Mario Castelnuovo-Tedesco's set of 24 Caprichos of Goya is among the most important large-scale cycles of guitar music of the twentieth century. Castelnuovo-Tedesco had been a significant composer in the history of the instrument since meeting Andrés Segovia in Venice in 1932. Castelnuovo-Tedesco, an Italian-Jew who left his native country in 1939 in response to the Mussolini government's racial laws of that year and settled in the United States, was inspired by the association of the instrument with Spain to write a number of works with Spanish flavor.

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Like most of his music since his self-imposed exile from Italy, Castelnuovo-Tedesco's Caprichos de Goya is tonal and melodic. There is a flirtation with twelve-tone technique in the 15th Caprice, but this has evident satiric intentions, which is fitting, because the whole cycle is based on a satirical work of art. (In this Capricho a tone row is stated in its base form, then in retrograde inversion, but after this by-the-numbers serialism, the music wanders away into the realms of tonality.)

The 24 Caprichos de Goya are representative of a major trend in the later part of his life, which was composing works that explored the relationships between music and other arts. Just the year earlier Castelnuovo-Tedesco had composed another set of 24 pieces for guitar, Platero y Yo (Platero and I), based on the poetry of Spanish writer Juan Ramon Jiménez. It uses a speaker to read the selections from Jiménez' book that pertained to each piece. The composer's purpose was clearly to make the audience aware of the extra-musical impulse behind each number played, for he said in cases where the audience already knew the original poem, the narrator could be omitted.

Following the success of Platero y Yo, Castelnuovo-Tedesco undertook this set of guitar works, again with Andrés Segovia in mind as its soloist. It was intended to be premiered as a recording project, rather than in concert. The entire work takes an hour and a quarter to perform.

The stimulus for the music is a collection of etchings, 80 in all, by the great Spanish painter Francisco Goya y Lucientes. They are monochrome prints, and border on caricature. Their usual subject is the frivolity of social and amorous relationships, with sudden sharp excursions into the tragedies of life. Castelnuovo-Tedesco's music is primarily in dance music forms, even in the etchings that are in darker mood, such as 'Love and Death,' where the embrace of the two is depicted with the feeling of a tango in its rhythms. Spectrasonics trilian air incl keygen.

The composer organized his settings so as to begin and end with the painter. The opening movement is based on Goya's self-portrait, in which he shows himself as something of a vain dandy, and uses a musical motive based on Goya's name. The final movement depicts the love affair between Goya and the Duchess of Alba. Since this etching features mirror images, this final movement is in the form of a mirror fugue, in which the 'Goya' motive returns.

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Parts/Movements

1. Francisco Goya y lucientes, pintor
2. Tal para qual
3. Nadie se conoce
4. Ni asi la distingue
5. Muchachos al avio
6. El amor y la muerte
7. Estan calientes
8. Dios la perdone: y era su madre
9. Bien tirada està
10. Al conde Palatino
11. Y se le quema la casa
12. No hubo remedio
13. Quien mas rendido?
14. Por que fue sensible
15. Si sabrá mas el discipulo?
16. Brabisimo!
17. De que mal morira?
18. El sueño de la razon produce monstruos
19. Hilan Delgado
20. Obsequio á el Maestro
21. Que pico de oro!
22. Volaverunt
23. Linda maestra
24. Sueño de la mentira y inconstancia

Appears On

• 24 Caprichos de Goya, Op.195