MMus Final Recital

Roberto Hernan Kuhn Versluys

Classical Guitar
Ledger Recital Room 8th of June

PROGRAMME

David Kellner Phantasia in D Major (arr. Hubbert Kappel)

Leo Brouwer Preludios Epigramaticos

I. Since the dawn would be dawn, you are everything mother
Desde que el alba quiso ser alba, toda eres madres
II. Sad men if they dont die out of love
Tristes hombres si no mueren de amores
III. Around your skin, I tangle and untangle mine
Alrededor de tu piel, ato y desato la mia
IV. Laugh, everything laughs: all is mother of levity
Rie, que todo rie: que todo es madre leve
V. You caught the flight of my heart and today hurled it down
Me cogiste el Corazon y hoy precipitas su vuelo
VI. I endure three wounds: that of love, that of death, that of life
Llego con tres heridas: la de amor, la de la muerte, la de vita

Alexandre Tansman Variations on a theme by Scriabin

Theme
Var. I Istesso tempo
Var. II Un poco piu mosso
Var. III Vivo (non troppo)
Var. IV Lento cantbile, un poco rubato
Var. V Allegretto grazioso (quasi Mazurka)
Fugue

Benjamin Britten Nocturnal

I. Musingly
II. Very agitated
III. Restless
IV. Uneasy
V. March like
VI. Dreaming
VII. Gently rocking
VIII. Passacaglia
The Phantasia in D major by the German composer David Kellner is an original composition for
baroque lute which was transcribed by the German guitar player Hubbert Kappel. Phantasias or
fantasies have an improvisational nature and serve as an introduction to a more substantial piece
of music with a more defined structure. This piece is no exception, having an open structure and
inviting for improvisation in more than one occasion.

Leo Brouwers Preludios Epigramaticos are based on poems by the Spanish poet Miguel Hernandez,
they prolong his artistic ambition to connect music to other artistic expressions such as literature,
drama, dance and poetry. The term epigram is used to refer to an art form focusing on one ingenious
and creative thought, the central idea of these poems is mirrored by the musical compositional
techniques used in each of these preludes. The preludes use short thematic materials which are
creative in the use of technique and color, they are based on musical structures which serve to
strengthen the ideas of these poems, or develop the thematic material further.

Andres Segovia had a long-standing artistic collaboration with the Polish composer Alexandre
Tansman, therefore when Segovia decided to commission Scriabin to write a piece based on a
Scriabin prelude, Alexandre Tansman delivered with a unique theme and variations. Unfortunately
for diverse reasons Andres Segovia never performed this piece and tasked one of his students to
edit and publish the piece. The Variations on a Scriabin theme shows a fresh approach to this
musical form, respecting tradition whilst expanding this mold. Most variations keep the original key
signature, and we can find a major variation (var. III) which is often found in this musical form. On
the other hand, variation number four and six show a boulder approach, eliminating the key
signature for a more elastic tonal use. Another example of flexibility is on variations III and VI, where
there is a change in time signature. The last variation is written as a fugue that leads back to a simple
and calm recapitulation of the theme.

Finishing the programme, the piece Nocturnal by Britten is one of the most notorious and iconic
pieces for guitar in the 20th century. Based on a song by John Dowland: Come heavy sleep, this
unique theme and variations pushes this form for expressive and thematic purposes. The key and
time signature are removed altogether for this piece, and each variation represents an exceptional
state of mind of an individual faced with its own mortality. The last movement, a passacaglia, shows
exacerbated expression which foreshadows the inevitability appearance of the theme: Come heavy
sleep, the image of death.