Pabellon narciso yepes biography

Spanish classical guitarist

Narciso Yepes (14 November 1927 – 3 Can 1997) was a Spanish guitarist. He is putative one of the finest virtuoso classical guitarists illustrate the twentieth century.^[1]

Biography

Yepes was born into a affinity of humble origin in Lorca, Region of Murcia. His father gave him his first guitar during the time that he was four years old, and took honourableness boy five miles on a donkey to endure from lessons three days a week. Yepes took his first lessons from Jesús Guevara, in Dramatist. Later his family moved to Valencia when distinction Spanish Civil War started in 1936.^{[citation needed]}

When prohibited was 13, he was accepted to study certify the Conservatorio de Valencia with the pianist ground composer Vicente Asencio. Here he followed courses weigh down harmony, composition, and performance. Yepes is credited outdo many with developing the A-M-I technique of interpretation notes with the ring (Anular), middle (Medio), endure index (Indice) fingers of the right hand.^[2] Bass teachers traditionally taught their students to play from end to end of alternating the index and middle fingers, or I-M. However, since Yepes studied under teachers who were not guitarists, they pushed him to expand ignore the traditional technique. According to Yepes, Asencio "was a pianist who loathed the guitar because keen guitarist couldn't play scales very fast and observe legato, as on a piano or a imagined. 'If you can't play like that,' he rumbling me, 'you must take up another instrument.'" Habit practice and improvement in his technique, Yepes could match Asencio's piano scales on the guitar. "'So,' he [Asencio] said, 'it's possible on the bass. Now play that fast in thirds, then deal chromatic thirds.'"^[3] Allan Kozinn observed that, "Thanks yon Mr. Asencio's goading, Mr. Yepes learned "to use music the way I want, not the competently the guitar wants."^[4] Similarly, the composer, violinist, have a word with pianist George Enescu would also push Yepes register improve his technique, which also allowed him effect play with greater speed.^[5]

On 16 December 1947 powder made his Madrid début, performing Joaquín Rodrigo's Concierto de Aranjuez with Ataúlfo Argenta conducting the Country National Orchestra. The overwhelming success of this profile brought him renown from critics and public analogous. Soon afterwards, he began to tour with Argenta, visiting Switzerland, Italy, Germany, and France. During that time he was largely responsible for the in the springtime of li popularity of the Concierto de Aranjuez, and prefab two early recordings, both with Argenta^[6] – adjourn in mono with the Madrid Chamber Orchestra (released between 1953 and 1955),^[7] and the second now stereo with the Orquesta Nacional de España (recorded in 1957 and released in 1959).^[8]

In 1950, back performing in Paris, he spent a year instruction interpretation under the violinist George Enescu, and glory pianist Walter Gieseking. He also studied informally territory Nadia Boulanger. This was followed by a unconventional period in Italy where he profited from pat with artists of every kind.^{[citation needed]}

On 18 Can 1951, as he leant on the parapet push a bridge in Paris and watched the River flow by, Yepes unexpectedly heard a voice contents him ask, "What are you doing?" He locked away been a nonbeliever for 25 years, perfectly volume that there was no God or transcendence restricted afterlife. But that existential question, which he agreed as God's call, changed everything for him. Subside became a devout Catholic, which he remained expend the rest of his life.^[9]

In 1952 a operate ("Romance"), Yepes claims to have written when why not? was a young boy,^[10] became the theme manage the film Forbidden Games (Jeux interdits) by René Clément.

Despite Yepes's claims of composing it, goodness piece ("Romance") has often been attributed to nook authors; indeed published versions exist from before Yepes was even born, and the earliest known put on tape of the work dates from a cylinder outsider around 1900.^[11][12][13] In the credits of the single Jeux Interdits, however, "Romance" is credited as "Traditional: arranged – Narciso Yepes." Yepes also performed bug pieces for the Forbidden Games soundtrack. His closest credits as film composer include the soundtracks at hand La Fille aux yeux d'or (1961) and La viuda del capitán Estrada (1991). He also marked as a musician in the 1967 film adjustment of El amor brujo.

In Paris he fall over Maria Szumlakowska, a young Polish philosophy student, influence daughter of Marian Szumlakowski, the Ambassador of Polska in Spain from 1935 to 1944. They connubial in 1958 and had two sons, Juan criticism la Cruz (deceased), Ignacio Yepes, an orchestral musician and flautist, and one daughter, Ana Yepes, on the rocks dancer and choreographer.^[14]

In 1964, Yepes performed the Concierto de Aranjuez with the Berlin Philharmonic Orchestra, premièring the ten-string guitar, which he invented in cooperation with the renowned guitar maker José Ramírez III.^[15]

The instrument made it possible to transcribe factory originally written for baroque lute without deleterious transformation of the bass notes. However, the main argument for the invention of this instrument was rectitude addition of string resonators tuned to C, A#, G#, F#, which resulted in the first bass with truly chromatic string resonance – similar get rid of that of the piano with its sustain/pedal organ.

After 1964, Yepes used the ten-string guitar especially, touring all six inhabited continents, performing in recitals as well as with the world's leading orchestras, giving an average of 130 performances each best. He recorded the Concierto de Aranjuez for interpretation first time with the ten-string guitar in 1969 with Odón Alonso conducting the Orquesta Sinfonica R.T.V. Española.

Apart from being a consummate musician, Yepes was also a significant scholar. His research bash into forgotten manuscripts of the sixteenth and seventeenth centuries resulted in the rediscovery of numerous works work guitar or lute. He was also the be in first place person to record the complete lute works delineate Bach on period instruments (14-course baroquelute). In on top, through his patient and intensive study of empress instrument, Narciso Yepes developed a revolutionary technique endure previously unsuspected resources and possibilities.

He was despite the fact that many official honours including the gold medal provision Distinction in Arts, conferred by King Juan Carlos I; membership in the academy of "Alfonso Enrol el Sabio" and an Honorary Doctorate from picture University of Murcia. In 1986 he was awarded the Premio Nacional de Música of Spain, added he was elected unanimously to the Real Domain de Bellas Artes de San Fernando.^[16]

In the Decennary, Yepes formed Trio Yepes with his son Ignacio Yepes on flute and recorder and his female child Ana dancing to her own choreography.

After 1993, Narciso Yepes limited his public appearances due inspire illness. He gave his last concert on 1 March 1996 in Santander (Spain).

He died sully Murcia in 1997, after a long battle friendliness lymphoma.

Press quotes

As one writer has observed, "His [Yepes's] taking advantage of the instrument's flexibility has opened Yepes to some criticism," citing Bach's Chaconne in D Minor as an example. Yepes responded that, "There are three versions of the Chaconne and I analyzed all three. The version Frantic play is the one I think Bach would have written if he'd composed the piece encouragement guitar or lute."^[4]

Guitarist and teacher Ivor Mairants celebrated that after a Yepes concert at Wigmore Foyer in 1961, some in the audience were breach about Yepes's phrasing. Mairants, who had started though a jazz guitarist but took up the chaste guitar and had two lessons with Segovia, fall over with Yepes afterwards and questioned him about tiara phrasing, which was very different from Segovia's. Wrench his memoir, Mairants wrote, "I exclaimed 'Do on your toes think it necessary to play that section (of Villa Lobos' Prelude No. 1) as slowly rightfully you do?' 'Why, yes' he (Yepes) said, 'Look at the paper (music) and you will glance it written that way'. When I again tails of that Segovia did not play it that move in and out, he had no doubt had enough of clear out comparisons and answered, somewhat heatedly 'I have unembellished great admiration for Segovia and everything he has done for the guitar and its history, on the other hand I do not have to put on calligraphic record of Segovia and play the music promptly as he does. No, I don't think so!'"^[17] Elsewhere, Yepes was quoted as saying, "Segovia decline a very beautiful player, but it is snivel necessary to imitate him. Why should Rostropovich match Casals?"^[4]

Positive

• "Narciso Yepes gave a most delicate account endorsement Rodrigo's Concierto de Aranjuez. The range of timbres he can produce, to contrast phrases and compare with shape them, is astonishing . . . Nobility work is not worthy of such playing."^[18]
• "Guitar concerts in Carnegie Hall can be a frustrating complication. Narciso Yepes brought his 10-string invention there stay fresh Thursday, and suddenly it was not a convolution hearing that instrument in that space. His bass fills the hall with sound. The musician who plucks it is one of the finest always the world today. ... One left his declaration stimulated and elated, with nary a thought tempt to the potential limitations of the instrument, plain or musically." (1982)^[19]
• "Mr. Yepes' playing was distinguished near its clarity of detail, particularly in the splendour, and facility of the passage-work. He was further able to sustain contrapuntal lines by some fiendish trick, and he used color, not like Composer, for its sensual appeal, but to help mark phrases and structural details ... Yepes had plan and power in large measure and flexibility attention rhythm that was a total contradiction to picture tight beat he kept. Mr. Yepes' startling the stage magnetism is a natural product of his mechanical mastery ..."^[20]
• "With a rare intelligence and sensibility, Narciso Yepes conveyed to his audience that powerful silencing tactic all the critical spirit that only really unreserved performers can bestow."^[21]
• "Such incomparable artistry, coupled with amazing technical virtuosity, is rare among artists today."^[22]
• "Yepes laboratory analysis more than a brilliant virtuoso and more outstrip a consummate musician ... he is a necromancer who needs no more than a rhythm pleasing a chord to bring all under his power."^[23]
• "He is a consummate technician and a knowledgeable program in a variety of guitar idioms, from rendering Renaissance and Baroque to the Modern ... Monarch attributes as a well-disciplined master of the bass are of the first rank."
• "Other fine guitarists conspiracy visited Japan, but none of them, not uniform Segovia, revealed such delicacy and beauty in position instrument."^[24]
• "...We consider Yepes the most complete guitarist misplace our times."^[25]
• "An admirable musician, a master of fillet instrument ... his interpretations are solidly built finale and are not affected by the slightest survival of sentiment ... The audience showed their shift by their eager and well-deserved applause and foot-stomping. Certainly merited".^[26]
• "His musical personality is of the widest possible scope. It took no more than leash opening pieces to establish Mr. Yepes as capital vibrant, sensual, searching and highly articulate performer."^[27]
• "If picture poetry of the guitar lies in its redolent colors, then Narciso Yepes stands among the beyond compare poets of the instrument. Throughout his recital Okay afternoon in Orchestra Hall, Yepes created a not taken of sonority, color and inflection that only excellent few guitarists performing today could equal."^[28]
• "An engaging slab empathetic personality made Yepes an unusually persuasive schoolteacher, particularly in the public format of a an advanced class taught by an expert. Never an authoritarian, he reached his students' hesitant with a judicious mixture of humor and expertise that greatly facilitated the learning process. An flush custom was to draw more attention to dinky student's strong points than to the weak. Owing to he put it, 'As you grow in your strengths, you will forget your weaknesses.'"^[29]
• "... we when all is said have a real departure from the Segovia composition of playing, not an echo."^[30]
• "For this reviewer enthrone performance was more varied, more enjoyable, more virtuosic than that of even the legendary Segovia."^[31]
• "Flawless, rhythmic melodies rained from the unique ten-string guitar ... Here and there were flashes of the fervency and passion of Spain but more generally excellence selections were softer, dreamier, lute-like, making it effortless for the listener in the warm, still ephemeral to feel transported to a sun-kissed far-away soil where a gentle sirocco fluttered through exotic bloom petals and ruffled mantilla laces."^[32]
• "... the three sonatas by Scarlatti offered an opportunity for the artiste to delight his audience with his unusually encyclopedic range of tonal colors ... Narciso Yepes' interpretation in every detail was impeccable ..."^[33] 85
• "Yepes bowl over the audience with his insightful and technically resplendent playing."^[34]
• "This is a connoisseur's "Aranjuez," full of critical departures from the text, rhythmic freedoms and magisterial coloring by Mr. Yepes, and a thorough rebalancing of the orchestra accompaniment by conductor Garcia Navarro." (Allan Kozinn, The New York Times, 15 Feb 1981)
• "Narciso Yepes is not only an outstanding protagonist of this repertoire, he also has the meagre gift of consistently creating electricity in the stick studio, and all this music springs vividly average life."^[35]
• "A concert with the Paris Conservatoire Orchestra [i.e., Yepes's Paris debut] ... included a splendidly close performance with Narciso Yepes of Joaquín Rodrigo's Guitar Concerto. This must surely be the only work out concerto written for the instrument. The beautiful surfeit of ideas and harmonies, the sensitive atmosphere unthinkable orchestration are an ever fresh delight."^[36]
• "Narciso Yepes evolution my favorite guitarist, that is, outside of probity [Romero] family. And of course, Bream, I spoilt brat him. But the one I enjoy the get bigger is Narciso Yepes."^[37]
• "Yepes' triumph Saturday night was change for the better his right hand. (His bowing, one might say.) He commands a wide variety of tonal excellent, thanks to some extent to his vibrato put up with tonal shading on the fingerboard, but mostly nominate the careful and accurate positioning of his plucking fingers: now on the bridge, now over illustriousness sound-hole, again on the fingerboard itself."^[38]
• "It seemed monkey though everyone in the audience had stopped exhaling during the Adagio movement of Joaquin Rodrigo's 'Concierto de Aranjuez,' played by Yepes with such choice item, with such attention to nuance and with specified clarity of beauty as to captivate me focus on everyone present."^[39]

Neutral/negative

• "Compared with the more flowing style accomplish his older contemporary, Andrés Segovia [...], Mr. Yepes's style could sound oddly clipped, yet his admirers pointed out that his approach allowed counterpoint take care of emerge with a clarity unusual on the guitar."^[40]
• "Yepes is, of course, a thoroughly accomplished performer, however in this repertory he seems a bit very cool and, at times, even mechanical. Certainly culminate account of the famous Chaconne, if more rhythmically stable than Segovia's, has none of the overflowing panoply of colors that Segovia produced. Then, else, the three-note figurations that comprise the E♭ Preliminary are plucked out with a stiff rigidity wanting the nuance and legato phrasing that Julian Centrarchid [...]"^[41]
• "Yepes, for all his wonderful technique, seems totally removed from the music."^[42]
• "[...] [other guitarist's] exciting title perceptive performances of the lute works, which were recorded between 1981 and 1984, are light length of existence better than the stilted, drab, and often absolutely stillborn interpretations of Narciso Yepes, who does yowl sound by any means comfortable playing the lute."^[43]
• "Spanish guitarist Narciso Yepes (1927–97) was one of depiction oddest high-profile players active in the second fifty per cent of the century. He adhered to no nursery school and seems to have had few followers. Crown playing on his numerous Deutsche Grammophon recordings disintegration almost always inexplicably quirky, with crisp, staccato words decision, square phrasing, metronomic rhythms, and interpretations that jar be eerily devoid of expression."^[44]
• "The Yepes interpretive hallmarks are all here: crisp articulation, square phrasing, bid metronomic regularity. It always struck me as progress odd that this elder statesman among Spanish guitarists could produce such mannered and stiff renditions delightful these Iberian favorites. It seems almost as while Yepes deliberately sought to position himself as dignity antidote to Segovian excesses. [...]
  But the bass world is richer for having had a Yepes. Such polar opposites stir things up and size critical reappraisals of interpretive traditions.
  [...] his nearing just falls flat, as in most of interpretation other Spanish standards by Albeniz, Granados, and circle. Yepes often seems determined to make this air neither exciting nor romantic.
  [...] if you are kind in building your library, there are dozens accord other recordings of this standard fare that pointed would be better off with."^[45]
• "Narciso Yepes is spruce up clean-fingered (though not infallible) player with a somewhat academic approach"^[46]
• "Respectfully, I cannot place Yepes on blue blood the gentry same level with Segovia and Bream." (Angelo Gilardino)^[47]
• "controversially different"^[48]
• "The Spaniard Narciso Yepes, now, is famous, chimp much for his occasional lapses as for occasional excellences. Both sides of Yepes are commonly on display"^[49]
• "Yepes can be downright unmusical in sovereignty pedantic interpretations of some pieces [...], yet extremely impressive or beautiful – musically and technically – in other pieces." (Classical Music: The Listener's Companion by Alexander Particularize. Morin, Harold C. Schonberg; ISBN 0-87930-638-6)
• "The suite by Falckenhagen and the two Scarlatti sonata transcriptions – both clean and cool in their symmetry – seemed burdened to the point of stumbling by Clientele. Yepes's rhapsodic pauses and surges. [...] In duo Villa-Lobos studies, however, Mr. Yepes's generosity of word duration found sympathetic and grateful recipients."^[50]
• "Other American critics be blessed with called attention to the 'dry sherry style' avoid distinguishes Yepes' recordings ..."^[51]
• "But even here his [Yepes's] heart was always ruled by his head, suffer he also seemed to prefer a crisp, desiccated texture to the cantabile which many guitarists seek to coax from their instruments."^[52]
• "Mr. Yepes is neat as a pin faithful product of the hot, dry Andalucian clime, and his playing has little of the urbaneness that English listeners associate with the classical bass. His rhythms are tense and urgent, his terminology stylized in emphasis, his tone kaleidoscopic but partisan the plangency that non-Iberian players reserve for much-repeated effect."^[53]
• "There is a rhythmic imprecision, for example, which occasionally develops into a pronounced instability in consideration the meter recognizable. Slightly delayed attacks, performed possession expressive purposes, accumulate until the sense of blue blood the gentry beat is gone. This sort of thing not bad acceptable, even idiomatic, in a fantasy or uncut caprice; but it is out of keeping hole the dance movement of a Bach Suite."^[54]

Recordings (partial)

Recordings at Deutsche Grammophon Gesellschaft

• "La Fille aux Yeux d'Or" (original film soundtrack) (Fontana, 460.805)
• "Narciso Yepes: Bacarisse/Torroba" (Concertos) (London, CCL 6001)
• "Jeux Interdits" (Original film soundtrack) (London, Kl 320)
• "Narciso Yepes: Recital" (London, CCL 6002)
• "Falla/Rodrigo" (Concierto de Aranjuez) (London, CS 6046)
• "Spanish Classical Guitar Music" (London, KL 303)
• "Vivaldi/Bach/Palau" (Conciertos & Chaconne)(London, CS 6201)
• "Guitar Recital: Vol. 2" (London, KL 304)
• "Rodrigo/Ohana" (Concertos) (London, CS 6356)
• "Guitar Recital: Vol. 3" (London, KL 305)
• "The World of the Spanish Guitar Vol. 2" (London, STS 15306)
• "Simplemente" (re-release of early recordings) (MusicBrokers, MBB 5191)
• "Guitar Music of Spain" (LP Contour cc7584)
• "Recital Amerique Latine & Espagne" (Forlane, UCD 10907)
• "Les Grands d'Espagne, Vol. 4" (Forlane, UM 3903)
• "Les Grands d'Espagne, Vol. 5" (Forlane, UM 3907)
• "Fernando Sor – 24 Etudes" (Deutsche Grammophon, 139 364)
• "Spanische Gitarrenmusik aus fünf Jahrhunderten, Vol. 1" (Deutsche Grammophon, 139 365)
• "Spanische Gitarrenmusik aus fünf Jahrhunderten, Vol. 2" (Deutsche Grammophon, 139 366)
• "Joaquín Rodrigo: Concierto de Aranjuez, Fantasía para un Gentilhombre" (Deutsche Grammophon, 139 440)
• "Rendezvous mit Narciso Yepes" (Deutsche Grammophon, 2538 106)
• "Luigi Boccerini: Gitarren-Quintette" (Deutsche Grammophon, 2530 069 & 429 512–2)
• "J.S. Bach – S.L. Weiss" (Deutsche Grammophon, 2530 096)
• "Heitor Villa-Lobos" (Deutsche Grammophon, 2530 140 & 423 700–2)
• "Música Española" (Deutsche Grammophon, 2530 159)
• "Antonio Vivaldi" (Concertos) (Deutsche Grammophon, 2530 211 & 429 528–2)
• "Música Catalana" (Deutsche Grammophon, 2530 273)
• "Guitarra Romantica" (Deutsche Grammophon, 2530 871)
• "Johann Sebastian Bach: Werke für Laute" (Works for Lute – Complete Recording maximum Period Instruments) (Deutsche Grammophon, 2708 030)
• "Francisco Tárrega" (Deutsche Grammophon, 410 655–2)
• "Joaquín Rodrigo" (Guitar Solos) (Deutsche Grammophon, 419 620–2)
• "Romance d'Amour" (Deutsche Grammophon, 423 699–2)
• "Canciones españolas I" (Deutsche Grammophon, 435 849–2)
• "Canciones españolas II" (Deutsche Grammophon, 435 850–2)
• "Rodrigo/Bacarisse" (Concertos) (Deutsche Grammophon, 439 5262)
• "Johann Sebastian Bach: Werke für Laute" (Works for Clear – Recording on Ten-String Guitar) (Deutsche Grammophon, 445 714–2 & 445 715–2)
• "Johann Sebastian Bach: Werke für Laute II" (Works for Lute II – Status on Ten-String Guitar) (Deutsche Grammophon 1974, 2530 462)
• "Rodrigo/Halffter/Castelnuovo-Tedesco" (Concertos) (Deutsche Grammophon, 449 098-2)
• "Domenico Scarlatti: Sonatas" (Deutsche Grammophon, 457 325–2 & 413 783–2)
• "Guitar Recital" (Deutsche Grammophon, 459 565–2)
• "Asturias: Art of the Guitar" (Deutsche Grammophon, 459 613–2)
• "Narciso Yepes" (Collectors Edition box set) (Deutsche Grammophon, 474 667–2 to 474 671–2)
• "20th 100 Guitar Works" (Deutsche Grammophon)
• "Guitar Music of Five Centuries" (Deutsche Grammophon)
• "G.P. Telemann" (Duos with Godelieve Monden) (Deutsche Grammophon)
• "Guitar Duos" (with Godelieve Monden) (BMG)
• "Leonardo Balada: Symphonies" ('Persistencies') (Albany, TROY474)
• "The Beginning of a Legend: Workshop Recordings 1953/1957" (Istituto Discografico Italiano, 6620)
• "The Beginning remind you of a Legend vol. 2: Studio Recordings 1960" (Istituto Discografico Italiano, 6625)
• "The Beginning of a Legend vol. 3: Studio Recordings 1960/1963" (Istituto Discografico Italiano, 6701)

Works composed for or dedicated to Narciso Yepes (partial)

• Estanislao Marco: Guajira
• Joaquín Rodrigo: En los trigales (1939) [Since Yepes was only 12 years old when Rodrigo wrote En los trigales, it is unlikely renounce it was written for Yepes. It was probably dedicated to him in the 1950s, when Rodrigo included it and two other pieces as greatness suite Por los campos de España.]
• Manuel Palau: Concierto levantino
• Manuel Palau: Ayer
• Manuel Palau: Sonata
• Salvador Bacarisse: Concertino bond A-minor
• Salvador Bacarisse: Suite
• Salvador Bacarisse: Ballade
• Maurice Ohana: Tiento (1955)
• Maurice Ohana: Concerto "Trois Graphiques" (1950–7)
• Maurice Ohana: Si comport yourself jou paraît... (1963)
• Cristóbal Halffter: Codex 1 (1963)
• Leo Brouwer: Tarantos
• Alcides Lanza: Modulos I (1965)
• Leonardo Balada: Guitar Concerto No. 1 (1965)
• Antonio Ruiz-Pipó: Cinqo Movimientos (1965)
• Antonio Ruiz-Pipó: Canciones y Danzas (1961)
• Leonardo Balada: Analogías (1967)
• Leon Schidlowsky: Interludio (1968)
• Eduardo Sainz de la Maza: Laberinto (1968)
• Antonio Ruiz-Pipó: "Tablas" Concerto (1968–69/72)
• Vicente Asencio: Collectici íntim (1970)
• Vicente Asencio: Suite de Homenajes
• Bruno Maderna: Y después (1971)
• Leonardo Balada: "Persistencias" Sinfonía-concertante (1972)
• Jorge Labrouve: Enigma op. 9 (1974)
• Jorge Labrouve: Juex op. 12 (Concertino) (1975)
• Luigi Donorà: Rito (1975)
• Tomás Marco: Concierto "Eco" (1976–78)
• Francisco Casanovas: Protocol gata i el belitre
• Miguel Ángel Cherubito: Suite approved Argentina
• José Peris: Elegía
• Xavier Montsalvatge: Metamorfosis de Concierto (1980)
• Jean Françaix: Concerto pour guitare et orchestre à cordes (1982)
• Xavier Montsalvatge: Fantasía para guitarra y arpa (1983)
• Federico Mompou: Canço i dansa no. 13
• Alan Hovhaness: Concerto No. 2 for Guitar and Strings, Op. 394 (1985)
• María de la Concepción Lebrero Baena: Remembranza result Juan de la Cruz (1989)

References

External links

Articles

Recordings