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    Seguidilla Murciana 3. Asturiana 4. Jota 5. Nana 6. Cancion 7. Polo Rachel II. Full Moon Iii. All That's Past IV. The Moth V. The Fleeting

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    Seguidilla Murciana 3. Asturiana 4. Jota 5. Nana 6. Cancion 7. Polo Rachel II. Full Moon Iii. All That's Past IV. The Moth V. The Fleeting

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    Song Program

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    Seguidilla Murciana 3. Asturiana 4. Jota 5. Nana 6. Cancion 7. Polo Rachel II. Full Moon Iii. All That's Past IV. The Moth V. The Fleeting

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    20th Century Song Program

    Siete Canciones Populares Espanolas M. de Falla


    1. El pano moruno (1876-1946)
    2. Seguidilla murciana
    3. Asturiana
    4. Jota
    5. Nana
    6. Cancion
    7. Polo

    Songs of the Half Life L. Berkeley


    I. Rachel (1903-1989)
    II. Full Moon
    III. All That’s Past
    IV. The Moth
    V. The Fleeting
    Program Notes

    Although the guitar falls into the trap of acting as an accompanimental instrument,
    voice and guitar duos make for beautiful ensembles. Traditionally, songs were short texts or
    poems set to an accompaniment from the piano. While the piano has a wider range, both in
    pitch and dynamics, the guitar has special timbres and colors that complement the voice
    perfectly. As the guitar hasn’t been considered a serious concert instrument until the mid 20 th
    century, the song repertoire is limited, accounting for the countless arrangements made from
    the traditional song repertoire of the piano. With this being said, in the 20 th century we’ve seen
    a surge in our repertoire, with fantastic compositions from many composers including Berkeley,
    Britten, Rodrigo, and Tedesco. This program comprises of two sets, one being an arrangement
    and the other being an original score, showing how both approaches work well, adding to our
    (underestimated) abundance of chamber music.
    De Falla’s Siete Canciones Populares Espanolas has become a very popular set of
    Spanish songs, being one of the most transcribed works since the music of Bach. These
    arrangements include solo piano, piano and cello, orchestral arrangements, and for the guitar
    and voice! The most prominent guitar transcription was made by the great Miguel Llobet, and
    has been performed countless times. The first two songs of the set are joyful. El Pano moruno
    has a comical story: a shop reducing the cost of a cloth due to a stain. Seguidilla murciana takes
    an old dance form, utilizing a quick triple time signature, with the accompaniment playing an
    almost continuous tonic pedal. Asturiana contrasts greatly, being a slow, sorrowful song of
    crying and sympathy. Jota has an upbeat rhythm, tricking the listener that the song is cheerful,
    although the text describes the tales of a secret love and of a melancholic farewell. Nana
    follows, being a gorgeous and haunting lullaby. Cancion is a traditional song, with a simple,
    arpeggiating tonic in the accompaniment. The finale of the set is Polo: a passionate and furious
    song, taking influence from gypsy and flamenco music.
    Songs of the Half-light was written for high voice (tenor or soprano) and guitar. The texts
    come from 5 poems of Water de la Mare. Peter Pears commissioned the work, and premiered
    the set with Julian Bream who fingered and edited the guitar edition. The chosen poems
    originate from different sets of Mare (Floral: A Book of Drawings, Peacock Pie: A Book of
    Rhymes, The Listeners and Other Poems), and contribute greatly to the uniquely, atmospheric
    style of this set.

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