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Alma Flamenca
© 2006 VGo Recordings
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Through the magical musical talent and death defying fingers of guitar virtuoso
Grigory Goryachev the worlds of Spanish art music and flamenco are brought together
in this brilliant debut CD. As we hear here so clearly, the line leading from 19th
century Spanish piano virtuoso Isaac Albeniz to flamenco guitar masters Sabicas and
Paco de Lucia is alive with tantalizing musical connections.
The distinctive sound of "Spanish" music is actually the result of the cross-pollenation of many cultures over a long period of time. In fact, Spain is unique amongst all European nations in that it was in past centuries dominated by the Islamic people, the Moors, for longer than it has yet to have been ruled by the Christians! In addition, the influence of the Spanish Jews (Sephardim) and above all of the long maltreated gitanos (gypsies) permeated Spanish music. The Reyes Catolicos ("Catholic kings") tried desperately to purge all non-Christian elements, but, as the great psychologist Carl Jung has so sagely pointed out, what we try to drive out the door comes back in through the window! Even the Reyes Catolicos couldn´t rid Spain of the magnificent fortress called the Alhambra (one of whose towers is called the Torre Bermeja!), the whirl of popular dance (heard in Cadiz and in the main section of Asturias), the sound of water running in long aquaducts from the mountains into the city of Granada (so tellingly captured in Albeniz´s music!) or even the muezzin´s call to prayer (as in the middle section of Asturias!) In flamenco music the drone of the Moorish lute was kept alive in the Danza Mora; the keening lament of the Gitanos found expression in the Soleá and the Tarantos; the wild cross rhythms of popular dance exploded in the Fandangos and Bulerias. Thanks to this latest scintillating disc from VGo Recordings, we can now all join in the festivities. Eliot Fisk Boston May 8, 2006 |
In this CD I looked at classical and flamenco music from a different perspective.
It is my first attempt at reconciling these two very different styles.
In the classical section I sought to bring out all the flamenco elements of Isaac Albéniz´s compositions. Although originally composed for piano, these four pieces were strongly influenced by the guitar idiom and flamenco harmonies, melodies and rhythms. This is especially evident in Leyenda, which mimics guitar techniques and combines elements of Bulerías, Granadina, Malagueña and Fandango styles.
In the flamenco section I employed a wider palette of tone colors and dynamics, borrowed from classical music. For expressive purposes I also decided to treat the tempi more liberally than what is conventional in flamenco. Of course, at the same time I wanted to keep the heart of flamenco, the compás, intact. Malagueña by Sabicas is a good example of my "flamenco meets classical" approach. To make the full use of the classical elements I decided to record "Alma Flamenca" on a classical guitar by Stephan Connor.
I hope you have as much fun listening to my new CD as I had recording it. Enjoy!
Grisha Goryachev
Boston
November 18, 2006
In the classical section I sought to bring out all the flamenco elements of Isaac Albéniz´s compositions. Although originally composed for piano, these four pieces were strongly influenced by the guitar idiom and flamenco harmonies, melodies and rhythms. This is especially evident in Leyenda, which mimics guitar techniques and combines elements of Bulerías, Granadina, Malagueña and Fandango styles.
In the flamenco section I employed a wider palette of tone colors and dynamics, borrowed from classical music. For expressive purposes I also decided to treat the tempi more liberally than what is conventional in flamenco. Of course, at the same time I wanted to keep the heart of flamenco, the compás, intact. Malagueña by Sabicas is a good example of my "flamenco meets classical" approach. To make the full use of the classical elements I decided to record "Alma Flamenca" on a classical guitar by Stephan Connor.
I hope you have as much fun listening to my new CD as I had recording it. Enjoy!
Grisha Goryachev
Boston
November 18, 2006
Since coming to the United States in 1995, Grisha has recorded two other albums, which are not yet publicly available. Please join Grisha's mailing list to be notified when they become available or to receive updates about Grisha's upcoming performances. In the meantime, you can listen to a few sound samples from these albums on this page. For more multimedia samples, please point your browser to the multimedia page.
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Grisha Goryachev plays Agustin Sabicas, Paco de Lucía and Manolo Sanlucar
© 1997 Grisha Goryachev
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Grisha Goryachev
plays Agustin Sabicas © 1999 Grisha Goryachev
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