with who

it evolved a life itstyle,

first played a styleThe
in 1953. notPreludio
yet itlike
the was to thinkreborn.
classical the
guitar fifties
became was the period
renewed, when
aRoberto
contradictions.
In
hymn
all, dramatic
the
traditional
!talentto
His
never Kammermusik,
interludes
instruments.
Tentos
is
German
scored
Setting
cle
set
brilliantly
harmonics.The
revolt.
discovery,
and
use
My
Father,
the
people
down-and
forced
rated aonly
of knew
time
fifties
itUnfortunately,
showedwhite,for
Cantares,
to contrast
It"In
the
the
intomyAde
obvious
was
his
by
with Falla.
Gerhard
research
middle talent
spaced
terranean
guitar
neo-classic
fluenced
for
music
fine
The
pointed
follow ain
The
tenor,
plucked
lieblicher
principle
rejection
of
a
arpeggio,
marked
in
Spanish
Spanish
the
York
composed firstto
Maurice
time
guitar
were
brother
right
foreign
outs,
grey-scale.
squalor,
political its
existed. allusions
solo
composed
idiomatic
composers into
like
section
fiercelyA
anticipation.
its
Cuban
1950. and
years
ordinary
bom
Spain studied
of
seeking
inof
of
and B
between
piece
Fantasia
with
the
out his and
poet
words medieval
Hans
A
itwritten
serve
guitar
work
percussive-isform,
Pictures
Africanto
in
Friedrich
comes
expressive
great was
momentum in
guitar aas
as
and
Manuel
independent
Blaue",
ahana
the
family
brings
aand
composer
lands.
exile for
guitarist
his
showed
The Zodiaque
established
explosive
highly
wrong.
with
Cuban
It
lost
in sister.
men
showed
Preludio
1938. with
Werner
Molto the
in
andthe
character
us but
Naples
setting
a of and
Paris
original
Mother
back
Pictures
piece
himguitar
composer
with
and
Jose A
things
His
aswas Arnold
music
vivace
verses.
instrumental
1957. music,
composer.
eight
initially
and writing.the ancient
Henze.
makes
1958,
heroes,
of
Holderlin's
natural
chords
scales
Itandtheir
ydesolo,
group,
schools
most
showed
time
to
women,
enough
show-
glamour,
Fantasia
he
Rey
Danza the
other
thought
elabo- of
-,
strongly
and
Falla.to
are The
music Manuel
Medi-in-
Tiento, of
ism,aswhile
an interlude
Schoenberg in Gerhard's
thein polymetric
Vienna was song-cy-
andDanza, perhaps
All decades leave imprints, thoughts and
3
ing
music
a new
fifties
Composers
gressing
tential
creativity
As the
for was
had
theof world
lease written
fromthe
the of
declared
and
guitar, and
back and
life.
vision
instrument,
breaking
the real
the
I'dto
there
their
fifties life,
like
foresee
to despair
instrumentfound
to
interest,
to
new
were up
see think
the
here. figure
territory.
years Drei
1947.
itshows
and
way.
and
the
po-
new has
of
of
I'd
pro-of and
impression-
Julian
black
dedicated
was
de some
ahana
founded
thought
chords
laaarbOn,
in lot
Torre,
Newhis
of
in
to is more
with who
it evolved a life itstyle,
first played a styleThe
in 1953. notPreludio
yet itlike
the was to thinkreborn.
classical the
guitar fifties
became was the period
renewed, when
aRoberto
contradictions.
In
hymn
all, dramatic
the
traditional
!talentto
His
never Kammermusik,
interludes
instruments.
Tentos
is
German
scored
Setting
cle
set
brilliantly
harmonics.The
revolt.
discovery,
and
use
My
Father,
the
people
down-and
forced
rated aonly
of knew
time
fifties
itUnfortunately,
showedwhite,for
Cantares,
to contrast
It"In
the
the
intomyAde
obvious
was
his
by
with Falla.
Gerhard
research
middle talent
spaced
terranean
guitar
neo-classic
fluenced
for
music
fine
The
pointed
follow ain
The
tenor,
plucked
lieblicher
principle
rejection
of
a
arpeggio,
marked
in
Spanish
Spanish
the
York
composed firstto
Maurice
time
guitar
were
brother
right
foreign
outs,
grey-scale.
squalor,
political its
existed. allusions
solo
composed
idiomatic
composers into
like
section
fiercelyA
anticipation.
its
Cuban
1950. and
years
ordinary
bom
Spain studied
of
seeking
inof
of
and B
between
piece
Fantasia
with
the
out his and
poet
words medieval
Hans
A
itwritten
serve
guitar
work
percussive-isform,
Pictures
Africanto
in
Friedrich
comes
expressive
great was
momentum in
guitar aas
as
and
Manuel
independent
Blaue",
ahana
the
family
brings
aand
composer
lands.
exile for
guitarist
his
showed
The Zodiaque
established
explosive
highly
wrong.
with
Cuban
It
lost
in sister.
men
showed
Preludio
1938. with
Werner
Molto the
in
andthe
character
us but
Naples
setting
a of and
Paris
original
Mother
back
Pictures
piece
himguitar
composer
with
and
Jose A
things
His
aswas Arnold
music
vivace
verses.
instrumental
1957. music,
composer.
eight
initially
and writing.the ancient
Henze.
makes
1958,
heroes,
of
Holderlin's
natural
chords
scales
Itandtheir
ydesolo,
group,
schools
most
showed
time
to
women,
enough
show-
glamour,
Fantasia
he
Rey
Danza the
other
thought
elabo- of
-,
strongly
and
Falla.to
are The
music Manuel
Medi-in-
Tiento, of
ism,aswhile
an interlude
Schoenberg in Gerhard's
thein polymetric
Vienna was song-cy-
andDanza, perhaps
All decades leave imprints, thoughts and
3
ing
music
a new
fifties
Composers
gressing
tential
creativity
As the
for was
had
theof world
lease written
fromthe
the of
declared
and
guitar, and
back and
life.
vision
instrument,
breaking
the real
the
I'dto
there
their
fifties life,
like
foresee
to despair
instrumentfound
to
interest,
to
new
were up
see think
the
here. figure
territory.
years Drei
1947.
itshows
and
way.
and
the
po-
new has
of
of
I'd
pro-of and
impression-
Julian
black
dedicated
was
de some
ahana
founded
thought
chords
laaarbOn,
in lot
Torre,
Newhis
of
in
to is more
 As far as we know, Andres Segovia never Like Krenek, American composer Lou in the middle section by a very elegant
played the Segoviana by Darius Milhaud. Harrison is versatile. His work covers a melodic dance, followed by a return to
A shame, as the piece holds a lot of wide range - from European once avant- the main theme and a fade away of mo-
At the round
Segovianesque ways of using the guitar. garde twelve-tone music to musical modes, notony. crossroads,
It was written as an improvised Sarabande rhythms and instruments of the Orient. six rnaidem
"Avec Fantaisie", according to the instruc- "There are very few, except small pieces, dance.
Afro-Cuban folklore is immediately rec-
tions of the composer. that I would write out spontaneously to ognizable in the Danza Caracteristica by Three a/flesh,
the end", says Harisson. The Serenade is the Cuban guitarist--<omposer Leo Brouwer. three a/silver.
Andres Segovia had a constant longing possibly one of his few pieces written this The imitation of the basic conga rhythms the dreams a/yesterday searchfOr them,
for composing and when convalescing from way, since the heading above the title says: in opening of the piece and the use of but they are held embraced
an eye operation, he composed his lovely 'This "Serenade" for guitar was written the well known Conga theme Quitate de by a poly/emus a/gold.
Estudio sin luz. The guitar!
for Frank Wigglesworth as a part of a pri- la acera , in the slow middle section, is

4 vate letter to him. I hope that he will not intended to give an impression of the Cuban
Perhaps the finest example of twelve-tone carnival.
5
mind my making public a portion of our
music for guitar that we have, is the Suite correspondence! '
fijrGitarre allein by the Austrian composer Federico Garcia Lorca's poem,Adivinanza
Emst Krenek. Krenek emigrated to the United For the French composer Henri Sauguet de la Guitarra, was written as a part of a Only eighteen years old, the well known
States in 1938 when Hitler invaded Vi- the correspondence with Darius Milhaud American rock guitarist and composer Frank
set called Seis Caprichos, dedicated to the
enna. The Suite was written in Los Ange- was of vital importance. Milhaud encour- guitarist Regino Sainz de la Maza. The poem Zappa wrote his little Waltz for Guitar. It's
les 19 years later. The music is built around aged Sauguet to move to Paris where his was the main source of inspiration forthe a short piece, written in twelve-tone, and
two lyrical Arias, standing in contrast to career proceeded smoothly and harmo- English composer Reginald Smith-Brindle's later incorporated in the collage tune 'Brown
the sharp and aggressive character of the shoes don't make it' on the album 'Abso-
niously, mainly writing ballet music. His Polifemo de Oro, written in 1956. The piece
first and the last movements. The dance- first piece for the guitar, The Soliloque written is written in close relation to Lorca's text lutely free', in 1967.
like third movement, in-between the Arias, in memory of Manuel de Falla, is a mur- and the four movements can be seen to Gunnar Spjuth J 999
has a particular delicate elegance. muring, introvert piece of music, interrupted coincide with the four stanzas of the poem:
 As far as we know, Andres Segovia never Like Krenek, American composer Lou in the middle section by a very elegant
played the Segoviana by Darius Milhaud. Harrison is versatile. His work covers a melodic dance, followed by a return to
A shame, as the piece holds a lot of wide range - from European once avant- the main theme and a fade away of mo-
At the round
Segovianesque ways of using the guitar. garde twelve-tone music to musical modes, notony. crossroads,
It was written as an improvised Sarabande rhythms and instruments of the Orient. six rnaidem
"Avec Fantaisie", according to the instruc- "There are very few, except small pieces, dance.
Afro-Cuban folklore is immediately rec-
tions of the composer. that I would write out spontaneously to ognizable in the Danza Caracteristica by Three a/flesh,
the end", says Harisson. The Serenade is the Cuban guitarist--<omposer Leo Brouwer. three a/silver.
Andres Segovia had a constant longing possibly one of his few pieces written this The imitation of the basic conga rhythms the dreams a/yesterday searchfOr them,
for composing and when convalescing from way, since the heading above the title says: in opening of the piece and the use of but they are held embraced
an eye operation, he composed his lovely 'This "Serenade" for guitar was written the well known Conga theme Quitate de by a poly/emus a/gold.
Estudio sin luz. The guitar!
for Frank Wigglesworth as a part of a pri- la acera , in the slow middle section, is

4 vate letter to him. I hope that he will not intended to give an impression of the Cuban
Perhaps the finest example of twelve-tone carnival.
5
mind my making public a portion of our
music for guitar that we have, is the Suite correspondence! '
fijrGitarre allein by the Austrian composer Federico Garcia Lorca's poem,Adivinanza
Emst Krenek. Krenek emigrated to the United For the French composer Henri Sauguet de la Guitarra, was written as a part of a Only eighteen years old, the well known
States in 1938 when Hitler invaded Vi- the correspondence with Darius Milhaud American rock guitarist and composer Frank
set called Seis Caprichos, dedicated to the
enna. The Suite was written in Los Ange- was of vital importance. Milhaud encour- guitarist Regino Sainz de la Maza. The poem Zappa wrote his little Waltz for Guitar. It's
les 19 years later. The music is built around aged Sauguet to move to Paris where his was the main source of inspiration forthe a short piece, written in twelve-tone, and
two lyrical Arias, standing in contrast to career proceeded smoothly and harmo- English composer Reginald Smith-Brindle's later incorporated in the collage tune 'Brown
the sharp and aggressive character of the shoes don't make it' on the album 'Abso-
niously, mainly writing ballet music. His Polifemo de Oro, written in 1956. The piece
first and the last movements. The dance- first piece for the guitar, The Soliloque written is written in close relation to Lorca's text lutely free', in 1967.
like third movement, in-between the Arias, in memory of Manuel de Falla, is a mur- and the four movements can be seen to Gunnar Spjuth J 999
has a particular delicate elegance. muring, introvert piece of music, interrupted coincide with the four stanzas of the poem:
 Gunnar Spjuth was born in 1952 and
obtained his diploma from the Malmo
Academy of Music in 1974. His teacher
at the college was Professor Per-Olof
Johnson. The following year Gunnar Spjuth
This recording is the result of an artistic research project
won the first prize in the guitar competi-
directed by Gunnar Spjuth and financed by
tion organized by the NordicAssociation,
the Malmo Academy of Music / Lund University, Sweden.
despite tough competition from guitar-
ists from all over the Nordic area. This prize,
Recorded at Studioborsen, Malmo
in conjunction with a grant from the Royal
Producer: Dragan Buvac
Swedish Academy of Music provided op-
Photos by Torsten Spjuth and Anders Mattsson
portunities for further study abroad.
Layout: dB Productions
6 He studied in London with, among oth-
7
ers, John W.Duarte, Diana Poulton and
Many Thanks to: Dragan Buvac, Angelo Gilardino, John W.Duarte and Hans Duvander
Anthony Rooley and in the summer of
1975, he was accepted to take part in dB Productions Sweden
Julian Bream's master class in Lucerne,
ing original Swedish music written espe- Box 60252
Switzerland.
cially for him. The record was nominated 21609 Malmo
Gunnar Spjuth performed in Stockholm for the Swedish Grammy Award in 1987. Sweden
for the first time at the Concert Hall in He has worked as a teacher at the Malmo
1976 and has since then appeared as soloist, Academy of Music since the autumn of http://www.db-productions.se
in various chamber music contexts and
1976. Apart from his teaching at the col- mail@db-productions.se
has made a number of programmes for lege, he has worked on several develop-
radio and television. He made his first record
ment projects including "Spanish piano
in 1986 with music by Spaniards music transcribed for the guitar" and
Albeniz and Granados, but also includ- "Modern guitar music".
 Gunnar Spjuth was born in 1952 and
obtained his diploma from the Malmo
Academy of Music in 1974. His teacher
at the college was Professor Per-Olof
Johnson. The following year Gunnar Spjuth
This recording is the result of an artistic research project
won the first prize in the guitar competi-
directed by Gunnar Spjuth and financed by
tion organized by the NordicAssociation,
the Malmo Academy of Music / Lund University, Sweden.
despite tough competition from guitar-
ists from all over the Nordic area. This prize,
Recorded at Studioborsen, Malmo
in conjunction with a grant from the Royal
Producer: Dragan Buvac
Swedish Academy of Music provided op-
Photos by Torsten Spjuth and Anders Mattsson
portunities for further study abroad.
Layout: dB Productions
6 He studied in London with, among oth-
7
ers, John W.Duarte, Diana Poulton and
Many Thanks to: Dragan Buvac, Angelo Gilardino, John W.Duarte and Hans Duvander
Anthony Rooley and in the summer of
1975, he was accepted to take part in dB Productions Sweden
Julian Bream's master class in Lucerne,
ing original Swedish music written espe- Box 60252
Switzerland.
cially for him. The record was nominated 21609 Malmo
Gunnar Spjuth performed in Stockholm for the Swedish Grammy Award in 1987. Sweden
for the first time at the Concert Hall in He has worked as a teacher at the Malmo
1976 and has since then appeared as soloist, Academy of Music since the autumn of http://www.db-productions.se
in various chamber music contexts and
1976. Apart from his teaching at the col- mail@db-productions.se
has made a number of programmes for lege, he has worked on several develop-
radio and television. He made his first record
ment projects including "Spanish piano
in 1986 with music by Spaniards music transcribed for the guitar" and
Albeniz and Granados, but also includ- "Modern guitar music".