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Decoupage by Stephen Robinson - CD
Decoupage by Stephen Robinson - CD

Decoupage by Stephen Robinson - CD

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Découpage by Stephen Robinson


Máximo Diego Pujol (b. 1957)

  • Sonatine: I Allegro ritmico [4:43]
  • Sonatine: II Andante e molto legato [4:08]
  • Sonatine: III Allegro [3:56]

Luigi Boccherini (1743-1805)

  • Quintet No. 4, G.448 "Fandango": IV Grave assai - Fandango [6:22]

Eden Abhez (1908-1995)

  • Nature Boy [2:39]

Pierre Tremblay (b. 1958)

  • Deux Pieces: I Esquisse Torrobienne [2:06]
  • Deux Pieces: II Matin de Printemps [2:57]

Isaac Albéniz (1860-1909)

  • Piezas caracteristicas, Op.92, B. 29, No. 12: Torre Bermeja [4:37]

Yuquijiro Yocoh (b. 1925)

  • Sakura - Theme and Variations [6:17]

Johann Sebastian Bach (1685-1750)

  • BWV 998: I Prelude [2:25]
  • BWV 998: II Fugue [4:31]
  • BWV 998: III Allegro [3:14]

Francisco Tarrega (1852-1909)

  • Recuerdos de la Alhambra [5:54]

Chris DeBlasio (1959-1993)

  • God is Our Righteousness [8:40]

The ancient art of découpage involves the process of decorating an object using different layers of colorful adornments combined with special artistic effects. With Asian origins dating as far back as the 12th century, this unique art attained great popularity in 17th- and 18th- century Europe, and it remains popular today. Is there a musical equivalent? In this program, guitarist Stephen Robinson provides a kaleidoscopic journey through the classical guitar repertoire.

This collection adheres to the recital concept where individual works of varied origins are highlighted, and the whole is greater than the sum of its parts. In works spanning nearly three centuries, Robinson showcases the talents of new composers and giants of the old guard. He exposes the multi-faceted and cosmopolitan layers of the expanding guitar repertoire, combining recent jewels with timeless standards. Many colorful threads unify the works: Moorish sounds evoking images of legendary Andalusian fortifications are complemented by the tango-inspired music of Buenas Aires; the existential union of man with nature is heard side-by-side with celebratory images of springtime; a lively Spanish dance is contrasted with the rigorous expressivity of traditional Baroque forms. The final layer is a personal testimonial of a profound and universal spirituality. The result is an experience of considerable aesthetic impact -- truly the aural equivalent of découpage.

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