Sainz de la maza pdf

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Henri Collet In so far as Henri Collet — is remembered now in the UK, it tends to be for a perceptive piece of musical journalism. In a survey of up-and-coming French composers of the immediate post First World War period, he grouped six promising, but otherwise unconnected, composers and dubbed them Les Six.

The tag has stuck, even though only three of them are performed with any frequency nowadays: Poulenc, Milhaud and Honegger. Picture by kind permission of Mme M. He lived in Spain for a time during his youth, and soaked up Spanish culture. All varieties of Spanish music appealed to him, from vihuela to zarzuela, from Victoria to flamenco.

Henri Collet was also a composer, and in his large catalogue are piano pieces, songs, chamber music, operas, and orchestral music.

The Spanish influence is very evident in much of this music, for instance the Danzas Castellanas or the Danses Espagnoles for piano. At about two minutes long, it would hardly have occupied a large slice of the programme, but Collet clearly appreciated the gesture.

His programme consisted of Spanish music with two pieces by Bach and Handel. The more modern pieces, for instance a Fandanguillo by Turina, proved a good deal more attractive.

January finds Sainz de la Maza performing in Madrid, and again in December In the autumn of he is in the USA, as is Segovia. The reviews that I quote in this article certainly speak of the event as though it were a debut. This review, and all the others translated from French, carry a health warning: my French falls a good deal short of virtuoso level.

Clearly the usually cited date and place for the premiere of this arrangement, 4 June in Paris, is incorrect. For some time Sainz de la Maza was a music critic for the Spanish daily newspaper A. This newspaper continues publication to this day, and is known for its liberal slant and for its cultural coverage.

In former times it was identified with a somewhat pro-monarchist and then pro-Franco stance. A facsimile appears below. Sean also provided the clarifications shown in square brackets. Its quality of sound, the product of six very different timbres in its six strings, is instrumental and they give it unmatched powers of expression.

According to this view, the guitar could be relegated to the realms of archaeology, back in the world of prehistory and legend along with the Assyrian tamboura or the Egyptian eoud from which, according to its mythology, it originated.

The guitar remained popular: [so] a glib literature put about, without any knowledge or sense of tradition, that it was decadent. It took as a symptom of its demise that gipsy picturesqueness and that awful flamenco-ism which have detracted from its purest essence, as created by the genius of a people.

The guitar, because of its glorious tradition, because of its origin, because of its part in the development of European music, its ability to adapt to the most diverse means of musical expression, could not disappear, even though it had its crises, its periods of decadence, just as it had its periods of highest grandeur. There is no point in arguing about the supposed superiority of some instruments over others.

Their worlds of sound, their souls, are not interchangeable. The same arguments rage about modern and old music. A small piece by Couperin cannot be surpassed.

There is, in particular, that extensive period of the Spanish Renaissance, which the most distinguished musicologists have studied in depth: Gevaert, Fetis, Mitjana, Soubies, Chavarri, Pedrell, Salazar, Trem, Father Villalba, Agejas, Torner and so many others all agree on the decisive influence which those magnificent guitar composers of the Sixteenth Century had on the development of musical forms.

Today, the guitar is expanding [its repertoire] and achieving splendid new heights. Its technique is starting to become systematically ordered, with a high pedagogical sense [i. But on the whole, the most striking feature is how little there is to take issue with, and how contemporary the article appears to modern eyes.

His scepticism about the notion of musical progress as applied to instruments, although not unique to him at the time, is nevertheless in sharp contrast to the opinion of, say, Segovia, who held the lute in contempt.

In addition to the style, one is struck by the clear sense of purpose that informs the article from start to finish. Many writers and no doubt some composers would say that the hardest part of their craft is organisation: the eternal problem of arranging ideas in a way that has shape and direction.

Collet and Rodrigo Two of the composers mentioned by Sainz de la Maza particularly deserve our attention: Henri Collet, who featured heavily in my last article, and Rodrigo, because of the famous Concierto de Aranjuez which he would write for Sainz de la Maza in , six years after the appearance of the above article.

The same piece, in a version for solo piano, had been published by Salabert in It is therefore probable that Collet adapted his own piano piece for the guitar and presented it to Segovia. So far I have found no evidence of Sainz de la Maza performing this piece. In that month the journal published the responses of various composers to the question of what they had been working on during the summer.

Rodrigo supplied the following. The names of Sainz de la Maza and Rodrigo are, of course, inextricably linked because of the Concierto de Aranjuez, which Sainz de la Maza premiered in November However, as I hope these two articles have suggested, there are many reasons aside from the concerto for celebrating his achievements. Clostre-Collet for information concerning her father Henri Collet.