Love Songs & Lullabies is a relaxing album that will sooth you to sleep, guide you peacefully while driving through grid lock or simply entertain. Tara Rose's debut album features a variety of songs from various eras and countries by composers such as Ernesto Cordero, Juan Vasquez, Charles Gounod, Heitor Villa-Lobos and Laurindo Almeida. These songs were composed to be duets for a soprano and classical guitar but Tara performed both the voice and guitar parts simultaneously. The album also includes Peter Davison on flute, Megan Rodman on Drums and the beautiful photography of Michael Jude Adelmann.
ABOUT THE COMPOSERS & THE SONGS
Ernesto Cordero (1946-)
Ernesto Cordero was born in New York and raised in Puerto Rico. His works for guitar and various ensembles are all distinguished by the Caribbean flavor of his upbringing. He has earned critical acclaim both as a composer and guitarist.
Villancico was a common lyric form of the Renaissance found in both music and poetry. The form originated in the Iberian Peninsula and spread throughout Spain, Portugal and the New World. The villancico was the primary musical form in Spanish religious services. Church musicians were expected to be familiar with the genre. The villancico was popular in the Spanish Empire from the 16th through the 18th century, becoming a frequently used form in both sacred and secular music.
Juan Vasquez (1500-1560)
Juan Vasquez was a Spanish priest and composer of the Renaissance. Little is known of the composer’s life, yet he published several volumes of Sevillan chants with his addition of polyphonic elaborations. Along side Fransisco Guerrero, Cristóbal de Morales and Juan Navarro, Vasquez is considered part of the School of Adalusia. The School of Analusia was a group of Iberian masters who contributed to the astonishing wealth of Spanish religious music in the 16th century. Vasquez is considered to be the most gifted Andalusian master in the field of secular polyphony, as displayed in Morenico Da Me Un Beso. The work was originally for voice and small ensemble. The version for voice and vihuela (the guitar’s predecessor) is from Fuenllana’s Orphenica lyra. It is a lighthearted dialogue between lovers.
Charles Gounod (1818-1893)
The lesser performed "Gounod" version of Ave Maria is a beautiful and etherial song. Gounod, who was born was born over 100 years after J.S. Bach's death, made sort of a "remix" of one of Bach's celebrated piano preludes. Gounod used Bach's piano prelude as the basis for the accompaniment and then set a counter melody to the text of the Ave Maria soaring high above. This particular recording is quite unique in that the accompaniment is performed on classical guitar rather than piano which is traditionally the instrument used to accompany this song.
Heitor Villa-Lobos (1887-1959)
The Brazilian composer Heitor Villa-Lobos was described by Gerard Béhague, the eminent ethnomusicologist as, “The single most significant creative figure in 20th century Brazilian art music.” His music blends Brazilian folk elements with conventional European stylistic devices, as exemplified by his Bachianas brasileiras (“Brazilian Bach-pieces”). The Aria (Cantilena) No. 5 was originally written for soprano and eight cellos. Later, Villa-Lobos arranged the work for soprano and guitar at the request of none other than the guitar virtuoso Andrés Segovia. Segovia and his wife, soprano Olga Praguer Coelho, premiered the guitar arrangement. The first recording of the work featured Laurindo Almeida, as mentioned below, on guitar.
Laurindo Almeida (1917-1955)
The final three tracks are a charming collection of traditional folk songs arranged for voice and guitar by Laurindo Almeida. Born in São Paulo, Laurindo “Boss of the Nova” Almeida was widely recognized as a classical and jazz guitarist. He spent a large portion of his life in Southern California working as both a performer and arranger. His vast library of arrangements and originals is published under his own label, Brazilliance. He is the recipient of six Grammy awards for his musical recordings. The three songs all demonstrate Afro-Brazilian influences. Azulão (Bluebird) by Jayme Ovalle (1894-1955) implores the bird to carry a message to the loved one. Both the composer and the lyrics to Cordão de Prata (The Silver Band) remain a mystery. Para niñar by Paurillo Barroso (1894-1968) is a cradle-song.