![]() ![]() The final movement depicts the love affair between Goya and the Duchess of Alba. 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 composer organized his settings so as to begin and end with the painter. Their usual subject is the frivolity of social and amorous relationships, with sudden sharp excursions into the tragedies of life. They are monochrome prints, and border on caricature. The stimulus for the music of 24 Caprichos de Goya is a collection of etchings, 80 in all, by the great Spanish painter Francisco Goya y Lucientes. ![]() 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 one of the most significant composers 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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