Unique and New for March 2010! A note from Clear Note. 16 Baroque Dance Suites
by Henry Grenerin  About the Composer
Henry Grenerin (c. 1625-c. 1700) is mentioned as a musicien de la chambre du Roi as early as 1641. It is recorded that he played in court ballets such as Ballet de Psyche in 1656 and Ballet de l’impatience in 1661. In 1668 Grenerin published Livre de theorbe contenant plusieurs pieces, a collection of music for theorbo with instructions on how to play continuo. His book of guitar tablature, Livre de guitarre (Paris, 1680), was dedicated to the Prince de Conty. The Prince de Conty had been one of the leaders of the ‘frondes’ which was a revolt against Anne of Austria (the mother of Louis XIV) and her minister Cardinal Mazarin. The story of this rebellion is told in a most compelling manner by Voltaire in his book The Age of Louis XIV. This series of uprisings was over by 1654, and one could presume that the Prince de Conty was on good terms with the royal family by the time Grenerin dedicated the book to him in 1680.
Grenerin’s book of tablature for the guitar consists of sixteen solo suites for guitar and also some pieces for instrumental and vocal ensembles. Following the ensemble pieces are Grenerin’s instructions for playing continuo on the guitar. This book also includes notes on the performance of Grenerin’s music. These notes to the reader are very concise, and it is mainly a guide to the symbols he used to indicate ornaments.
About the Arranger
Michael Murphy, guitarist and lutenist, holds a Doctor of Musical Arts degree in performance from Shenandoah Conservatory of Shenandoah University where he studied with Dr. Glenn Caluda, and a Master of Music degree in performance from Virginia Commonwealth University where he studied with John Patykula. He is the founder of the Cavalier Consort, and he has performed with Capriole, the Governor’s Music of Colonial Williamsburg, the Norfolk Chamber Consort, and Winchester Baroque. He has performed for many guitar societies, music festivals, and performing arts groups in the eastern United States. Dr. Murphy has taught for Virginia Commonwealth University, Virginia Union University, Chowan College, Tidewater Community College, and Old Dominion University. He is currently teaching guitar at Briar Woods High School in Loudoun County, Virginia. Dr. Murphy is also an adjunct professor at Shenandoah Conservatory where he teaches guitar and music literature courses.
 Five Pieces for Cello and Guitar Soffren Degen
Transcribed by Manley Mallard Cello annotated by Amy Flores
While little known outside his homeland, Soffren Degen is remembered as a legendary guitarist and composer in Denmark. Born in Copenhagen in 1816, he was first introduced to music through his stepfather, Andreas Hallager, who was a professional conductor, composer and oboist. Young Degen studied cello and composition at the conservatory; however, guitar was his first love and devoted himself to mastering this instrument. He studied composition with J. P. E. Hartmann but was also influenced by the music of Coste, Mertz and Giuliani. Degen became a successful guitar virtuoso touring Europe at the height of his career. Over the years he also supplemented his income as a cellist and actor. He was an avid promoter of the guitar and fought all his life for the guitar to be accepted into the higher circles of musical life.
Like his good friend Napoleon Coste, Degen believed in the superiority of the heptacord guitar (seven string guitar) and performed and composed guitar works exclusively for this instrument. Probably his finest contributions to the repertoire of 19th century guitar music are his compositions for cello and guitar, which are truly beautiful concert works. His transcriptions for this same instrumental combination include works by Soffren Degen, Haydn, Schubert, Dotzaur, Flotow and Bochmühl. Degen’s music, while not as harmonically adventurous as some of his contemporaries, is well crafted and very lyrical. Steeped in the romantic style of his time, his music is generally in large-scale form and is often programmatic. As the guitar declined in popularity towards the end of the century, so went Degen’s career. Poor, alone and forgotten by the Danish music community, Degen died in 1885 in Copenhagen. However, it was through the efforts of his student Thorvald Rischel that Degen’s music, as well as much of the music of 19th century guitar composers and performers, survives today. Appreciation is extended to the Royal Library of Copenhagen for providing the manuscripts from which these transcriptions were made.
These transcriptions were written to be performed on a modern six-string guitar. The bass is written up an octave when necessary (8va) and some harmonies have been re-voiced or thinned out. Similarly, some minor corrections have been made. |
Mangosteen! for Flute & Guitar
"Mangosteen" is Nicole Chamberlain's first foray into composing for guitar and flute, a combination that she and Brian Luckett have explored since founding duoATL in 2005. Chamberlain titled her work after a Southeast Asian fruit. She wanted to incorporate jazz influence into the work; growing up in Savannah, Johnny Mercer's Tangerine was in her mind. The Mangosteen's white fuzzy fruit, with its sweet flavor and pungent odor, became a focus for this work. Jazz influence is most notably in the rhythms-in Luckett's words, "a little swing, a little stop time." Extended flute techniques include a stretch of register, use of flutter tongue and a "jet whistle" at the piece's beginning. A section Chamberlain describes as a "broken waltz"-that is, a waltz in quadruple time-features a guitar melody accompanied by multiphonics on the flute. The single-movement work presents two contrasting themes, one faster and one Chamberlain describes as "more like a torch song." Luckett described the mood as "whimsical with dark touches here and there," highlighted by unusual harmonies created when the two parts come together. Open chord voicings as well as a use of space and silence add to the overall effect. "Mangosteen" was premiered by duoATL at a concert to honor jazz pianist and teacher Ruth MacDonald at Agnes Scott College in April 2008. duoATL also recorded "Mangosteen" in conjunction with Agnes Scott College and the National Museum of Women in the Arts for a compilation CD of music by women composers. The piece was also featured in performance at the 2010 International Conference of Women Composers at Indiana University of Pennsylvania performed by guitarist Irvin Kauffman and the composer.
 Tula
Guitar Duet by Mark Anthony Cruz
Tula is the Mexican city considered to be the legendary site of the Toltec empire that ruled from around 900 to 1100 A. D. Then, the city was called Tollan. It is the home of the Toltec columns also known as Atlantean Warrior Statues which stand atop a terraced pyramid as if keeping a watchful eye on the city. The beautiful aesthetics, strength and size of these statues are the inspiration for this composition which was originally written for solo guitar and arranged for two guitars by the composer.
The guitar music of Sagreras Julio S. Sagreras (1879-1942) is a pivotal figure in the history of the guitar in Argentina. Throughout his career as a guitarist, composer and teacher, he significantly contributed to the professionalization of the guitar in Buenos Aires, which he took from the end of the 19th century salon milieu to the sphere of the concert hall. Both his original compositions and his famous method were extremely popular in his time. His six volumes of "Las Lecciones de Guitarra" (guitar lessons) have been translated into numerous languages and their popularity has not diminished over the years. However, his own compositions did not enjoy the same acclaim since after the composer's death they were progressively forgotten by both interpreters and audience. |
