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Zoran Dukic
Born in Zagreb in 1969, the guitarist Zoran Dukic has a busy
schedule in performing, teaching, recording and publishing. He
is a professor at the music academies in Barcelona and The
Hague and has himself studied with Darko Petrinjak and
Hubert Kppel. He is the only guitarist to have won both
Andrs Segovia competitions in Granada and in Palma de Mario
Mallorca. Between 1990 and 1997 he won an astonishing
number of other competitions, including those dedicated to
Fernando Sor, Manuel Ponce, Manuel de Falla, and Francisco CASTELNUOVO-
Trrega. These, in addition to his unique expressiveness and
poetry on the guitar, launched his worldwide career, bringing
him unrivalled distinction among contemporary guitarists.
TEDESCO

24 Caprichos
de Goya

Huge thanks to Norbert Kraft for his ideas and inspiration,

Photo: Mario Majcan
Darko and the patient audience from Doctor Dou.
Zoran Dukic,
Guitar
Dedicated to Eva.

2 CDs
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Mario
CASTELNUOVO-TEDESCO
(1895-1968)
24 Caprichos de Goya for Guitar, Op. 195
CD 1 39:05
1 I. Francisco Goya y Lucientes, Pintor (Francisco Goya y Lucientes, Painter) 3:50
2 II. Tal para qual (Two of a kind) 3:57
3 III. Nadie se conoce (Nobody knows himself) 2:02
4 IV. Ni asi la distingue (Even so he cannot make her out) 1:54
5 V. Muchachos al avo (The boys getting ready) 2:37
6 VI. El amor y la muerte (Love and death) 3:57
7 VII. Estan calientes (They are hot) 2:04
8 VIII. Dios la perdone: Y era su madre
(God forgive her: and it was her mother) 3:40
9 IX. Bien tirada est (It is nicely stretched) 2:59
0 X. Al Conde Palatino (To the Count Palatine) 2:51
! XI. Y se le quema la casa (And hes burning down the house) 2:45
@ XII. No hubo remedio (Nothing could be done about it) 6:28
CD 2 43:24
1 XIII. Quin ms rendido? (Which of them is more overwhelmed?) 2:34
2 XIV. Porque fue sensible (Because she was sensitive) 4:12
3 XV. Si sabr ms el discipulo? (Perhaps the pupil knows better?) 3:42 XXIV. Sueo de la mentira y inconstancia (Dream of lying and inconstancy)
4 XVI. Brabsimo! (Bravissimo!) 2:50
5 XVII. De que mal morira? (Of what ill will he die?) 4:56 Though not one of the eighty Caprichos, this picture is in similar style and technique. It depicts two-faced women
without fidelity surrounded by several grotesque figures, complete with a foreground snake signifying treachery.
6 XVIII. El sueo de la razn produce monstruos Naturally there is surmise that the man to the left of the picture is Goya himself and that the woman near him is the
(The sleep of reason produces monsters) 5:15 Duchess of Alba, but this is where legend and history become blurred and the precise biographical facts behind the
7 XIX. Hilan delgado (They spin finely) 3:24 picture remain more in the realm of conjecture than certainty. The climax of Castelnuovo-Tedescos Caprichos de
Goya is an extended work, comprising a Fantasia and Fugue. The Fantasia, with its flowing arpeggios divided by
8 XX. Obsequio a el maestro (Gift to the master) 3:43 quieter moments of recitativo, contains certain characteristics of the last movement of the composers Sonata,
9 XXI. Qu pico de oro! (What a golden beak!) 2:31 Omaggio a Boccherini, Op. 77 (written for Segovia in 1934). The Fugue, marked thoughtful and melancholic, is
0 XXII. Volaverunt (Off they flew) 1:47 very succinct leading to further bursts of arpeggio patterns and a momentary reprise of the Fantasia, expressive and
sad. This composition appropriately concludes with a coda marked pomposo e solenne, where the strident octaves
! XXIII. Linda maestra! (Pretty teacher!) 3:03 refer to the ending of the first piece of the entire set, the portrait of Goya himself.
@ XXIV. Sueo de la mentira y inconstancia (Dream of lying and inconstancy) 5:27 Graham Wade

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Mario Castelnuovo-Tedesco (1895-1968)
24 Caprichos de Goya for Guitar, Op. 195
Mario Castelnuovo-Tedesco was born in Florence and
studied composition and piano at the Istituto Musicale
Cherubini and later at the Liceo Musicale of Bologna.
His teachers were Pizzetti and Casella, members of the
influential and progressive Societ Italiana de Musica, a
group of influential composers with whom
Castelnuovo-Tedesco became closely associated.
Castelnuovo-Tedescos interest in writing for the guitar
began with his introduction to Andrs Segovia, who had
travelled to Italy with Manuel de Falla, at the Venice
International Festival in 1932. As a result he was to
compose over a hundred works for the instrument,
including concertos, chamber music, many solos and
some of the finest pieces for two guitars, these last
inspired by the illustrious French duo, Ida Presti and
Alexandre Lagoya. In 1939, as a result of Mussolinis
anti-Jewish edicts, Castelnuovo-Tedesco was obliged to
seek refuge abroad, but after settling in California he
became a prolific writer of film music between 1940
and 1956, in the same period composing more than
seventy concert works. As a member of the faculty of
the Los Angeles Conservatory of Music, he numbered
among his pupils Henry Mancini, Nelson Riddle, Andr
Previn, and the composer, John Williams.
XXIII. Linda maestra! (Pretty teacher!)
(Plate No. 68)
Goya returns to the theme of witchcraft, using the time-honoured image of the broomstick as a means of black
magic transportation. Marked Presto (like a witchs ride), the music is reminiscent of Castelnuovo-Tedescos
Tarantella, (written in 1936 for Segovia), with its six-eight time and galloping rhythms. Despite the connotations of
witchcraft, the ride that the composer offers is most enjoyable and spiced with sardonic humour.
8.572252-53 26 3 8.572252-53
The great Spanish painter, Francisco Goya (1746-
1828) was appointed Court Painter to Charles IV in
1789. In 1792 he retreated to Cadiz for several months
when illness brought about severe deafness, but on his
return to Madrid in 1797 he resumed his activities,
becoming First Court Painter in 1799. Around this time
he began etching his sequence of eighty Caprichos
(Caprices). Following Napoleons invasion of Spain,
Goya painted many vivid pictures of the atrocities of the
war as well as portraits of the Duke of Wellington. In
1824 he left Spain and spent the last few years of his life
in France.
Mario Castelnuovo-Tedesco selected 23 pictures
from Goyas Caprichos, and a further etching in similar
style, as inspiration for an extended sequence of guitar
solos, completing the work in 1961. The following notes
present possible interpretations of Goyas images (many
of which are profoundly ambiguous and function at
various symbolic and ironic levels of meaning), as well
as descriptions of the music accompanying each picture
(the number of the relevant plate is shown in brackets).
In Castelnuovo-Tedescos 24 Caprichos de Goya, Op.
195, the composer allows his own imagination and
artistic instincts to shape his individual response to each
work of art rather than following any facile
programmatic patterns.
572252-53 bk C-T 9/1/09 11:24 Page 4

I. Francisco Goya y Lucientes, Pintor (Francisco Goya y Lucientes, Painter) (Plate No. 1) XXII. Volaverunt (Off they flew) (Plate No. 61)

This provides a portrait of the painter. Castelnuovo-Tedescos sequence thus begins with Preamble, founded on a
musical motto on Goyas name, presenting a picture of a debonair, self-assured personality. Then comes a three part
Fugue (Allegretto moderato) with a central section somewhat in the style of a March. The ending, a repetition of
Goyas name, this time in fortissimo octaves, is marked sustained and pompous.
Volaverunt, derived from the Latin, expresses a sense of total loss. Goya described the picture as The group of
witches who act as a support to this fashionable fool is more of a decoration than a necessity. Some heads are so
swollen with gas that they can fly without the aid of balloons or witches. The person borne aloft is the Duchess of
Alba, representing the inconstant nature of women. The composition is a study in triplets, rapid and light, its
perpetual motion evoking the incessant rapidity of the upward flight.

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XXI. Qu pico de oro! (What a golden beak!) II. Tal para qual (Two of a kind) (Plate No. 5)
(Plate No. 53)
The atmosphere here is of a shameless couple flirting ostentatiously, observed by two old women. The title suggests
A parrot speaks to a a group of allegedly learned men who are entranced by the birds eloquence. In a lively Gigue, that both partners are equally to blame for improper behaviour. The music opens with a short introduction, playful
the music imitates the short stilted utterances of the parrot. A contrasting section, marked burlesque, appears twice and mocking, followed by a rhythmic passage leading to Tempo di Fandango. A central section brings in a more
while the coda provides an ironically triumphant finale. tender mood before the Fandangos reprise. Then comes a passage marked very expressive with false sentiment,
and a brief coda recalls the opening motif.

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III. Nadie se conoce (Nobody knows himself) (Plate No. 6) XX. Obsequio a el maestro (Gift to the master) (Plate No. 47)

The key to this picture is the use of masks to hide identity, on the theme that society is governed by appearances.
Goya himself commented that Everybody tries to pretend to be something they are not, they all cheat and no one
knows. The piece, Allegretto con spirito, is in the tempo of the Furlana (sometimes called Forlana), a North Italian
dance in duple time (or six eight as here), associated with Venice. The dance originated in the Italian region of
Friulia, a Slavonic republic under the control of the Venetian Republic, hence the lively Slav-like rhythms.
The fawning disciples offer a new born baby to the teacher from whom they have learned their evil ways. Rather
than conjuring up images of depravity, Castelnuovo-Tedesco presents an introspective work through which, by
including themes from one of his early mentors, Ildebrando Pizzetti (1880-1968), he presents his own gift to a
Master.

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XIX. Hilan delgado (They spin finely) (Plate No. 44) IV. Ni asi la distingue (Even so he cannot make her out) (Plate No. 7)

An old woman with a long neck spins yarn observed by two equally grotesque companions. To the right are several
babies suspended from the ceiling. This piece, marked rapid and sinister (like a macabre spinner), follows the
tradition of music (including works by Schubert, Mendelssohn, Wagner, Saint-Sans and others), enacting the
ancient art of spinning. The perpetual motion is paused only for a sinister, misterioso interlude before the activity
resumes.
The gentleman in the picture is unable to establish exactly what kind of woman he is talking to, another instance of
Goyas fascination with the deceptiveness of social appearances and human relationships. Castelnuovo-Tedesco
expresses these ambiguities through Allegretto mosso, pettegolo e manierato: Tempo di Badinage, meaning fairly
quick, gossipy and affected, in the Tempo of Jesting Talk. The mood is established by rapid semiquavers and
agitated movement.

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V. Muchachos al avo (The boys getting ready) (Plate No. 11) XVIII. El sueo de la razn produce monstruos (The sleep of reason produces monsters) (Plate No. 43)

By their dress these boys are identified as bandits or smugglers about to undertake their nefarious activities. The Among Goyas most famous images, this has been considered as one of the artists self-portraits. The man, either
work is in the tempo of the Villancico, originally a Spanish rustic dance from the late fifteenth century. The dotted sleeping or dreaming (sueo in Spanish carries both meanings), is surrounded by evil-looking owls, a sinister lynx
rhythms enact the swaggering gait of the robbers. Castelnuovo-Tedesco injects an element of humour into this with pointed ears, and bat-like creatures. The music takes the form of a short Chaconne with five variations.
movement as the painter confronts straightforward roguery, unlike the subtle but equally corrupt hypocrisies of Variation 1 deploys rapid arpeggios accompanying the Chaconne theme. Variation 2 moves into triplet patterns
social existence depicted elsewhere. while Variation 3 uses the Chaconne in the bass against treble scale passages. The next Variation brings the theme
back into the treble against a busy accompaniment before Variation 5, marked con fuoco (with fire) offers a chordal
exploration in quavers of the insistent theme. The final recapitulation is very slow and solemn.
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XVII. De que mal morira? (Of what ill will he die?) (Plate No. 40) VI. El amor y la muerte (Love and death) (Plate No. 10)

This striking picture illustrates Goyas detestation of the ignorant doctors of his day whose treatment often killed the
patient. The donkey feels the pulse of the dying man but does not know the actual nature of the illness. The music,
marked Funebre (Funereal), opens with a drumming dirge. A plaintive melody, fluttering like a weak pulse, is
heard, followed by a Funeral March for a Marionette with staccato bass. The melodic elements are explored at
length before the return of the March. The coda, lento morente (slow dying), expresses the patients final moments
before the deadly drum ends the proceedings.
In this picture a girl embraces a dying man whose duelling sword lies on the ground. The composer expresses the
drama in a Tempo di Tango, heavy and tragic, beginning with rhythmic chords followed by a plaintive, descending
motif. Between them these elements represent the false bravado of the man and the grief of the lover. A middle
section, un poco agitato, features a poignant melody marked at one point, expressive and desolate in the manner of
recitativo. The final bars represent the last painful convulsions of the mortally wounded duellist.

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VII. Estan calientes (They are hot) (Plate No. 13) XVI. Brabsimo! (Bravissimo!) (Plate No. 38)

Goya portrays the elements of greed as the gluttons gobble down their hot food with no restraint or manners. Their
antics are expressed musically by means of an opening Bourre, rude e animato, imparting concepts of caricature
and mockery. A middle section in the tempo of a Galliard contrasts against a reprise of the Bourre. A second
Galliard brings in a high staccato melody descending to soft rhythmic chords played con spirito.
This picture of a monkey performing on a guitar to a donkey is a satire on authority and politicians. In the music the
listener is invited to imagine the material the monkey is performing. The piece begins with a very fast repeated note
motif before an Allegretto moderato tempo introduces a Serenade, grotesque and a little like a caricature. This
gives way to a lively episode exploiting the single note concept of the opening. The recapitulation expresses the
sentimental side of the Serenade as well as utilising the repeated notes, bringing together the dual aspects of the
work.

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XV. Si sabr ms el discipulo? (Perhaps the pupil knows better?) (Plate No. 37) VIII. Dios la perdone: Y era su madre (God forgive her: and it was her mother) (Plate No. 16)

Goya endows animals with human characteristics, the pupil (a donkey) instructing the teacher (an older donkey), in A fashionably attired and sophisticated woman (possibly a prostitute), is asked for money by an old lady, who
the alphabet. Behind the image is the concept of how schools of learning transmit follies and falsehoods. With an happens to be her mother. It may be that the young woman does not realise it is her mother or is deliberately
introductory ass-like braying, the composer begins to lampoon the twelve-tone system of Schoenberg and his ignoring her, the haughty posture being contrasted against the bent supplicant. In an introductory quasi recitativo
followers. After setting out the tone-row, the twelve notes are deployed (with added harmonies) in a Gavotte, before the notes spell out the Spanish words of the title, the phrases punctuated with loud staccato chords. The opening
being inverted and retrograded in the usual manner of dodecaphonic practitioners. As well as Gavottes, two rhythm will be heard throughout in a Habanera, the popular Cuban dance with its seductive movement, which
Musettes are added, mocking modern dissonance in a playful manner. constitutes the main feature of the work. A short quasi cadenza section provides a moment of animated contrast
before the return of the Habanera, expressive and sad.
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IX. Bien tirada est (It is nicely stretched) (Plate No. 17)
In this image of the girl pulling on her stockings observed by an ugly crone, the implication is of low life and the
sordid existence of the streets. The work begins with descending tritones (the musical interval of three whole tones
often associated with sinister aspects). The mood is expressed through the jota, the dance from Aragon in which
(among other features), the dancers swing outward first one leg then the other. Castelnuovo-Tedescos jota becomes
increasingly complex in texture, a middle section being marked expressive and well sung, but the essential vitality
of the dance is sustained throughout until the re-introduction of the tritones.
8.572252-53 12
XIV. Porque fue sensible (Because she was sensitive) (Plate No. 32)
This portrait of a woman in prison is the only one of the set to have no etched lines, being rendered entirely through
aquatinting, a technique which enhances the contrast between the white prisoner and the gloomy background. This
pensive scene is depicted by the rhythms of the Zortzico, a Basque folk-dance with eight steps in five-eight time. A
lamentoso introduction precedes the dance itself. A chordal episode, sweet but rhythmic and a little slow and
sad, looks forward to the gentle coda, expressing the girls plight with poignant intensity.
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XIII. Quin ms rendido? (Which of them is more overwhelmed?) (Plate No. 27) X. Al Conde Palatino (To the Count Palatine) (Plate No. 33)

This picture shows a social fop importuning the favours of a woman in the street, her companions looking on in the
background. The superficiality of this behaviour is ironically characterized in the music by means of the Rigaudon,
a courtship dance from southern France popular in both the seventeenth and eighteenth centuries. A middle section
marked a little sentimental (but in tempo), offers a contrast, evoking the flattering words of the man before the
Rigaudon strikes up again.
A caption on the Prado etching version of this picture comments that in all sciences there are charlatans who know
everything without having studied anything and who have a remedy for everything. One such individual is depicted
here administering his own painful dentistry. The movement, in the form of a Minuet, to be played ceremoniously
and gallantly, but with irony, is written first in the major key and then in the minor.

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XI. Y se le quema la casa (And hes burning down the house) (Plate No. 18) XII. No hubo remedio (Nothing could be done about it) (Plate No. 24)

This shows an inebriated, debauched old man with open trousers accidentally setting his house on fire. The
symbolism suggests that vices of lust and excess are self-destructive. Castelnuovo-Tedesco adopts here
characteristics of the popular Spanish song and dance El Vito. Following the statement of the main theme, another
mood is introduced with a copla, an interlude evoking the singers solo voice (with implied guitar accompaniment).
Finally the music fades away into the distance.
8.572252-53 14
Goya presents a picture of a woman sentenced by the Inquisition to be executed, flanked by stern figures of
authority and the hideous faces of the mob. The composer deals with this grim topic by a set of variations in
Passacaglia form on the theme of the Dies irae (Day of Wrath). The Passacaglia provides a bass melody around
which seven variations are fashioned, each variation having its own distinct character. Variation 1, for example, has
the theme in the treble, Variation 2 is molto tranquillo, while Variation 4 is a virtuosic study. The ending, Variation
7, combines sustained and grandiose loud chords with brilliant bursts of semiquavers in a final celebration of the
Dies irae mood.
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XI. Y se le quema la casa (And hes burning down the house) (Plate No. 18) XII. No hubo remedio (Nothing could be done about it) (Plate No. 24)

This shows an inebriated, debauched old man with open trousers accidentally setting his house on fire. The
symbolism suggests that vices of lust and excess are self-destructive. Castelnuovo-Tedesco adopts here
characteristics of the popular Spanish song and dance El Vito. Following the statement of the main theme, another
mood is introduced with a copla, an interlude evoking the singers solo voice (with implied guitar accompaniment).
Finally the music fades away into the distance.
8.572252-53 14
Goya presents a picture of a woman sentenced by the Inquisition to be executed, flanked by stern figures of
authority and the hideous faces of the mob. The composer deals with this grim topic by a set of variations in
Passacaglia form on the theme of the Dies irae (Day of Wrath). The Passacaglia provides a bass melody around
which seven variations are fashioned, each variation having its own distinct character. Variation 1, for example, has
the theme in the treble, Variation 2 is molto tranquillo, while Variation 4 is a virtuosic study. The ending, Variation
7, combines sustained and grandiose loud chords with brilliant bursts of semiquavers in a final celebration of the
Dies irae mood.
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XIII. Quin ms rendido? (Which of them is more overwhelmed?) (Plate No. 27) X. Al Conde Palatino (To the Count Palatine) (Plate No. 33)

This picture shows a social fop importuning the favours of a woman in the street, her companions looking on in the
background. The superficiality of this behaviour is ironically characterized in the music by means of the Rigaudon,
a courtship dance from southern France popular in both the seventeenth and eighteenth centuries. A middle section
marked a little sentimental (but in tempo), offers a contrast, evoking the flattering words of the man before the
Rigaudon strikes up again.
A caption on the Prado etching version of this picture comments that in all sciences there are charlatans who know
everything without having studied anything and who have a remedy for everything. One such individual is depicted
here administering his own painful dentistry. The movement, in the form of a Minuet, to be played ceremoniously
and gallantly, but with irony, is written first in the major key and then in the minor.

8.572252-53 16 13 8.572252-53
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IX. Bien tirada est (It is nicely stretched) (Plate No. 17)
In this image of the girl pulling on her stockings observed by an ugly crone, the implication is of low life and the
sordid existence of the streets. The work begins with descending tritones (the musical interval of three whole tones
often associated with sinister aspects). The mood is expressed through the jota, the dance from Aragon in which
(among other features), the dancers swing outward first one leg then the other. Castelnuovo-Tedescos jota becomes
increasingly complex in texture, a middle section being marked expressive and well sung, but the essential vitality
of the dance is sustained throughout until the re-introduction of the tritones.
8.572252-53 12
XIV. Porque fue sensible (Because she was sensitive) (Plate No. 32)
This portrait of a woman in prison is the only one of the set to have no etched lines, being rendered entirely through
aquatinting, a technique which enhances the contrast between the white prisoner and the gloomy background. This
pensive scene is depicted by the rhythms of the Zortzico, a Basque folk-dance with eight steps in five-eight time. A
lamentoso introduction precedes the dance itself. A chordal episode, sweet but rhythmic and a little slow and
sad, looks forward to the gentle coda, expressing the girls plight with poignant intensity.
17 8.572252-53
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XV. Si sabr ms el discipulo? (Perhaps the pupil knows better?) (Plate No. 37) VIII. Dios la perdone: Y era su madre (God forgive her: and it was her mother) (Plate No. 16)

Goya endows animals with human characteristics, the pupil (a donkey) instructing the teacher (an older donkey), in A fashionably attired and sophisticated woman (possibly a prostitute), is asked for money by an old lady, who
the alphabet. Behind the image is the concept of how schools of learning transmit follies and falsehoods. With an happens to be her mother. It may be that the young woman does not realise it is her mother or is deliberately
introductory ass-like braying, the composer begins to lampoon the twelve-tone system of Schoenberg and his ignoring her, the haughty posture being contrasted against the bent supplicant. In an introductory quasi recitativo
followers. After setting out the tone-row, the twelve notes are deployed (with added harmonies) in a Gavotte, before the notes spell out the Spanish words of the title, the phrases punctuated with loud staccato chords. The opening
being inverted and retrograded in the usual manner of dodecaphonic practitioners. As well as Gavottes, two rhythm will be heard throughout in a Habanera, the popular Cuban dance with its seductive movement, which
Musettes are added, mocking modern dissonance in a playful manner. constitutes the main feature of the work. A short quasi cadenza section provides a moment of animated contrast
before the return of the Habanera, expressive and sad.
8.572252-53 18 11 8.572252-53
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VII. Estan calientes (They are hot) (Plate No. 13) XVI. Brabsimo! (Bravissimo!) (Plate No. 38)

Goya portrays the elements of greed as the gluttons gobble down their hot food with no restraint or manners. Their
antics are expressed musically by means of an opening Bourre, rude e animato, imparting concepts of caricature
and mockery. A middle section in the tempo of a Galliard contrasts against a reprise of the Bourre. A second
Galliard brings in a high staccato melody descending to soft rhythmic chords played con spirito.
This picture of a monkey performing on a guitar to a donkey is a satire on authority and politicians. In the music the
listener is invited to imagine the material the monkey is performing. The piece begins with a very fast repeated note
motif before an Allegretto moderato tempo introduces a Serenade, grotesque and a little like a caricature. This
gives way to a lively episode exploiting the single note concept of the opening. The recapitulation expresses the
sentimental side of the Serenade as well as utilising the repeated notes, bringing together the dual aspects of the
work.

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XVII. De que mal morira? (Of what ill will he die?) (Plate No. 40) VI. El amor y la muerte (Love and death) (Plate No. 10)

This striking picture illustrates Goyas detestation of the ignorant doctors of his day whose treatment often killed the
patient. The donkey feels the pulse of the dying man but does not know the actual nature of the illness. The music,
marked Funebre (Funereal), opens with a drumming dirge. A plaintive melody, fluttering like a weak pulse, is
heard, followed by a Funeral March for a Marionette with staccato bass. The melodic elements are explored at
length before the return of the March. The coda, lento morente (slow dying), expresses the patients final moments
before the deadly drum ends the proceedings.
In this picture a girl embraces a dying man whose duelling sword lies on the ground. The composer expresses the
drama in a Tempo di Tango, heavy and tragic, beginning with rhythmic chords followed by a plaintive, descending
motif. Between them these elements represent the false bravado of the man and the grief of the lover. A middle
section, un poco agitato, features a poignant melody marked at one point, expressive and desolate in the manner of
recitativo. The final bars represent the last painful convulsions of the mortally wounded duellist.

8.572252-53 20 9 8.572252-53
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V. Muchachos al avo (The boys getting ready) (Plate No. 11) XVIII. El sueo de la razn produce monstruos (The sleep of reason produces monsters) (Plate No. 43)

By their dress these boys are identified as bandits or smugglers about to undertake their nefarious activities. The Among Goyas most famous images, this has been considered as one of the artists self-portraits. The man, either
work is in the tempo of the Villancico, originally a Spanish rustic dance from the late fifteenth century. The dotted sleeping or dreaming (sueo in Spanish carries both meanings), is surrounded by evil-looking owls, a sinister lynx
rhythms enact the swaggering gait of the robbers. Castelnuovo-Tedesco injects an element of humour into this with pointed ears, and bat-like creatures. The music takes the form of a short Chaconne with five variations.
movement as the painter confronts straightforward roguery, unlike the subtle but equally corrupt hypocrisies of Variation 1 deploys rapid arpeggios accompanying the Chaconne theme. Variation 2 moves into triplet patterns
social existence depicted elsewhere. while Variation 3 uses the Chaconne in the bass against treble scale passages. The next Variation brings the theme
back into the treble against a busy accompaniment before Variation 5, marked con fuoco (with fire) offers a chordal
exploration in quavers of the insistent theme. The final recapitulation is very slow and solemn.
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XIX. Hilan delgado (They spin finely) (Plate No. 44) IV. Ni asi la distingue (Even so he cannot make her out) (Plate No. 7)

An old woman with a long neck spins yarn observed by two equally grotesque companions. To the right are several
babies suspended from the ceiling. This piece, marked rapid and sinister (like a macabre spinner), follows the
tradition of music (including works by Schubert, Mendelssohn, Wagner, Saint-Sans and others), enacting the
ancient art of spinning. The perpetual motion is paused only for a sinister, misterioso interlude before the activity
resumes.
The gentleman in the picture is unable to establish exactly what kind of woman he is talking to, another instance of
Goyas fascination with the deceptiveness of social appearances and human relationships. Castelnuovo-Tedesco
expresses these ambiguities through Allegretto mosso, pettegolo e manierato: Tempo di Badinage, meaning fairly
quick, gossipy and affected, in the Tempo of Jesting Talk. The mood is established by rapid semiquavers and
agitated movement.

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III. Nadie se conoce (Nobody knows himself) (Plate No. 6) XX. Obsequio a el maestro (Gift to the master) (Plate No. 47)

The key to this picture is the use of masks to hide identity, on the theme that society is governed by appearances.
Goya himself commented that Everybody tries to pretend to be something they are not, they all cheat and no one
knows. The piece, Allegretto con spirito, is in the tempo of the Furlana (sometimes called Forlana), a North Italian
dance in duple time (or six eight as here), associated with Venice. The dance originated in the Italian region of
Friulia, a Slavonic republic under the control of the Venetian Republic, hence the lively Slav-like rhythms.
The fawning disciples offer a new born baby to the teacher from whom they have learned their evil ways. Rather
than conjuring up images of depravity, Castelnuovo-Tedesco presents an introspective work through which, by
including themes from one of his early mentors, Ildebrando Pizzetti (1880-1968), he presents his own gift to a
Master.

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XXI. Qu pico de oro! (What a golden beak!) II. Tal para qual (Two of a kind) (Plate No. 5)
(Plate No. 53)
The atmosphere here is of a shameless couple flirting ostentatiously, observed by two old women. The title suggests
A parrot speaks to a a group of allegedly learned men who are entranced by the birds eloquence. In a lively Gigue, that both partners are equally to blame for improper behaviour. The music opens with a short introduction, playful
the music imitates the short stilted utterances of the parrot. A contrasting section, marked burlesque, appears twice and mocking, followed by a rhythmic passage leading to Tempo di Fandango. A central section brings in a more
while the coda provides an ironically triumphant finale. tender mood before the Fandangos reprise. Then comes a passage marked very expressive with false sentiment,
and a brief coda recalls the opening motif.

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I. Francisco Goya y Lucientes, Pintor (Francisco Goya y Lucientes, Painter) (Plate No. 1) XXII. Volaverunt (Off they flew) (Plate No. 61)

This provides a portrait of the painter. Castelnuovo-Tedescos sequence thus begins with Preamble, founded on a
musical motto on Goyas name, presenting a picture of a debonair, self-assured personality. Then comes a three part
Fugue (Allegretto moderato) with a central section somewhat in the style of a March. The ending, a repetition of
Goyas name, this time in fortissimo octaves, is marked sustained and pompous.
Volaverunt, derived from the Latin, expresses a sense of total loss. Goya described the picture as The group of
witches who act as a support to this fashionable fool is more of a decoration than a necessity. Some heads are so
swollen with gas that they can fly without the aid of balloons or witches. The person borne aloft is the Duchess of
Alba, representing the inconstant nature of women. The composition is a study in triplets, rapid and light, its
perpetual motion evoking the incessant rapidity of the upward flight.

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Mario Castelnuovo-Tedesco (1895-1968)
24 Caprichos de Goya for Guitar, Op. 195
Mario Castelnuovo-Tedesco was born in Florence and
studied composition and piano at the Istituto Musicale
Cherubini and later at the Liceo Musicale of Bologna.
His teachers were Pizzetti and Casella, members of the
influential and progressive Societ Italiana de Musica, a
group of influential composers with whom
Castelnuovo-Tedesco became closely associated.
Castelnuovo-Tedescos interest in writing for the guitar
began with his introduction to Andrs Segovia, who had
travelled to Italy with Manuel de Falla, at the Venice
International Festival in 1932. As a result he was to
compose over a hundred works for the instrument,
including concertos, chamber music, many solos and
some of the finest pieces for two guitars, these last
inspired by the illustrious French duo, Ida Presti and
Alexandre Lagoya. In 1939, as a result of Mussolinis
anti-Jewish edicts, Castelnuovo-Tedesco was obliged to
seek refuge abroad, but after settling in California he
became a prolific writer of film music between 1940
and 1956, in the same period composing more than
seventy concert works. As a member of the faculty of
the Los Angeles Conservatory of Music, he numbered
among his pupils Henry Mancini, Nelson Riddle, Andr
Previn, and the composer, John Williams.
XXIII. Linda maestra! (Pretty teacher!)
(Plate No. 68)
Goya returns to the theme of witchcraft, using the time-honoured image of the broomstick as a means of black
magic transportation. Marked Presto (like a witchs ride), the music is reminiscent of Castelnuovo-Tedescos
Tarantella, (written in 1936 for Segovia), with its six-eight time and galloping rhythms. Despite the connotations of
witchcraft, the ride that the composer offers is most enjoyable and spiced with sardonic humour.
8.572252-53 26 3 8.572252-53
The great Spanish painter, Francisco Goya (1746-
1828) was appointed Court Painter to Charles IV in
1789. In 1792 he retreated to Cadiz for several months
when illness brought about severe deafness, but on his
return to Madrid in 1797 he resumed his activities,
becoming First Court Painter in 1799. Around this time
he began etching his sequence of eighty Caprichos
(Caprices). Following Napoleons invasion of Spain,
Goya painted many vivid pictures of the atrocities of the
war as well as portraits of the Duke of Wellington. In
1824 he left Spain and spent the last few years of his life
in France.
Mario Castelnuovo-Tedesco selected 23 pictures
from Goyas Caprichos, and a further etching in similar
style, as inspiration for an extended sequence of guitar
solos, completing the work in 1961. The following notes
present possible interpretations of Goyas images (many
of which are profoundly ambiguous and function at
various symbolic and ironic levels of meaning), as well
as descriptions of the music accompanying each picture
(the number of the relevant plate is shown in brackets).
In Castelnuovo-Tedescos 24 Caprichos de Goya, Op.
195, the composer allows his own imagination and
artistic instincts to shape his individual response to each
work of art rather than following any facile
programmatic patterns.
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Mario
CASTELNUOVO-TEDESCO
(1895-1968)
24 Caprichos de Goya for Guitar, Op. 195
CD 1 39:05
1 I. Francisco Goya y Lucientes, Pintor (Francisco Goya y Lucientes, Painter) 3:50
2 II. Tal para qual (Two of a kind) 3:57
3 III. Nadie se conoce (Nobody knows himself) 2:02
4 IV. Ni asi la distingue (Even so he cannot make her out) 1:54
5 V. Muchachos al avo (The boys getting ready) 2:37
6 VI. El amor y la muerte (Love and death) 3:57
7 VII. Estan calientes (They are hot) 2:04
8 VIII. Dios la perdone: Y era su madre
(God forgive her: and it was her mother) 3:40
9 IX. Bien tirada est (It is nicely stretched) 2:59
0 X. Al Conde Palatino (To the Count Palatine) 2:51
! XI. Y se le quema la casa (And hes burning down the house) 2:45
@ XII. No hubo remedio (Nothing could be done about it) 6:28
CD 2 43:24
1 XIII. Quin ms rendido? (Which of them is more overwhelmed?) 2:34
2 XIV. Porque fue sensible (Because she was sensitive) 4:12
3 XV. Si sabr ms el discipulo? (Perhaps the pupil knows better?) 3:42 XXIV. Sueo de la mentira y inconstancia (Dream of lying and inconstancy)
4 XVI. Brabsimo! (Bravissimo!) 2:50
5 XVII. De que mal morira? (Of what ill will he die?) 4:56 Though not one of the eighty Caprichos, this picture is in similar style and technique. It depicts two-faced women
without fidelity surrounded by several grotesque figures, complete with a foreground snake signifying treachery.
6 XVIII. El sueo de la razn produce monstruos Naturally there is surmise that the man to the left of the picture is Goya himself and that the woman near him is the
(The sleep of reason produces monsters) 5:15 Duchess of Alba, but this is where legend and history become blurred and the precise biographical facts behind the
7 XIX. Hilan delgado (They spin finely) 3:24 picture remain more in the realm of conjecture than certainty. The climax of Castelnuovo-Tedescos Caprichos de
Goya is an extended work, comprising a Fantasia and Fugue. The Fantasia, with its flowing arpeggios divided by
8 XX. Obsequio a el maestro (Gift to the master) 3:43 quieter moments of recitativo, contains certain characteristics of the last movement of the composers Sonata,
9 XXI. Qu pico de oro! (What a golden beak!) 2:31 Omaggio a Boccherini, Op. 77 (written for Segovia in 1934). The Fugue, marked thoughtful and melancholic, is
0 XXII. Volaverunt (Off they flew) 1:47 very succinct leading to further bursts of arpeggio patterns and a momentary reprise of the Fantasia, expressive and
sad. This composition appropriately concludes with a coda marked pomposo e solenne, where the strident octaves
! XXIII. Linda maestra! (Pretty teacher!) 3:03 refer to the ending of the first piece of the entire set, the portrait of Goya himself.
@ XXIV. Sueo de la mentira y inconstancia (Dream of lying and inconstancy) 5:27 Graham Wade

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Zoran Dukic
Born in Zagreb in 1969, the guitarist Zoran Dukic has a busy
schedule in performing, teaching, recording and publishing. He
is a professor at the music academies in Barcelona and The
Hague and has himself studied with Darko Petrinjak and
Hubert Kppel. He is the only guitarist to have won both
Andrs Segovia competitions in Granada and in Palma de Mario
Mallorca. Between 1990 and 1997 he won an astonishing
number of other competitions, including those dedicated to
Fernando Sor, Manuel Ponce, Manuel de Falla, and Francisco CASTELNUOVO-
Trrega. These, in addition to his unique expressiveness and
poetry on the guitar, launched his worldwide career, bringing
him unrivalled distinction among contemporary guitarists.
TEDESCO

24 Caprichos
de Goya

Huge thanks to Norbert Kraft for his ideas and inspiration,

Photo: Mario Majcan
Darko and the patient audience from Doctor Dou.
Zoran Dukic,
Guitar
Dedicated to Eva.

2 CDs
8.572252-53 28
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Also available
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NAXOS

NAXOS
With its grotesque cast of supernatural beings and subhuman characters, the satirical etchings
of Francisco Goyas Los Caprichos (1799) portray the sufferings of 18th century Spain in some
of Western arts most influential images. Originally conceived for Andrs Segovia, Mario
Castelnuovo-Tedescos 24 Caprichos de Goya has seldom been recorded complete, as it is here by
Croatian guitarist Zoran Dukic, whose spectacular virtuosity, profound musicianship and 8.572252-53
artistic maturity have won him more first prizes in international competitions than anyone else
CASTELNUOVO-TEDESCO: 24 Caprichos de Goya

CASTELNUOVO-TEDESCO: 24 Caprichos de Goya

in the world. DDD
Mario Playing Time
CASTELNUOVO-TEDESCO 1:22:29
(1895-1968)

24 Caprichos de Goya for Guitar, Op. 195

CD 1
1-@ Caprichos Nos. 1-12 39:05

CD 2

www.naxos.com
Disc made in Canada. Printed and assembled in USA.
Booklet notes in English
 &  2009 Naxos Rights International Ltd.
1-@ Caprichos Nos. 13-24 43:24

Zoran Dukic, Guitar

A detailed track list can be found on page 2 of the booklet
Recorded at St. John Chrysostom Church, Newmarket, Ontario, Canada,
on 15th, 16th, 24th and 25th May, 2008
Producers: Norbert Kraft and Bonnie Silver Engineer and editor: Norbert Kraft
Booklet notes: Graham Wade Publisher: Berben Guitar by Daniel Friederich, Paris
Cover image: The Sleep of Reason Produces Monsters, plate 43 of Los Caprichos,
by Francisco Jos de Goya y Lucientes (1746-1828)
8.572252-53

8.572252-53
(Bibliothque Nationale, Paris, France / Archives Charmet / The Bridgeman Art Library)
The booklet also includes reproductions of the 24 Goya etchings which inspired
Castelnuovo-Tedescoss Caprichos (Private Collection / The Bridgeman Art Library )