbert on flute and Stephen Reck on guitar gave an accomplished performance of technically demanding pieces with vitality and verve..."

—Jo Thewlis, Bury Free Press

Reviews of CD Saudade

"a considered interpretation. …beautiful sound and control…"

—Dr. John Feeley, Chair of Guitar, D.I.T College of Music, Dublin

Program Notes

The three sonatas of Domenico Scarlatti, although being in related keys, present good examples of the composer's different influences. A popular sonata, K 391 has a light dance like almost balletic feel. In K 177, although rhythm is a strong feature, it has a distinctive Spanish flavour especially in the second section. K 213 is more Italianate in style with the opening aria like texture and then the arpeggiation style found in lute and guitar music of the 16th century coupled with the expressive use of the appoggiatura.

Generally regarded as the founder of the modern day classical guitar, Francisco Tarrega was conserviative, restricting his style to the general trend in the second half of the 19th century. Alborada translates as "military march at dawn" and makes use of left hand slurs with right hand harmonics giving the impression of two instruments. Originally entitled "Maria" according to the Walter Leckie manuscript, the tango as the name suggests is just that. Here we have a beautiful melody in thirds supported by the ostinato tango rhythms in the bass and it makes wonderful use of the rich sonorities available in the G tuning.

Encouraged and inspired by Andres Segovia, Joaquin Turina wrote this his longest guitar work in 1931. In it, there is a mixture of Andalusian dance and song. There are two main themes of the first movement, the first being masculine and Spanish and the second feminine more lyrical. The Andante begins in the style of a lullaby, but soon becomes declamatory in the manner of a cante jondo. Turina reworks material from the first movement to form most of the finale, especially the transformation of the eloquent introduction into a dance of unbridled energy. In reference to the original manuscript the original D tuning has been retained in the middle movement.

Agustín Pío Barrios Mangore honored the music and the people of his native land and composed pieces modeled after folkloric songs of various countries of South America. Imitating composition and techniques from the Baroque and Romantic periods was another side to his craftsmanship. The Mazurka Apasionata is chopinesque in style while the Choro de Saudade "choro of longing" pays homage to the music of Brazil, its syncopated rhythms and chromatically tinted melodies.

Stephen Dodgson's composition is a set of divisions or variations on the opening Fantasy. The title Fantasy-Divisions refers to the Elizabethan practice of division-playing involved adding rapid scales and ornaments around the essential tones of the bass line, the melody or both. The style is extremely florid and is meant to sound virtuosic, as if improvised.

One of the great virtuosi of the 20th century Andrés Segovia did much to validate and establish the classical guitar as a serious concert instrument in the early 1900's. Estudio Sin Luz which means "Study without light" was composed during a period of convalescence after an eye operation when he had temporary loss of his sight. It is dedicated to his optician Jose Rubio. Oracion was written after the death of Segovia's close friend, the Mexican composer Manuel Ponce in 1948. It is a prayer or offering for his soul.

William Lovelady's Donegal was composed while staying just outside Donegal Town on the beautiful Lough Eske in the North West of Ireland. It is one of a set of Incantations. In the style of a lullaby and often vocal in style, it hints at the peaceful surroundings in Donegal and the use of gentle ornamentation reminiscent of native traditional music.

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