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Hyperion Records

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Clotilde and Elena on the Rocks, Javea (1905) by Joaquin Sorolla y Bastida (1863-1923)
Private Collection / Photo © Christie's Images / Bridgeman Art Library, London
Track(s) taken from CDA67889
Recording details: December 2010
Henry Wood Hall, London, United Kingdom
Produced by Andrew Keener
Engineered by Simon Eadon
Release date: April 2012
Total duration: 7 minutes 53 seconds

'There's a gentle melancholy to overtly Spanish pieces such as La oración del torero and a warm, beguiling tunefulness to … the Piano Quartet, Op 67, all seductively played by The Nash Ensemble' (The Daily Telegraph)

'This excellent CD of chamber music … the performances throughout by these outstanding musicians, who are clearly wholly committed to Turina's music, are deeply impressive. The recording quality is also first-rate. Hyperion's world-renowed production values are equally consistently admirable and fully maintained here' (International Record Review)

'The near-masterpieces here … are the splendid Piano Trio Op 35, the A minor Piano Quartet Op 67, and the Violin Sonata, played with searing tone and rhythmic dash by Marianne Thorsen and Ian Brown, mainstays of the wonderful Nash Ensemble. Lawrence Power's viola and Paul Watkins' cello shine in, respectively, the Escena andaluza and the songful tenor/bass melodies of the trio. It would be hard to imagine more compelling performances' (The Sunday Times)

'Played with relish and sensitivity … this is music that paints pictures and is imbued with Spanish sunshine and sensual nocturnes, the listener serenaded with expressive warmth and a wide palette of colour, all lovingly played' (Time Out)

La oración del torero, Op 34
composer
1926; for string quartet; originally composed in 1925 for laùd (modern folk lute) quartet, with the assistance of the Quartet Aguilar

Introduction  EnglishFrançaisDeutsch
La oración del torero, Op 34 (‘The bullfighter’s prayer’), is an example of the influence of folk music in Turina’s compositions. Originally this was composed for ‘laúd’ quartet. Translated strictly, ‘laúd’ means ‘lute’, but Turina was not referring to the lutes of the Renaissance or Baroque eras; these are Spanish folkloric instruments, more similar to mandolins with their pear-shaped bodies and doubled strings. As an ensemble they cover a wide range of pitches, with the bandurria and laudete playing the highest parts and the laúd tenor and laudón covering the tenor and bass ranges. Turina described the inspiration for this: ‘During an afternoon of bullfighting in the Madrid arena … I saw my work. I was in the court of horses. Behind a small door, there was a chapel, filled with incense, where toreadors went right before facing death. It was then that there appeared, in front of my eyes, in all its plenitude, this subjectively musical and expressive contrast between the tumult of the arena, the public that awaited the fiesta, and the devotion of those who, in front of this poor altar, filled with touching poetry, prayed to God to protect their lives.’ The piece was written in collaboration with the laúd ensemble Quarteto Aguilar in 1925. The following year Turina rearranged it for string quartet, as well as for both string orchestra and piano trio.

from notes by William C Krause © 2012

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