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Segoviana Musica poetica

Musica poetica

Musica poetica

Tracks 1-2-4-5-6-8-10-13 as MP3 available (fragment)

1
‘La Frescobalda’, aria con variazioni 7.02
Girolamo Frescobaldi (1583-1643)

2 Siciliana (BWV 1001) 2.41
Johann Sebastian Bach (1685-1750)

3 Menuet 4.38
Jean Philippe Rameau 1683-1764

4 Ballet 3.44
Christoph Willibald Gluck (1714-1787)

5 La Primavera 2.21
Niccolò Paganini (1782–1840)

6 Capriccio nr. 6 5.33
Niccolò Paganini

7 Prélude nr. 4 2.30
Frédéric Chopin (1810-1849)

8 Marieta 2.36
Francisco Tárrega (1852-1909)

9 La Maja de Goya 5.42
Enrique Granados (1867-1916)

10 Testament d’Amelia 1.59
11 Canço del Lladre 2.18
12 Leonesa 2.26
Miguel Llobet (1878-1938)

13 Clair de lune 6.44
Claude Debussy (1862-1918)

14 Garrotin 2.56
Joaquin Turina (1882-1949)

15 Prélude nr. 1 5.00
Heitor Villa-Lobos (1887-1949)

Total time 58.23

MUSICA POETICA: The expressive power of Hauser I
 
The expressive, singing sound of classical guitarist Frans Brekelmans takes on an entirely new dimension on an extraordinary instrument that Hermann Hauser I (1882-1952) built for the Spanish guitarist Andrés Segovia. 
Musica poetica brings together venerable musical traditions with more modern repertoire, from Bach and Paganini to Debussy and Villa-Lobos.
 
The instrument by Hauser I is considered a Stradivarius among guitars.   Grandson Hermann Hauser III (1958) was involved in the restoration of the guitar of his grandfather and enthusiastic about the sound of this 1927 ‘Segovia model’ from the beginning.
Andrés Segovia (1893-1987) saw in Hauser the right man to help him produce the ideal concert guitar. The basis for the 1927 guitar dates to the meeting of Hauser with Segovia and his fellow Spanish guitarist Miguel Llobet in Munich in 1924, when Hauser was permitted to inspect Segovia’s Ramirez guitar and the Torres instrument of the famous Catalonian guitarist Miguel Llobet, spending three hours making measurements of the works of these two top Spanish guitar makers.  Inspired by these instruments, Hauser built his first Segovia model.


Notes on the pieces played

Frans Brekelmans: Musica Poetica

The elegant and song-like quality, the rich palate of tone colors and the powerful sound and full basses of the Hermann Hauser I guitar are optimally on display in the choice of compositions on Musica poetica – poetic music and musical poetry. The gut strings bring to the 1927 guitar as well as to the pieces being performed a particularly warm sound. The final work on the cd is a composition from the Brazilian composer Heitor Villa-Llobos from 1940, just six years before the introduction of the nylon guitar string.

The oldest work here is the imposing Aria con variazioni of the Italian composer Girolamo Frescobaldi, which I associate closely with the Goldberg Variations of Johann Sebastian Bach, and which Segovia himself arranged for guitar in 1939.

Siciliana
, a traditional shepherd’s dance from Bach’s first violin sonata, is also Segovia’s own arrangement, from 1930.

The Menuet from the Nouvelles Suites, Pièces de clavecin of Jean-Philippe Rameau, a pioneer of classical music harmony from the French Baroque, offers the chance to hear this guitar in every register, to fully experience the instrument as it sings. Segovia’s performance of his arrangement of this work in the Alhambra, Granada’s famed moorish palace, in The song of the guitar, a documentary made about him in 1976.

Christoph Willibald Gluck’s Ballet, from his opera Orfeo ed Euridice is performed here in Segovia’s arrangment from 1960. In this work, the singer Orpheus, who appears performing on a lyre, brings his listeners to a state of rapture. He is unconsolable at the death of his beloved Eurydice. His song of lament earns him permission to retrieve her from the Underworld, but Hades, the Lord of the Death, imposes one condition: Orpheus may not turn around to look at Eurydice until they have reached the sunny realm of the living. It goes awry: Orpheus turns around too soon and Eurydice must return to the kingdom of shadows.

The bel canto La Primavera (Spring) comes from Niccolò Paganini’s song cycle Ghiribizzi for guitar. It is sensual in the Italian style. Paganini was not only a virtuoso violinist, also an expert guitarist who often used the instrument as an inspiration for his compositions for violin.

In Capriccio Number 6, a violin piece that I myself arranged for guitar, Paganini reveals his deeper, more serious side – his great admiration for Ludwig van Beethoven is apparent here. Paganini was famed for his pure intonation on the violin; I believe that his Capricci opus 1 was not only a means of working on his technique but training his ear.

The arrangement of Frédéric Chopin’s Fourth Prelude by the Spanish composer and guitarist Francisco Tárrega, who in his youth also studied piano, constitutes a strong translation of this melancholy work for guitar.

The mazurka Marieta, composed by Tárrega in a Chopinesque style, is named for one of Tárrega’s daughters.
Francisco Goya’s Maja, a painting of which the Spanish painter made two versions – Vestida (clothed) en Desnuda (nude) – inspired the Spanish composer Enrique Granados to write a tonadilla of the same name. The tonadilla has its origins in the second half of the 18th century as satirical song heard in comic theatre.

The two medieval Catalan folksongs Testament d’Amelia en Canço del Lladre were arranged by Miguel Llobet, whose writing for guitar was strongly influenced by the French composer Claude Debussy. Testament d’Amelia concerns a young woman who is poisoned by her stepmother, who is in love with the girl’s husband. Canço del Lladre (Song of the Magpie) uses guitar harmonics to portray the glittering gems that attract the bird’s attention.
Leonesa, a song from the Spanish province of Leon, contains a hypnotic motif in the bass.

According to Julian Bream, Debussy heard Llobet play and thereafter wanted to compose for the guitar. He invited Llobet home in order to learn from him the technical aspects of playing the instrument, but Llobet was so much under the impression of Debussy’s genius that he declined.
Francis Kleijnjans made this transcription of Claire de lune with an ear towards Llobet’s ideas about the uses of harmonics in producing a delicate tone color and timbre. This magical work by Debussy is a musical version of the French poet Paul Verlaine’s heavily symbolic poem of the same name, a work that represents characters who behind a mask of fortune and triumph sadly dance and sing in the moonlight.


Garrotin, a composition by Joaquín Turina in the form of a rhymed flamenco song for dancers, is the first part of his Hommage à Tárrega. Francisco Tárrega left home at the age of thirteen and joined a group of gypsies, a setting that Turina used to give an Andalusian tinge to his tribute.

The iconic Prélude Number 1 (1940) of Villa-Lobos marks the arrival of the era of the guitar as solo instrument unlike any other. The magical bass melody in the first section recalls the Prélude Number 4 of Chopin, which appears as track seven on this disc, and contrasts with the middle section’s festive Brazilian character.

Translation Jonathan Gill

Listening to the cd is a sound experience that is very rare. We can imagine that Frans makes many friends and lovers of guitar music enthusiastic and puts a spell on them. Congratulations!
Kathrin and Hermann Hauser III, Reisbach



In the hands of Frans Brekelmans the guitar on this cd is an instrument of poetry, indeed. Its tone is elegant yet powerful, singing and rich in colours. Frans clearly loves his guitar and his music and therefore his playing is a delight to listen to.
David van Ooijen, Lute Guitar Society Japan/Europe

Baltazare Benitez

I listened to your cd and it is sublime. I’m impressed by your Hauser and you play very good, congratulations.
Baltazar Benitez

Recorded at Chapel Studio, Tilburg, The Netherlands in March 2013
Producer Maarten Hartveldt
Balance engineer Theo Janssen
Digital editing & mastering Chapel Studio
Guitar by Hermann Hauser I, 1927, München, Germany
Photo's Emilio Brizzi
Design Henk Brink/Brinkendehoop
Copyright Frans Brekelmans, all rights reserved

Please use the contact form for your order.
The price of the cd Musica poetica is €20, with postage and packing included €22,50. I will mail you the number of my bank account, upon receipt of the money the cd will be sent tot you immediately.