Regino Sainz de la Maza (1896-1981)
Alegrias
Zapateado
Cantilena
Seguidilla-Sevillana
Scherzo
Preludio-Studio
Solea
Rondeña
Cuatro Obras Originales
Estudio en la mineur
Petenera
La Frontera de Dios
Estudio-Scherzo
Canciones Castellanas
El Vito

Eduardo Sainz de la Maza (1903-1982)
Laberinto
Platero y yo
Bolero
Trois Pièces pour guitare
Preludio
Añoranza Lejana
Confidencia
Homenaje a la Guitara
Homenaje a Toulouse-Lautrec
Homenaje a Haydn
Habanera
Evocación Criolla
Soñando Caminos
Campanas del Alba

Salvatore Fortunato, guitare

Seconde publication de la musique pour guitare des frères Sainz de la Maza après les deux volumes parus chez Naxos signés des guitaristes Hallasz et Escobar, cette intégrale réalisée par l'italien Savatore Fortunato nous en propose un nouvel éclairage. Né à Burgos, Eduardo (1903-1982) et Regino (1896-1981) Sainz de la Maza étudièrent l'instrument auprès de Daniel Fortea à Madrid. Regino se distingua assez vite par ses talents de concertistes et sa grande virtuosité qui l'amenèrent à faire une carrière internationale et à fréquenter Manuel de Falla, Llobet, Segovia et Rodrigo dont il crée le concerto d'Aranjuez à Barcelone en 1940. Son frère cadet Eduardo choisit momentanément le violoncelle puis revint vers son instrument d'origine pour se consacrer entièrement au professorat et à la composition. Si les formes et les rythmes traditionnels espagnols (Bolero, Habanera, Seguidilla...etc) sont communes aux deux frères, la musique de Regino met davantage en valeur l'instrument et le jeu de l'interprète, celle d'Eduardo plus raffinée offre un éventail large d’influences : hommages à Haydn et à Toulouse Lautrec, réminiscences de Ravel et de Debussy et une recherche d'harmonies plus poussée dont celle du jazz (Preludio, Confidenza). On appréciera le détaché, la sensibilité du jeu de Salvatore Fortunato (Superbe Platero y yo) et la qualité de la restitution sonore (Le soyeux des basses). (Jérôme Angouillant)

Brothers Regino and Eduardo Sainz de la Maza were arguably the greatest exponents of the guitar in the 20th century. This exceptional recording highlights the great differences in their music, and thereby also the versatility of the guitar, able to inspire such contrasting expressions from two composers belonging to the same time, the same nation, even the same family.Regino’s virtuosic spirit was apparent from the start, and in a short time his technical skill had made him a fixture in concert halls across Spain, and by the end of the 1920s Regino already had toured Argentina, Uruguay, Brazil, Germany and England. In 1930 he accepted a post as guitar teacher at the Madrid Conservatory, and in 1940 he premiered the famous Concierto de Aranjuez, dedicated to him by its composer, Joaquín Rodrigo. Regino’s own works are characterised by a strong national character: his ‘Zapateado’, ‘Seguidilla’, ‘Rondeña’ and ‘El Vito’ are a ‘manifesto’ of 20th-century Spanish guitar composition, with writing that is always idiomatic – ‘made to measure’ for the guitarist. Regino’s younger brother, Eduardo, has a completely different style and character. As a youth, Eduardo was overwhelmed by Regino’s talent and decided to study cello instead at conservatory and play guitar only privately. He would give up the cello in 1930 and finally devote himself to the guitar, but with an introverted personality unlike his brother’s he had retired from the concert stage by 1960, devoting himself entirely to teaching and composition. Stylistically also very different from his brother, Eduardo’s music does not rely on virtuosity, but is instead rich in harmony, combining Spanish nationalism with jazz and, above all, impressionism.