GUITAR DOUBLE

CONCERTOS
GARCÍA ABRIL • LÓPEZ DE GUEREÑA • DEL PUERTO

Miguel Trápaga, Teresa Folgueira, Guitar

Ángel Luis Castaño, Accordion • Fernando Arias, Vibraphone
Oviedo Filarmonía • Óliver Díaz
Guitar Double Concertos
David del Puerto (b. 1964) • Antón García Abril (b. 1933) • Javier López de Guereña (b. 1957)
The origins of this album date back to around 2010, when dynamic palette in the concerto would also go unnoticed if reasons because, despite the fame of its composer, it has heard in the concert hall. Encouraged to write a concerto
guitarist Miguel Trápaga and accordionist Ángel Luis the instrument were left unamplified. never been recorded before. for guitar, percussion and orchestra by the artistry of
Castaño asked David del Puerto (b. 1964) to write a Like many of Del Puerto’s works, Mistral is written as A founder member of the influential Grupo Nueva Miguel Trápaga, he created the Concierto ecuánime for
double concerto for their instruments. Both Trápaga and a single movement. There is a symmetry between its Música (‘New Music Group’) in 1958, García Abril played Trápaga and percussionist Fernando Arias, selecting the
Castaño feel a close affinity to this composer, a recipient beginning and its end, and there are many cross- a unique role in the Spanish avant-garde of the second vibraphone from all the many percussion instruments
of Spain’s National Music Prize (2005), who himself plays references to be found in the sections that together reflect half of the 20th century, and is one of the leading available because of the way in which its sound blends
classical and electric guitar. Of all the Spanish composers a kind of joined-up thinking, a narrative arc whose effect composers of his generation in terms of the amount of with that of the guitar.
of his generation, it is Del Puerto who has most notably would be lost if they were not linked to one another. As music he has written for guitar, with a catalogue of widely For the Concierto ecuánime the guitar has to be
dedicated himself to writing for the guitar, particularly the composer notes, the second and fourth sections are performed works to his name. The Concierto de retuned using a significant scordatura in which the sixth
since the turn of the century, creating a repertoire of short interludes which frame a 5/8 danza for both soloists. Gibralfaro for two guitars and orchestra was composed in string is lowered by a tone and the third by a semitone
abundance and sophistication, both sought after and This dance – essentially the concerto’s cadenza – began 2003 in response to a commission from the Orquesta (D–A–D–F sharp–B–E). This was the tuning used by
keenly awaited by guitarists. The idea of writing for the life as an improvisation on the guitar by Del Puerto which Filarmónica de Málaga as a homage to its home city, Ramón Montoya for the rondeña form of flamenco,
combined powers of two such exceptional players he then noted down. It harks back to the tenets of where it was premiered on 3 June 2004 by Gabriel discovered by López de Guereña when he accompanied
immediately intrigued the composer, and commissions Renaissance counterpoint: the sense of an idealised Estarellas and Marco Socías, under the baton of Aldo cantautor Javier Ruibal. It has a direct effect on the work’s
from the Spanish General Society of Authors and vihuela (a forerunner of the guitar) at this central point Ceccato. By then, García Abril had already written two harmonic structure, which also reveals the rhythmic
Publishers (SGAE) Foundation and the Spanish casts a certain atavistic light over the entire work. concertos for guitar and orchestra, and an array of works influence of jazz, a characteristic element of the
Association of Symphony Orchestras (AEOS) led to the The orchestra in Mistral is strongly characterised by a for solo guitar, revealing his mastery of the instrument’s composer’s music. Behind these aspects, and the
composition of Mistral. The concerto was premiered at percussion section of tubular bells and marimba which potential and its many resources. intention, expressed by the title, that the guitar,
Madrid’s Teatros del Canal in spring 2012 by Trápaga often provide an echo – an aerial projection – of the The Concierto de Gibralfaro comprises three vibraphone and orchestra should work together in perfect
and Castaño, to whom Mistral is dedicated, ‘in recognition soloists, and by a brass section made up of three horns. extended vignettes: Visiones de la bahía (‘Visions of the balance, there lies a meticulous compositional process.
of the path we have travelled together’, and the Orquesta The orchestral writing focuses on affinity and Bay’), which, according to the composer, is a The first movement flows around a melody repeated
y Coro de la Comunidad de Madrid. complementarity rather than confrontation or contrast, contemplative ‘spiritual song’, A partir de un canto popular indefinitely and imperceptibly, and the lyrical second
Given the rarity of double concertos for guitar and although the latter are inescapable aspects of concerto malagueño (‘Based on a Malagan Folk Song’), García movement, in circular form – as suggested by the
accordion, some might think that Mistral was in some way form. While in his earlier guitar works Del Puerto Abril’s elaboration of an ancient lullaby, and Homenaje a pizzicato on the basses at the start and end – plays with a
inspired by Piazzolla’s famous concerto for bandoneon, employed the instrument for reasons of experimentation la tauromaquia picassiana (‘Homage to Picasso’s Art of melody that had been in the composer’s head for years,
guitar and strings, Hommage à Liege (1985). In fact there first, and intimate revelation second, works such as Bullfighting’), a kind of paso doble that pays tribute to the and which is only revealed in all its beautiful, moving
is no more than an incidental similarity between the two Mistral or Leukante (2017) for three guitars (classical, series of aquatints depicting different bullfighting scenes simplicity at the conclusion. The work is rounded off by a
works. The choice of instruments for Mistral has more to flamenco and electric) and orchestra, with their powerful created by Picasso in 1959. scherzo-like third movement whose straightforward final
do with rejoice!, the guitar/accordion contemporary music openings, proclaim an idiom inherent to the guitar itself. Like David del Puerto, Javier López de Guereña theme has a Broadway-style theatricality that reflects to
group that he founded with Castaño and singer Carmen The modern history of double concertos with guitar (b. 1957) is an unconventional guitarist and a man who perfection the whimsical imagination of this free-thinking
Gurriarán in 2008. Del Puerto’s aim, by picking up his might be said to have originated in the commissions of takes an oblique view of culture and music, ignoring the and uninhibited composer.
Fender Stratocaster® again, was to return to performing husband and wife guitar duo Ida Presti and Alexandre traditional boundaries between popular and art music. He
and improvising, from a playful and creative perspective. Lagoya, which include Castelnuovo-Tedesco’s Concerto, has worked closely with some of the greatest cantautores Javier Suárez-Pajares
The combination of guitar and accordion is therefore very Op. 201 (1962) and Rodrigo’s Concierto madrigal (1966). of his generation, such as Javier Krahe, and is well known Translation: Susannah Howe
familiar to the composer and, in Mistral (written for With this in mind, when considering the repertoire for this for having written the theme tune for one of Spain’s most- Este disco comenzó a proyectarse hacia 2010 con la
classical rather than electric guitar), amplification, which is album, Miguel Trápaga was keen to record a concerto for watched TV news programmes, but his music is not often petición que el guitarrista Miguel Trápaga y el
so often resisted by classical guitarists, becomes two guitars, a work for which he is joined by Teresa
something completely natural and indeed essential if the Folgueira. The Concierto de Gibralfaro by Antón García
guitar’s contribution is to be clearly heard – its extensive Abril (b. 1933) is a particularly good choice, among other
Dobles conciertos con guitarra: David del Puerto (nacido 1964)
Antón García Abril (nacido 1933) • Javier López de Guereña (nacido 1957)
acordeonista Ángel Luis Castaño hicieron a David del convierte en algo completamente natural y un sentido especial que Trápaga quisiera incluir en este noticieros televisivos de mayor audiencia, pero en las
Puerto (1964) de un doble concierto para guitarra y requerimiento esencial para que la aportación del disco un concierto para dos guitarras interpretado al lado salas de concierto es una presencia infrecuente, un
acordeón con orquesta. Tanto Trápaga como Castaño instrumento se pueda escuchar bien y con una extensa de Teresa Folgueira. La selección del Concierto de freelance que llega siempre con la frescura de un
son intérpretes muy afines a este compositor, guitarrista gama de matices que, sin amplificar, serían Gibralfaro de Antón García Abril (1933) es, además, un heterodoxo vocacional. Fue la sensibilidad de Miguel
él mismo, intérprete de guitarra eléctrica y Premio imperceptibles. acierto, entre otras cosas porque se trata de una obra Trápaga la que le incitó a la composición de un concierto
Nacional de Música (2005) que, entre los músicos Escrita en un solo movimiento, algo muy habitual en que, pese a la importancia de su autor, no había sido para guitarra, percusión y orquesta, y él respondió con su
españoles de su generación, es quien se ha dedicado de la obra de David del Puerto, Mistral tiene una apertura y grabada todavía. Concierto ecuánime para Trápaga y el percusionista
una manera más notable a la guitarra –en particular, un cierre simétricos y abundantes referencias cruzadas a Miembro fundador del histórico Grupo Nueva Música Fernando Arias, seleccionando, de todo el abanico de
desde que comenzara el siglo actual– configurando un lo largo de las distintas secciones que reflejan un en 1958, García Abril es una singularidad dentro de la percusiones posibles, el vibráfono por su empaste con la
repertorio tan nutrido como refinado y tan solicitado como pensamiento conjunto, una gran forma de arco, que vanguardia musical española de la segunda mitad del guitarra.
esperado por los guitarristas. La posibilidad de conjugar perdería efecto si no estuvieran unidas estas secciones a siglo XX y, entre los principales compositores de su La guitarra del Concierto ecuánime está afinada con
al mismo tiempo las fuerzas de estos dos excepcionales las que el compositor se refiere como interludios y una generación, el que ha tenido una dedicación más fértil a una scordatura muy significativa que consiste en bajar un
solistas sedujo de inmediato al compositor lo que, unido a danza en 5/8 más dedicada a los solistas. Esta danza, la guitarra produciendo un conjunto de obras tono la sexta cuerda y un semitono la tercera (Re-La-Re-
un encargo de la Fundación SGAE y la Asociación que es prácticamente una cadencia del doble concierto, ampliamente difundidas. El Concierto de Gibralfaro para Fa sostenido-Si-Mi) que es la afinación que utilizó Ramón
Española de Orquestas Sinfónicas, dio lugar a Mistral, surgió de una improvisación en la guitarra realizada por el dos guitarras y orquesta lo compuso en 2003 Montoya para su célebre rondeña y que López de
que estrenaron Trápaga y Castaño (a quienes está compositor y apuntada en su cuaderno reflejando una comisionado por la Orquesta Filarmónica de Málaga Guereña descubrió acompañando al cantautor Javier
dedicada la obra “por este camino que andamos juntos”) idea muy esencial de contrapunto renacentista: una como homenaje a esa ciudad en cuyo Teatro Cervantes Ruibal. Esta opción tiene implicaciones directas en la
en la primavera de 2012 con la Orquesta de la vihuela idealizada que, desde esa danza central, irradia lo estrenaron el 3 de junio de 2004 Gabriel Estarellas y estructura armónica de la obra en la que también se
Comunidad de Madrid en los madrileños Teatros del sobre toda la obra un cierto carácter atávico. Marco Socías bajo la dirección de Aldo Ceccato. Ya puede reconocer una influencia rítmica del jazz muy
Canal. La orquesta de Mistral se caracteriza fuertemente por entonces García Abril había compuesto dos conciertos propia del compositor. Pero, detrás de estos aspectos tan
Se podría pensar, por lo infrecuente del género de una sección de percusión formada por campanas y para guitarra y orquesta y bastantes obras para guitarra generales y de la intención reflejada en el título de que la
doble concierto para guitarra y acordeón, que Mistral marimba que, en muchas partes de la obra, hacen como sola habiendo alcanzado un amplio dominio sobre las guitarra, el vibráfono y la orquesta funcionen en total
pudiera tener algo que ver con el célebre concierto de el eco –una proyección aérea– de los solistas, y unos posibilidades y recursos de este instrumento. equilibrio, hay un trabajo de composición muy minucioso:
Astor Piazzolla para bandoneón y guitarra con orquesta metales integrados por tres trompas. Una orquestación El Concierto de Gibralfaro se articula en tres amplias un primer movimiento que circula en torno a una melodía
de cuerda Hommage à Liege (1985); en realidad, lo que busca la afinidad y el complemento más que la estampas: “Visiones de la bahía” que, según el que se repite indefinida e imperceptiblemente; un
poquísimo que tienen en común estas dos obras es solo confrontación o el contraste que, en todo caso, resultan compositor, “quiere ser un cántico espiritual” muy segundo movimiento lírico, con una forma circular –
circunstancial. Mistral no tiene precedentes fuera de la inevitables en la propia forma concertante. Si en los contemplativo; “A partir de un canto popular malagueño” sugerida por el pizzicato de los bajos al principio y al
trayectoria del propio compositor y, en este sentido, debe inicios de su obra para guitarra, Del Puerto empleó este donde desarrolla una antigua canción de cuna, y final–, que juega con una melodía que llevaba años
ponerse en relación más bien con el sui generis grupo instrumento para la experimentación primero y para la “Homenaje a la tauromaquia picassiana”, que es una dando vueltas por la cabeza del autor y solo se revela en
Rejoice! que fundó Del Puerto con Ángel Luis Castaño y confidencia después, obras como Mistral o Leukante especie de pasodoble en homenaje a la serie de toda su hermosa y emocionante sencillez al final, y un
la cantante Carmen Gurriarán en 2008 con la intención (2017) para tres guitarras (clásica, flamenca y eléctrica) y aguatintas que dedicó Picasso a la tauromaquia en 1959. tercer movimiento que concluye la obra con algo así
de, a través de su Fender Stratocaster, recuperar el orquesta, con sus poderosos inicios, son la proclamación Como David del Puerto, Javier López de Guereña (1957) como un scherzo con un tema final ingenuo y de una
contacto práctico con la interpretación musical y la de un lenguaje hallado en la propia guitarra. es también un guitarrista poco convencional y un hombre teatralidad estilo Broadway que responde, sin más, al
improvisación desde una perspectiva lúdica y creativa. La Podría decirse que la historia moderna de los dobles que cree en la cultura y en la música de una manera capricho de un compositor independiente y
agrupación de la guitarra con el acordeón es así conciertos con guitarra empieza con los encargos del dúo transversal al margen de las fronteras convencionales absolutamente desinhibido.
extraordinariamente familiar para el compositor y, en el de guitarras formado por el matrimonio Ida Presti y entre lo popular y lo académico. Se le ha visto mucho al
caso de Mistral –donde en lugar de una guitarra eléctrica Alexandre Lagoya que dieron lugar al Concerto op. 201 lado de los cantautores más ácidos de su generación Javier Suárez-Pajares
se trata de una guitarra clásica–, la amplificación, a la que de Mario Castelnuovo-Tedesco en 1962 y, en 1966, al como Javier Krahe, se le ha escuchado masivamente
tantas veces se han resistido los guitarristas clásicos, se Concierto madrigal de Joaquín Rodrigo. Cobra así un como autor de una célebre sintonía de uno de los
Miguel Trápaga Ángel Luis Castaño
Miguel Trápaga was born in Cantabria, Spain. He has performed in the main Born in San Sebastián in 1969, Ángel Luis Castaño studied
Photo: Mette Perregaard
concert halls and theatres in Spain, and has toured Europe, Australia, New accordion with Agustín Santano, and began his work as a
Zealand, Africa, Latin America, Asia, Canada and the United States. He has pioneer of Spanish repertoire for classical accordion in 1992
performed in broadcasts for Spanish National Radio, Antena 2 in Portugal and after returning to Spain from his studies in Paris and
the BBC among others, and has recorded eight albums. His most recent release Copenhagen with Max Bonnay and Mogens Ellegaard. In 1990
for Naxos includes the Concierto de Aranjuez by Joaquín Rodrigo and the world he won the prestigious International Accordion Competition
premiere recording of the Concierto de Benicàssim by Leo Brouwer with the ‘Coupe Mondiale’ in Trossingen, Germany. He has premiered
Real Filharmonía de Galicia and the conductor Óliver Díaz. Currently a more than 50 works for the accordion by some of the best-
professor at the Real Conservatorio Superior de Música de Madrid, Trápaga has known Spanish contemporary composers, and has performed
given master classes at the Sibelius Academy, the Frederic Chopin Academy, as a soloist in contemporary music festivals in Alicante,
Warsaw and the University of Melbourne. He has performed with numerous Barcelona, Madrid, Istanbul, Hamburg, Rotterdam, London,
orchestras including the National Philharmonic of Ukraine, the Real Orquesta Edinburgh and Moscow. He has recorded twelve albums of
Sinfónica de Sevilla, the Orquesta Sinfónica de Madrid and the Canberra music for the classical accordion, and collaborated with artists
Symphony Orchestra. He performed the Concierto de Benicàssim with the such as Mika Väyrynen, Gérard Caussé, David Apellániz and
Simón Bolívar Symphony Orchestra of Venezuela, conducted by the composer Ananda Sukarlan. In 2008 he founded contemporary ensemble rejoice! together with composer David del Puerto.
himself, Leo Brouwer. Castaño has taught at the Conservatorio Superior de Música de Aragón in Zaragoza, and currently teaches at the
Professional Conservatory of Music in Madrid.
www.migueltrapaga.com
www.alcastano.com
Photo: ABB Fotógrafos

Fernando Arias
Teresa Folgueira Photo: Beatriz Montes Spanish percussionist Fernando Arias has performed as a
soloist with classical orchestras in prestigious music halls all
Teresa Folgueira was born in Madrid and began studying music at the Art and over the world, garnering an international reputation. He has
Music Academy with Carlos Perón. She later studied at the Real Conservatorio collaborated with artists such as Claudio Abbado, Zubin Mehta,
Superior de Música de Madrid where she was tutored by José Luis Rodrigo, and Daniel Barenboim, Friedrich Haider and Arthur Fagen among
undertook her postgraduate degree with Miguel Ángel Jiménez. She also others. As a drummer he has participated in numerous jazz
separately studied with Gerardo Arriaga, and received lessons from Carles festivals, and premiered and recorded many contemporary
Trepat, Margarita Escarpa, José Tomás, Carlo Domeniconi, Odair Assad, Zoran works. He is one of the founding members of the Oviedo
Dukic, Pavel Steidl, Eduardo Fernández, David Russell and Pepe Romero. She Filarmonía orchestra, where he has served as principal
has given concerts in various theatres in Spain and abroad, and has performed timpanist. The instruments and equipment he uses are
in Poland, China, Nigeria, Gabon, Venezuela, Morocco, Ghana, Portugal, sponsored by Yamaha, Paiste, Grover Pro Percussion and
Singapore, Indonesia and India either as part of an ensemble or as a soloist. In David Morbey among others.
2002 she was awarded Second Prize at the 15th Guitar Competition of
Cantabria, Comillas. Folgueira currently teaches classical guitar at the Real www.fernando-arias.es
Conservatorio Superior de Música de Madrid.
Photo: Michal Novak
Oviedo Filarmonía
Oviedo Filarmonía was created in 1999, supported by Oviedo
Council, to facilitate new musical activities in the city. It is the
resident orchestra of the Teatro Campoamor Spanish Zarzuela
Festival, and also participates in Oviedo Opera Season. It is
fully involved in the social activities of the city, organising
popular programmes for different audiences. It is also the
resident orchestra of the Oviedo Auditorio symphonic season,
accompanying internationally acclaimed soloists and
conductors. From 2004 to 2011, its chief conductor was
Friedrich Haider, who raised the reputation of the ensemble to a
national and international level through tours to Japan and
concerts in Paris. From 2011 to 2017 Marzio Conti was the chief
conductor, and focused the orchestra on activities within
Photo: Carlos Gutiérrez
Oviedo. Lucas Macías is currently the chief conductor and Ivan
López-Reynoso the main guest conductor since January 2019. Oviedo Filarmonía has been part of the Spanish
Association of Symphony Orchestras since 2003.

www.oviedofilarmonia.es

Óliver Díaz

Photo: Jacobo Medrano Óliver Díaz is a Spanish conductor. He is musical director of the National Theatre of
Zarzuela in Madrid. In 2002 he became the first Spanish musician – and the only
one to date – to be selected, admitted and awarded with the Bruno Walter Memorial
Foundation Conducting Scholarship for orchestral conducting at The Juilliard
School of Music, New York, where he studied with maestros such as Otto-Werner
Mueller, Charles Dutoit and Yuri Temirkanov. Díaz is also a pianist, and has given
recitals and conducted from the podium in Europe, the United States and South
America. His abiding interest in new aesthetic musical trends took him in 2002 to
the Avery Fisher Hall (now the David Geffen Hall) to debut in the Focus Festival, the
largest contemporary music festival in New York. To date he has over ten albums
and audio visual titles to his credit, produced for record labels Naxos, Subterfuge
Records, Infinity Studios, La Factoria Records, GijónDnota, Elemental Films,
Warner Music Spain and 18 Chulos Records.

www.oliverdiaz.es
Spanish music has been enriched in recent years by a series of striking and exciting double
concertos featuring the country’s emblematic instrument, the guitar. Leading composer Antón
García Abril has written prolifically for the guitar and Concierto de Gibralfaro offers three
evocative vignettes for two guitars. Mistral by David del Puerto is written for the highly unusual
combination of guitar and accordion, a single movement concerto of great colour and dynamic
palette. Guereña’s Concierto ecuánime, for guitar and vibraphone, embraces the rhythmic

GUITAR DOUBLE CONCERTOS

influence of jazz while employing the tuning used in the rondeña form of flamenco.

David del Puerto (b. 1964)

Mistral for guitar, accordion and orchestra (2011) 20:50
Antón García Abril (b. 1933)
1

Concierto de Gibralfaro for two guitars and orchestra (2003) 29:12

2 I. Visiones de la bahía (‘Visions of the Bay’) 8:21
3 II. A partir de un canto popular malagueño (‘Based on a Malagan Folk Song’) 11:16
4 III. Homenaje a la tauromaquia picassiana
(‘Homage to Picasso’s Art of Bullfighting’) 9:30
Javier López de Guereña (b. 1957)
Concierto ecuánime
for guitar, vibraphone and orchestra (2017) 20:37
5 I. 6:29
6 II. 9:54
7 III. 4:09
WORLD PREMIERE RECORDINGS
Miguel Trápaga, Guitar
Ángel Luis Castaño, Accordion 1 • Teresa Folgueira 2–4, Guitar
Fernando Arias, Vibraphone 5–7
Oviedo Filarmonía • Óliver Díaz
Recorded: 23–27 January 2018 at Auditorio Príncipe Felipe, Oviedo, Spain
Producer, engineer and editor: Bertram Kornacher
Publisher: Tritó Edicions 1, Bolamar Ediciones Musicales 2–4, unpublished 5–7
Booklet notes: Javier Suárez-Pajares • Cover painting by Clivewa (Dreamstime.com)