OMAGGIO, a tribute to the legacy of Segovia with guitar by Hermann Hauser I, 1931
Frank Wallace plays Villa-Lobos, Turina, Mompou, Tárrega, de Falla and Wallace
NOW AVAILABLE as digital downloads at:
“Above all he is concerned with the sonorities of the guitar, and as a performer he employs a huge range of timbre and dynamics…all on an epic scale…He uses a 1931 Hauser guitar, a magnificent instrument…”
Elemental, ARG, July/August 2014, Keaton
Tuesday, November 29, 2016
On January 6, 2017 Omaggio [Gyre CD 20212] will be released worldwide in digital formats. This 25th recording by American virtuoso guitarist Frank Wallace is now available in CD format at www.gyremusic.com. Featuring an extraordinary 1931 Hauser I guitar, the CD pays tribute to the legacy of Andrés Segovia and the incomparable German luthier Hermann Hauser. Works on this recording were written for Segovia or were part of his repertoire, and are homages themselves to Bach, Debussy, Tárrega, Llobet, and the ancient city of Santiago de Compostela. Wallace, “…a powerful player, possessed of an unfailing musicianship…an almost symphonic range of colors and articulations…” [Kunze, Soundboard], performs works of Villa-Lobos, de Falla, Tárrega, Turina, Mompou and his own piece dedicated to the Catalan composer/guitarist Miguel Llobet, Dreams on a Lullaby.
LISTEN TO SAMPLE TRACKS
Segovia first met Hauser in 1924, beginning a long and close relationship that led to the 1937 Hauser that Segovia played in concert for 25 years and which he proclaimed is “the greatest guitar of our epoch.” It is now housed at the Metropolitan Art Museum in New York City. The Hauser guitar on this recording was built for Segovia in 1931, but was soon passed on to his student Blanche Moyse, later known for her work with the Moyse Trio and as a founder of Marlboro Music. In Wallace’s own words: “These older guitars are vibrant musical powerhouses – their tones are infinitely more complex and haunting than those of newer guitars.” Wallace has long been a proponent of historical music and instruments. He has recorded and performed lute and vihuela music on authentic instruments, and on historic guitars by Panormo, Lacote, Gutierrez, Manuel Ramirez, Soto y Solares, Hauser, Bouchet, Fleta, etc.
Omaggio presents music that Segovia frequently played in concert, including several homages. Opening with the first three Preludes by Heitor Villa-Lobos, they are a Homage to the Brazilian sertanejo (county man), Homage to the carioca hustler, and Homage to Bach. Wallace moves on to what is considered by many the first great masterpiece of the 20th century, Omaggio (Homenaje) by Manuel de Falla. Written in 1920, it was composed for a collection of works entitled Tombeau de Claude Debussy. Next is Homenaje a Tárrega by Joaquín Turina composed in 1932 for Segovia. Written in a nationalistic musical style, it has distinct impressionistic influences. Wallace’s Dreams on a Lullaby is a set of variations on Noi de la Mare, a Catalan folk song made famous by Miguel Llobet’s iconic setting. The six-movement Suite Compostelana by Federico Mompou has special personal associations with the great pilgrimage site of Santiago de Compostela for both the composer and the performer. Mompou dedicated this work to Segovia in 1963 as homage to the great city itself as well as the festival presented there annually. The International University Courses Música en Compostela were created in 1958 on the initiative of Maestro Andrés Segovia, together with the Spanish diplomat José Miguel Ruiz Morales. Wallace attended the course in 1972 and met Ruiz Morales several years later which led to a performance at Música en Compostela by his Trio LiveOak in 1982.
Frank Wallace tours internationally as a soloist and with mezzo-soprano Nancy Knowles as Duo LiveOak. Robert Schulslaper of Fanfare dubbed him “…a true master of his instrument…His dynamic range is impressive, and his gradations of tone, constantly singing line, and sensitive musicianship confirm his ‘elegant virtuosity’ (classicstoday.com).” Bradford Werner on This is classical guitar says, “Frank Wallace plays his own works with inspiration, determination, and a wealth of creativity. With top notch playing and excellent compositions, this synthesis is a spectacular success. / …he can match the musicality of any player out there…”
One of the most prolific guitar composers of our time, Frank Wallace’s works have been called “contemporary musical emancipation” by NewMusicBox.org. A prizewinner in the 2013 José Fernández Rojas International Composition Competition in Logroño, Spain, he was also a 2015 recipient of the Ewing Arts Award. Tirelessly working to expand the guitar repertoire, Wallace founded and directed Festival 21 in Boston, a celebration of 21st century guitar music. In New York he founded and co-directed the Second Sundays Guitar Series run by the New York City Classical Guitar Society and the Roger Smith Hotel. He has taught at the New England Conservatory as well as various colleges and universities in New England and many summer workshops. Wallace is a graduate of the San Francisco Conservatory of Music, with a BM in guitar performance.
Complete program info, photos, videos and audio
Touring schedule
Compositions
For a review copy of the CD Omaggio, please contact wallacecomposer[@]gmail.com
Monasterio de Sant Joan de les Abadesses
I fell in love with the sound of Medieval music in 1979 when I toured Spain for three months, performing 12-16th century music in 800 year old cathedrals in Catalunya. This Medieval suite for guitar is the result of much love and adoration of the pure melodies and harmonies of that period: five original pieces with two arrangements of authentic medieval music, Imperayritz from the Llibre Vermell and a Cantiga de Santa Maria. The first movement, Montserrat, was featured in Issue #58 [July 2005] of Fingerstyle magazine.
from the Cantigas de Santa Maria
Montserrat is dedicated not just to the famous pilgrimage site west of Barcelona, but also to the actual pilgrimage Trio LiveOak made there in 1979. We were privileged to have a private viewing of the Llibre Vermell (Red Book) which contains Imperayritz, a hymn or dance of praise to the Virgin Mary, and 13 other important musical examples of 14th century Catalonia, now the northeast region of Spain. Abadesses is a memory of another phenomenal 12th century site, the cathedral at Sant Juan de les Abadessas [see photo below]. Loor means ‘praise’ in Gallego-Portuguese, the poetic language King Alfonso X, “El Sabio,” preferred for his large and magnificent collection of over 400 Cantigas de Santa Maria of the 13th century. Santa Maria Valed is one of the few songs thought to have actually been written by Alfonso when he was ill and in need of his precious Saint Mary’s aid. The suite concludes with an Estampie, a medieval dance form that features many sections not unlike the rondo form of later centuries. This particular one is modeled after the Robertsbridge Estampies, the earliest examples of written keyboard music.
Short Reviews, Volume 3: Recordings of Interest
By Robert A. Margo, CMSA Mandolin Journal
Mare Duo, “Gargolyes: mare duo plays Wallace,” www.gyremusic.com
California-born [Texas-born and California raised] and educated at the San Francisco Conservatory of Music, Frank Wallace has long enjoyed an internationally reputation as a performer on classical guitar and renaissance lute and as a composer of solo and chamber music for classical guitar. Wallace met Annika and Fabian Hinsche – the Mare Duo — at a concert in Boston in 2008 and was immediately entranced by the sound of the mandolin – and the rest, as they say, is history. “Gargoyles” contains the bulk of Wallace’s music for mandolin plus one piece for solo guitar, “White Albatross”, dedicated to Fabian Hinsche (not on the record are a piece for solo mandolin, “Blue Heron”, written for this reviewer; “My Vital Breath,” written for the New American Mandolin Ensemble; and two arrangements of works originally for other instruments). Joining the Mare Duo on several tracks are Anne Wolf (mandolin), Kristina Lisner (GDAE mandola), Melanie Hunger (mandolin), and Thomas Kolarczyk (contrabass). Wallace’s voice is modernist, rhythmically and harmonically adventurous but never aggressively so; technically, the music often stretches the mandolinist (and guitarist) considerably beyond their comfort zones (a good thing, in my opinion). This is especially true in the remarkable work for mandolin and guitar “The Coming of Arthur” (written for the Mare Duo) and “Night Owl”, a demanding piece for solo mandolin written for Annika Hinsche. Wallace is fond of programmatic titles, such as the recording’s namesake (for two mandolins and guitar); and the beautiful “New England Quartets” (M1, M2, GDAE mandola, guitar), whose three movements evoke scenes and sounds from New England’s past and present(this piece also exists as a quintet for mandolin ensemble, and in a version for guitar orchestra). Also included is a quintet work (M1, M2, GDAE mandola, guitar, bass) “Nocturne”, originally written for Das JugendZupfOrchester des Landes NRW and the Providence Mandolin Orchestra.
While much of the music on this recording is of a professional caliber of difficulty, “Quartets” and (to a lesser extent) “Nocturne” is feasible for intermediate-level amateurs. The performers are among the crème of the crop of the modern German mandolin scene; it is difficult to imagine superior recordings of any of these pieces. The recorded sound is also unusually good – lifelike, balanced, and sonorous. “Gargoyles” can be ordered directly from www.gyremusic.com along with sheet music for all of its selections (and Wallace’s other works for mandolin); the recording is also available from www.trekel.de.
Once again I am thrilled to have had the opportunity to play a very special instrument which is currently for sale through Aaron Green’s Vintage Classical Guitars. While this is not a flamenco guitar, it is cypress with a very crisp sound and the action is set rather low – very low for my personal preference. So I was struggling a bit in this session to find the right piece that would show off both the guitar and me. After sometime working on Sor and Tárrega (coming later), I played a few chords of From the Windy Place, my first full length and through-composed piece. Then said, “Let the cameras role.” Most of what you hear here is the first take played straight through with two cameras rolling at once. Some reverb was added to enhance the sound of a fairly bright, though not terribly large room. Mics were two Schoepps omnis up close and a Neumann U87 on the room. From the Windy Place is on my first recording of original compositions: Frank Wallace: his own new works.
See the video on the video link tab or at Aaron Green’s YouTube channel. Thanks to Nancy Knowles, Emily Taub and Amber Martin for creating this video with me.
Buy Four Extraordinary Spanish Guitars CD or MP3 download at CDBaby now.
About the Instruments on Four Extraordinary Spanish Guitars, a new CD from Frank Wallace on Gyre
M Ramirez, c. 1910 and Gutierrez, 1854
In the mid-late 19th century, the vibrant Sevilla school of guitar building centered on one street, the Calle de la Cerrajería, where at #32 renowned builder Antonio Torres Jurado (1817-1892) did his most creative work from 1856-1869. Arriving in 1845, he lived in Sevilla for almost a quarter century. Before opening his own shop in 1854, Torres worked up to five years in the shop of Manuel Gutiérrez Martínez (1773-1857) at #36 Calle de la Cerrajería. Since Torres and Gutiérrez were close friends, one assumes Gutiérrez shared his knowledge and skills with the younger Torres. The oldest guitar on this album, an 1854 Gutiérrez built the year Torres made his first known guitar, is remarkably similar to an 1857 Torres guitar (FE 07) in the Yale University Musical Instruments Collection.
I had the opportunity to compare the two instruments some years ago. The resemblance is stunning. They are alike in size, shape and lightness of construction. Both have three-piece backs, five radial struts, a v-shaped shaft splice, and an almost identical headstock, in a shape reminiscent of bull’s horns. The two luthiers clearly used similar techniques to refine the tops. (The Gutiérrez varies widely from 1.4-2.2 mm, corroborating Torres’ famous statement that his secret is in the feel of the tips of his thumb and forefinger). With different woods for the back and sides, their sound is remarkably similar: rich, dark, full and complex. Since Torres built this guitar in the older, smaller style of Gutiérrez the year the elder luthier died, one wonders if he built it in honor of his friend.
Manuel de Soto y Solares (1839-1906) took over Gutiérrez’ former shop at #36 (renumbered as #4) in 1868 then moved to #7 in 1875. From a distinguished family of Sevilla guitar builders (his father, both grandfathers, his brother, his children and grandchildren), he is credited with developing the tablao guitar for the burgeoning flamenco market, with its shallow depth, cypress back and sides, and domed top and back. My Soto y Solares is a superb example, showing the influence of Torres, whose instruments were fast becoming famous. It was exhibited at the 2000–2001 Boston Museum of Fine Arts’ Dangerous Curves: Art of the Guitar Exhibition.
Manuel Ramírez (1864-1916) changed guitar history when the young Andrés Segovia walked into his Madrid shop asking to rent a guitar. The 1912 instrument that he gifted him became Segovia’s principal instrument until 1937, when he began concertizing on a 1937 Hauser I. Both instruments are now at the Metropolitan Museum in New York. The influence of Manuel Ramírez’ exquisite Torres-inspired instruments still resonates today, with good reason. Santos Hernández*, Domingo Esteso, and Enrique García among other great builders all worked in his shop.
The instruments of Ignacio Fleta (1897-1977) were made famous by many twentieth century virtuosos, including Segovia and John Williams. Like Madrid’s Manuel Ramírez, Fleta in Barcelona had the opportunity to repair many Torres guitars. By the late 1950s Fleta was pioneering his own style of guitarbuilding, veering away from his earlier lighter Torres construction to satisfy his clientele, who were performing in large halls. His early training and building was in violins, cellos, and bass viols. No wonder his guitars have such a soul-stirring sustain. In an interview shortly before his death, he spoke of the pivotal influence of Torres on his work.
— Frank Wallace with Nancy Knowles
*Santos Hernández built the Segovia 1912 Ramírez
Given there were too few submissions to the Film Scores Video Contest this past summer to choose a winner, I have decided to extend the deadline a whole year, until Labor Day 2016. So much positive feedback came in about the idea, and several people indicated that they simply did not have enough time to finish a project, it seems only proper to continue. If this is new to you, please read about the Competition here.
25% OFF MANDOLIN SCORES
type MANDOLIN into PROMO CODE at checkout
The 2015 CMSA Convention takes place this week in Austin TX. All mandolin music of Frank Wallace is available at 25% off for the week, PDF downloads or printed editions. Ensemble pieces are complete with parts and each page has extensive information and samples of the score, as well as audio or video when available. Click on title to view more information and purchase.
The Coming of Arthur $19.95
2009 – mandolin and guitar; for Mare Duo
Nocturne $15.95
2010 – mandolin orchestra; for Das JugendZupfOrchester des Landes NRW
New England Quintets or Quartets $13.95
2011 – mandolin orchestra, arrangements of NE Sextets
On the Sol, in Mi $6.95
2011 – 2 mandolins and guitar; for Mark and Beverly Davis
Night Owl $7.95
2012 – mandolin solo; for Annika Hinsche
Blue Heron $7.95
2012 – mandolin or violin; for Robert Margo
Gargoyles $11.95
2012 – 2 mandolins and guitar; for Mare Duo
like black snow $13.95
2012 – alto voice, clarinet or liuto cantabile, and guitar; poems by Nathan G. Wallace; for Asteria Ensemble
My Vital Breath $19.95
2013 – mandolin orchestra; Prize-winner José Fernández Rojas 2013 International Composition Competition; for New American Mandolin Ensemble
Gargoyles CD features the mandolin and guitar music of Frank Wallace as played by Mare Duo and Friends.
“… range of moods and colors … is quite astonishing. …an exquisite canvas… palpable excitement…stylistic variety… consummate skill… virtuoso playing…” — Fanfare Nov/Dec 2014
“Mare Duo has a great sense of sound, a perfect playing-together and an uncommon high-leveled musicality. Wallace as a composer fascinates me. His music is modern but characterized by beautiful harmonies, colors, and a lot of vivacity in pitches and rhythm.” — Prof. Marga Wilden-Hüsgen
“Annika and Fabian Hinsche with their wonderfully united sound and their boundless energy combined with Frank Wallace’s rich compositional style, which seems to float freely and unselfconsciously between contemporary and early music inspirations, will, without a doubt be a winning combination.” — Mike Marshall
Make a video using one of Frank Wallace’s newest pieces from the collection Film Scores and win a new composition from the composer. Start by downloading Film Scores for free with the promo code MOVIE.
Record one or more of the ten short preludes that comprise Film Scores, then make a video with it and post on YouTube and/or Vimeo anytime in August, 2015. The video can be a creative collaboration or a straight up performance, you choose. On Labor Day, September 7, 2015 the video with the most views, most time watched and best judgement from the composer will win a new composition by Frank Wallace. At the composers discretion, depending on number of participants and overall quality of the competition, 2nd and 3rd place winners may also receive shorter compositions. Go to https://gyremusic.com/products/film-scores/ and order the music as a PDF download; type MOVIE in the Promotion Code box and download the music for free. You will need to fill in all personal information in the process. The Code applies to PDF download only. Learn any one of the pieces, or more, and make your video.
Prizes
Rules of the competition
