Matteo Carcassi Opus 60 No 3

It is a beautiful yet easy-to-play study piece by Matteo Carcassi. I remember,at that time, I was preparing for a competition and in the long playlist I found this easiest to play. Perhaps that's why during the competition this was the only piece (among many) that I was able to play accurately on the stage :P 





Evocacion

It was mid summer; perhaps being a little bit drunk I did not really bother to put my fan on while recording. Only after when I was done I realized the rolling noise that my fan generates backdropped the entire track. Crap!! - I said. 

Then after a long time, on one fine morning, while clearing some space from my laptop I happened to hear it again. And I said - Wow! Its so live! Why did I leave it in the bin?

Later, I recorded Evocacion multiple times but, for some unknown reasons, never liked them as much as I like this noisy, loud, echoed, dirty (?) version of Evocacion. 

So, here it goes... the magnum opus by Jose Luis Merlin. 



  

El sueno de la muneca

I seem to have a special penchant for Barrios's music. He is seen as one of the greatest musicians of all time by many. His music is known for being more poetic, more structured yet intriguing. El sueno de la muneca which means the Sleep of the Little Doll is one of them.

For me, somewhere in this piece, lies a divine serenity, a kind of stillness...a hush that slowly descends over informing time and again as if a little doll is indeed sleeping!



Greensleeves

Greensleeves is a traditional English folk song. The tune is found in several late-16th and early 17th-century sources. 

One possible interpretation of the lyrics is that Lady Green Sleeves was a promiscuous young woman and perhaps a prostitute. At the time, the word "green" had sexual connotations, most notably in the phrase "a green gown", a reference to the way that grass stains might be seen on a woman's dress if she had engaged in sexual intercourse out of doors. Interesting, ha? 

This is one of those pieces I learned at my elementary guitar-class.



Feste Lariane

The beauty of Feste Lariane, composed by Luigi Mozzani (1869 - 943), perhaps lies in it's right hand technique. The way the same composition is played in three distinct manners in three distinct phases is unique. The technique used in the last part is called 'tremolo'. I don't know what the second part is called or, even if it does have a name.

Being referred by one of my friends I heard a youtube version of it played by korean guitarist Oh Seung Kook and I loved it. Since then he, for that matter his youtube video, became a great inspiration and I used to keep following his playing style, tempo, feel and more importantly the nuances through which he plots the silence.  


Here goes my version, of course nowhere close to Kook's :P     


    

Romance Anónimo

Romance Anónimo (Anonymous Romance) often leaves me pensive with its origin and authorship in question. The earliest recording of Romance is on phonographic cylinder made in Madrid more than a century ago. Since then for years it has been played acknowledging some anonymous composer!
I find no reason why on earth does such a beautiful piece have no author? What terrible things happened to the maestro that led him to such oblivion?
Romance indeed fills me with romanticism like the smell of an unknown alcohol, like the best poetry I am yet to read, like embracing a total stranger gifted but unsung.
Being unaware of how well does it suit I have tried some tremolo at the end. My gratitude would find no words for my friend who first taught me to play Romance. Even the recorder I am using now happened to be bestowed by him.
It's for you pal.