Album info

Album-Release:
2017

HRA-Release:
06.01.2017

Label: Gyre Music

Genre: Guitar

Subgenre: Classical Guitar

Album including Album cover

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FLAC 44.1 $ 15.20
  • Heitor Villa-Lobos (1887-1959): 5 Preludes, W419:
  • 1No. 1 in E Minor04:46
  • 2No. 2 in E Major02:54
  • 3No. 3 in A Minor03:14
  • Manuel de Falla (1876-1946):
  • 4Homenaje, "Le Tombeau de Claude Debussy"03:07
  • Joaquín Turina (1882-1949): Homenaje a Tárrega, Op. 69:
  • 5I. Garrotin02:54
  • 6II. Soleares02:18
  • Francisco Tárrega (1852-1909):
  • 7Prelude No. 5 in E Major01:50
  • 4 Mazurkas:
  • 8No. 1 in G Minor, "Adelita"01:29
  • 9No. 3. Marieta02:11
  • Francisco Tárrega:
  • 10Capricho árabe05:44
  • Frank Wallace:
  • 11Dreams on a Lullaby06:57
  • Federico Mompou (1893-1987): Suite Compostelana:
  • 12I. Preludio03:21
  • 13II. Coral02:45
  • 14III. Cuna03:24
  • 15IV. Recitativo02:58
  • 16V. Canción02:49
  • 17VI. Muñeira03:03
  • Total Runtime55:44

Info for Omaggio



Featuring an extraordinary 1931 Hauser I guitar, the album pays tribute to the legacy of Andrés Segovia and the incomparable German luthier Hermann Hauser. Works on this recording were written for Segovia or were part of his repertoire, and are homages themselves to Bach, Debussy, Tárrega, Llobet, and the ancient city of Santiago de Compostela. Wallace, “…a powerful player, possessed of an unfailing musicianship…an almost symphonic range of colors and articulations…” [Kunze, Soundboard], performs works of Villa-Lobos, de Falla, Tárrega, Turina, Mompou and his own piece dedicated to the Catalan composer/guitarist Miguel Llobet, Dreams on a Lullaby.

Segovia first met Hauser in 1924, beginning a long and close relationship that led to the 1937 Hauser that Segovia played in concert for 25 years and which he proclaimed is “the greatest guitar of our epoch.” It is now housed at the Metropolitan Art Museum in New York City. The Hauser guitar on this recording was built for Segovia in 1931, but was soon passed on to his student Blanche Moyse, later known for her work with the Moyse Trio and as a founder of Marlboro Music. In Wallace’s own words: “These older guitars are vibrant musical powerhouses – their tones are infinitely more complex and haunting than those of newer guitars.” Wallace has long been a proponent of historical music and instruments. He has recorded and performed lute and vihuela music on authentic instruments, and on historic guitars by Panormo, Lacote, Gutierrez, Manuel Ramirez, Soto y Solares, Hauser, Bouchet, Fleta, etc.

Omaggio presents music that Segovia frequently played in concert, including several homages. Opening with the first three Preludes by Heitor Villa-Lobos, they are a Homage to the Brazilian sertanejo (county man), Homage to the carioca hustler, and Homage to Bach. Wallace moves on to what is considered by many the first great masterpiece of the 20th century, Omaggio (Homenaje) by Manuel de Falla. Written in 1920, it was composed for a collection of works entitled Tombeau de Claude Debussy. Next is Homenaje a Tárrega by Joaquín Turina composed in 1932 for Segovia. Written in a nationalistic musical style, it has distinct impressionistic influences. Wallace’s Dreams on a Lullaby is a set of variations on Noi de la Mare, a Catalan folk song made famous by Miguel Llobet’s iconic setting. The six-movement Suite Compostelana by Federico Mompou has special personal associations with the great pilgrimage site of Santiago de Compostela for both the composer and the performer. Mompou dedicated this work to Segovia in 1963 as homage to the great city itself as well as the festival presented there annually. The International University Courses Música en Compostela were created in 1958 on the initiative of Maestro Andrés Segovia, together with the Spanish diplomat José Miguel Ruiz Morales. Wallace attended the course in 1972 and met Ruiz Morales several years later which led to a performance at Música en Compostela by his Trio LiveOak in 1982.

Frank Wallace tours internationally as a soloist and with mezzo-soprano Nancy Knowles as Duo LiveOak. Robert Schulslaper of Fanfare dubbed him “…a true master of his instrument…His dynamic range is impressive, and his gradations of tone, constantly singing line, and sensitive musicianship confirm his ‘elegant virtuosity’ (classicstoday.com).” Bradford Werner on This is classical guitar says, “Frank Wallace plays his own works with inspiration, determination, and a wealth of creativity. With top notch playing and excellent compositions, this synthesis is a spectacular success. / …he can match the musicality of any player out there…”

One of the most prolific guitar composers of our time, Frank Wallace’s works have been called “contemporary musical emancipation” by NewMusicBox.org. A prizewinner in the 2013 José Fernández Rojas International Composition Competition in Logroño, Spain, he was also a 2015 recipient of the Ewing Arts Award. Tirelessly working to expand the guitar repertoire, Wallace founded and directed Festival 21 in Boston, a celebration of 21st century guitar music. In New York he founded and co-directed the Second Sundays Guitar Series run by the New York City Classical Guitar Society and the Roger Smith Hotel. He has taught at the New England Conservatory as well as various colleges and universities in New England and many summer workshops. Wallace is a graduate of the San Francisco Conservatory of Music, with a BM in guitar performance.

“… a powerful player, possessed of an unfailing musicianship…the music is wonderfully executed [with] an almost symphonic range of colors and articulations…” (Al Kunze, Soundboard)

“…his playing shows what [the music] can sound like in the hands (and mind) of a real artist.” (Ken Keaton, American Record Guide)

“Exceptional playing on historic Spanish guitars. [The Aguado Fandango is] beautifully played and superbly recorded [by the performer himself]…Three Tárrega pieces [are] wonderfully played with real depth of feeling.” (Chris Dumigan, Classical Guitar)

Frank Wallace, classical guitar



Frank Wallace
is a consummate and reputable six-stringer currently based in Antrim, New Hampshire (U.S.A.) who reveals his playing style as modern classical, as a listener can readily experience on his most recent album, "His Own New Works". photoHis most utilized guitars consist of a Fleta and a Traphagen. Wallace has been playing guitar since 1967, and with no holds barred reveals his career aspiration, "I want to combine my interests in guitar, lute, vihuela and singing and re-establish an active touring schedule throughout America and Europe, presenting music from many eras, always featuring my own compositions - for each instrument."

When asked to divulge his one essential effect for the guitar, Wallace responded by saying, "Natural reverberation, particularly, stone churches are what turn me on," and continued by mentioning his musicial goals, "Music is music to me - I don't know where it comes from or why - but it is a beautiful thing that it does. That is to say, it all comes from the spirit - music is the spirit to me - I want to be an agent of beauty, not destruction, not ugliness and hate - music should lift us up above those emotions, even when expressing fear or confusion. It should still be beautiful. Too much music is now designed to be aggressive, negative - we need not wallow in those emotions, but rather try to transform them into beauty." He fervently hopes to one day study rock with Santana, and is presently listening to the Assads, Santana, Andrea Bocelli, Masayuki Kato and Georgian choral music. His primary fulfillment? "Finishing a new composition," he declares incontestably.

Wallace concludes by detailing current and approaching undertakings succinctly, by saying, "My wife [Nancy Knowles] and I are totally involved in creating CDs - we plan to finish seven in the next year: a second solo guitar CD [I am still writing for that]; one of her reading her own poetry [some with my guitar improvs] and singing spiritual songs [Shakers and medieval]; and several of songs from the 16th to 19th centuries. My most exciting project is a song cycle that includes guitar solos and songs for two singers - man and woman - using poetry that she and I have written along with Rumi and other texts."

This album contains no booklet.

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