ATMA Classique

PLATERO I

COLIN FOX NARRATORSIMON WYNBERG GUITAR

AND

MARIO CASTELNUOVO-TEDESCO

ACD2 2725

1 Platero ( I ) 2:552 Friendship ( VIII ) 1:583 April Idyll ( XVI ) 3:394 Return ( III ) 4:035 The Consumptive Girl ( XIII ) 3:046 Carnival ( XXVII ) 4:307 Lullaby Singer ( XVIII ) 5:258 The Moon ( IX ) 1:559 Sunday ( XXV ) 3:17

10 Wayside Flower ( XXIV ) 3:0411 November Idyll ( XX ) 3:5312 Convalescence ( XXII ) 4:0713 Swallows ( XXIII ) 4:4514 Spring ( IV ) 2:2015 Death ( XXI ) 4:0816 Melancholy ( VII ) 3:1017 Nostalgia ( XIV ) 3:5918 Platero in Heaven ( XXVIII ) 3:24

TEXT BY | TEXTE DE JUAN RAMN JIMNEZ 1881-1956

PLATERO I

COLIN FOX NARRATOR | NARRATEURSIMON WYNBERG GUITAR | GUITARE

AND

MARIO CASTELNUOVO-TEDESCO1895-1968

1 Platero ( I ) 2:552 Friendship ( VIII ) 1:583 April Idyll ( XVI ) 3:394 Return ( III ) 4:035 The Consumptive Girl ( XIII ) 3:046 Carnival ( XXVII ) 4:307 Lullaby Singer ( XVIII ) 5:258 The Moon ( IX ) 1:559 Sunday ( XXV ) 3:17

10 Wayside Flower ( XXIV ) 3:0411 November Idyll ( XX ) 3:5312 Convalescence ( XXII ) 4:0713 Swallows ( XXIII ) 4:4514 Spring ( IV ) 2:2015 Death ( XXI ) 4:0816 Melancholy ( VII ) 3:1017 Nostalgia ( XIV ) 3:5918 Platero in Heaven ( XXVIII ) 3:24

TEXT BY | TEXTE DE JUAN RAMN JIMNEZ 1881-1956

PLATERO I

COLIN FOX NARRATOR | NARRATEURSIMON WYNBERG GUITAR | GUITARE

AND

MARIO CASTELNUOVO-TEDESCO1895-1968

With the start of the Spanish Civil War in 1936, Jimnez and Zenobiaemigrated to Puerto Rico, where Jimnez later became a professor ofSpanish language. They also spent time in Cuba, Florida, and WashingtonD.C. Zenobia died in December, 1956, a few days after Jimnez wasawarded the Nobel Prize for Literature. It was a shattering loss and he diedtwo years later. Both Jimnez and Zenobia are buried in Moguer.Jimnezs exile to Puerto Rico in 1936 is mirrored in Mario Castelnuovo-

Tedescos exile to America three years later. Castelnuovo-Tedesco was bornin 1895 into a Jewish Florentine family whose Tuscan history reaches backto the sixteenth century. His reputation was established with the operaLa Mandragola (The Mandrake) which won the prestigious Concorso LiricoNazionale and received its premiere at Venices hallowed Teatro La Fenice.The 1930s also saw performances of Castelnuovo-Tedescos works inAmerica, notably his concertos for violin, I Profeti (The Prophets) and cello.Both were premiered by Arturo Toscanini and the New York Philharmonic withJascha Heifetz and Gregor Piatigorsky as the respective soloists.Castelnuovo-Tedescos European career came to a precipitous halt in

1938 with the introduction of Il Manifesto della razza, Mussolinis version ofGermanys race laws, and the banning of his works. With the influence ofHeifetz and Toscanini, Castelnuovo-Tedesco and his family emigrated tothe United States, leaving from Trieste on July 13, 1939, six weeks beforeGermanys invasion of Poland and the start of World War II. They settled inBeverly Hills, where Castelnuovo-Tedesco lived until his death in 1968.Mario Castelnuovo-Tedesco was hugely prolific and his uncanny and

uncommon ability to create music that perfectly reflects and reinforcesnarrative and atmosphere, greatly endeared him to Hollywoods musicdepartments. During the course of just 15 years he supplied scores for over130 movies, although many of them draw on library (or stock) music

Juan Ramn Jimnez meditative reflections on the peregrinations of anAndalusian countryman and his loyal little donkey, Platero, have longcaptured the Spanish imagination. The 138 prose poems that make upPlatero Y Yo (Platero and I) were published in 1914, a homage to the regionand people of Moguer, Jimenez birthplace. While the collection is precisein its location and sensibility, its honesty, simplicity, and its universal humanthemes cross every boundary of age, culture and geography.Born into a wealthy family in 1881, Jimnez displayed a precocious

poetic ability. He initially contemplated a legal career and ostensiblystudied law at the University of Seville, but his dedication to literature wascemented when the eminent Nicaraguan poet and founder of themodernismo movement, Rubn Daro, read Jimnezs work, encouragedhim to visit Madrid, and assisted in the publication of his youthful Almas devioleta (Souls of Violet.)The death of his father in 1900 plunged Juan Ramn into a depression

that took him to a sanatorium in Bordeaux (where his recuperation includedan affair with his doctors wife.) On returning to Madrid, Jimnez met thewriter and poet Zenobia Camprubi Aymar and they married in New York in1916, the year of Jimnezs masterpiece Diario de un Poeta Reciencasado(Diary of a Newlywed Poet). Zenobia was an indispensable part of Jimnezscreative life thereafter.

54

PLATEROYYO

With the start of the Spanish Civil War in 1936, Jimnez and Zenobiaemigrated to Puerto Rico, where Jimnez later became a professor ofSpanish language. They also spent time in Cuba, Florida, and WashingtonD.C. Zenobia died in December, 1956, a few days after Jimnez wasawarded the Nobel Prize for Literature. It was a shattering loss and he diedtwo years later. Both Jimnez and Zenobia are buried in Moguer.Jimnezs exile to Puerto Rico in 1936 is mirrored in Mario Castelnuovo-

Tedescos exile to America three years later. Castelnuovo-Tedesco was bornin 1895 into a Jewish Florentine family whose Tuscan history reaches backto the sixteenth century. His reputation was established with the operaLa Mandragola (The Mandrake) which won the prestigious Concorso LiricoNazionale and received its premiere at Venices hallowed Teatro La Fenice.The 1930s also saw performances of Castelnuovo-Tedescos works inAmerica, notably his concertos for violin, I Profeti (The Prophets) and cello.Both were premiered by Arturo Toscanini and the New York Philharmonic withJascha Heifetz and Gregor Piatigorsky as the respective soloists.Castelnuovo-Tedescos European career came to a precipitous halt in

1938 with the introduction of Il Manifesto della razza, Mussolinis version ofGermanys race laws, and the banning of his works. With the influence ofHeifetz and Toscanini, Castelnuovo-Tedesco and his family emigrated tothe United States, leaving from Trieste on July 13, 1939, six weeks beforeGermanys invasion of Poland and the start of World War II. They settled inBeverly Hills, where Castelnuovo-Tedesco lived until his death in 1968.Mario Castelnuovo-Tedesco was hugely prolific and his uncanny and

uncommon ability to create music that perfectly reflects and reinforcesnarrative and atmosphere, greatly endeared him to Hollywoods musicdepartments. During the course of just 15 years he supplied scores for over130 movies, although many of them draw on library (or stock) music

Juan Ramn Jimnez meditative reflections on the peregrinations of anAndalusian countryman and his loyal little donkey, Platero, have longcaptured the Spanish imagination. The 138 prose poems that make upPlatero Y Yo (Platero and I) were published in 1914, a homage to the regionand people of Moguer, Jimenez birthplace. While the collection is precisein its location and sensibility, its honesty, simplicity, and its universal humanthemes cross every boundary of age, culture and geography.Born into a wealthy family in 1881, Jimnez displayed a precocious

poetic ability. He initially contemplated a legal career and ostensiblystudied law at the University of Seville, but his dedication to literature wascemented when the eminent Nicaraguan poet and founder of themodernismo movement, Rubn Daro, read Jimnezs work, encouragedhim to visit Madrid, and assisted in the publication of his youthful Almas devioleta (Souls of Violet.)The death of his father in 1900 plunged Juan Ramn into a depression

that took him to a sanatorium in Bordeaux (where his recuperation includedan affair with his doctors wife.) On returning to Madrid, Jimnez met thewriter and poet Zenobia Camprubi Aymar and they married in New York in1916, the year of Jimnezs masterpiece Diario de un Poeta Reciencasado(Diary of a Newlywed Poet). Zenobia was an indispensable part of Jimnezscreative life thereafter.

54

PLATEROYYO

set is followed by his lively re-appearance at a village carnival. Likewisethere is no evidence to suppose that the 28 pieces constitute a finishedcycle, each poem part of an elaborately evolved plan and structure. Onlythe first and last poems appear to be in an obviously appropriate place.It is more likely that having completed a substantial set of pieces, the com-poser simply decided to move on to another project. In assembling ourPlatero cycle we have chosen 18 of the most compelling settings andorganized them in a way that follows a seasonal narrative while (we hope)also providing effective musical and emotional contrasts.Castelnuovo-Tedesco must have hoped that Segovia would one day per-

form Platero Y Yo in its original form, as a partnership with a narrator, ratherthan as an assortment of solo guitar pieces (the texts to which were to beincluded in concert programs.) However there is no record of such aperformance; unsurprising given that Segovia typically performed as asoloist, alone or with orchestra, rather than as a collaborator. In factperformers have only recently begun to program the Platero pieces withnarrator; a very welcome change.The English version that Castelnuovo-Tedesco used for his settings of

Platero Y Yo was drawn from the complete translation by the Americanacademic Elose Roach which was first published in 1957. Her rendering issomewhat Victorian in character: earnest, prim, often awkward andungrateful if read aloud. For the present translation, we have tried tocapture the lyricism, passion and directness of the Jimnez original, whilebeing mindful of the sound and colour of the text (as well as its meaning!)and its alignment with the guitar accompaniment.

SIMON WYNBERG AND COLIN FOX, 2014

which studios failed to credit. His legacy as a teacher at the Los AngelesConservatory of Music is incalculable and his students represent a whoswho of post-war American music. They include Andr Previn, Jerry Goldsmith,Henry Mancini, John Williams and Nelson Riddle, all, like Castelnuovo-Tedesco himself, terrifically adept and creative orchestrators.Although Castelnuovo-Tedesco wrote a vast amount of chamber, vocal

and orchestral music, he is perhaps most closely associated with his worksfor guitar, many of which were composed for, and dedicated to, AndrsSegovia. In June 1960 he began work on guitar accompaniments to 28 ofthe poems from Jimnezs Platero Y Yo. They are best described as musicalcommentaries, reinforcing and complementing Jimnezs prose,matching the changing moods, and providing a sometimes ono-matopoeic soundscape as effective as his scores for the cinema, althoughsolely dependent on language rather than visual prompts.Castelnuovo-Tedesco had always composed at a precipitous speed

Hollywood certainly demanded this abilityand each of the 28 settings(divided into four groups of seven) occupied him for no longer than a dayor two. This, and the fact that the piano was his primary instrument,accounts for his occasional mis-steps, where utterly idiomatic guitar writingis suddenly interrupted by bars that are unplayable. These instances areusually easily remedied by the appropriate re-spacing of chords, but occa-sionally more elaborate solutions are needed.While the standard version of the complete Platero settings follows the

composers manuscript (now part of the composers archive in the Libraryof Congress), there is nothing to suggest that this rather haphazard orderwas anything other than a convenient way of collecting the pieces in thesequence of their composition. The order certainly makes no narrativesense. For example Plateros death three-quarters of the way through the

76

set is followed by his lively re-appearance at a village carnival. Likewisethere is no evidence to suppose that the 28 pieces constitute a finishedcycle, each poem part of an elaborately evolved plan and structure. Onlythe first and last poems appear to be in an obviously appropriate place.It is more likely that having completed a substantial set of pieces, the com-poser simply decided to move on to another project. In assembling ourPlatero cycle we have chosen 18 of the most compelling settings andorganized them in a way that follows a seasonal narrative while (we hope)also providing effective musical and emotional contrasts.Castelnuovo-Tedesco must have hoped that Segovia would one day per-

form Platero Y Yo in its original form, as a partnership with a narrator, ratherthan as an assortment of solo guitar pieces (the texts to which were to beincluded in concert programs.) However there is no record of such aperformance; unsurprising given that Segovia typically performed as asoloist, alone or with orchestra, rather than as a collaborator. In factperformers have only recently begun to program the Platero pieces withnarrator; a very welcome change.The English version that Castelnuovo-Tedesco used for his settings of

Platero Y Yo was drawn from the complete translation by the Americanacademic Elose Roach which was first published in 1957. Her rendering issomewhat Victorian in character: earnest, prim, often awkward andungrateful if read aloud. For the present translation, we have tried tocapture the lyricism, passion and directness of the Jimnez original, whilebeing mindful of the sound and colour of the text (as well as its meaning!)and its alignment with the guitar accompaniment.

SIMON WYNBERG AND COLIN FOX, 2014

which studios failed to credit. His legacy as a teacher at the Los AngelesConservatory of Music is incalculable and his students represent a whoswho of post-war American music. They include Andr Previn, Jerry Goldsmith,Henry Mancini, John Williams and Nelson Riddle, all, like Castelnuovo-Tedesco himself, terrifically adept and creative orchestrators.Although Castelnuovo-Tedesco wrote a vast amount of chamber, vocal

and orchestral music, he is perhaps most closely associated with his worksfor guitar, many of which were composed for, and dedicated to, AndrsSegovia. In June 1960 he began work on guitar accompaniments to 28 ofthe poems from Jimnezs Platero Y Yo. They are best described as musicalcommentaries, reinforcing and complementing Jimnezs prose,matching the changing moods, and providing a sometimes ono-matopoeic soundscape as effective as his scores for the cinema, althoughsolely dependent on language rather than visual prompts.Castelnuovo-Tedesco had always composed at a precipitous speed

Hollywood certainly demanded this abilityand each of the 28 settings(divided into four groups of seven) occupied him for no longer than a dayor two. This, and the fact that the piano was his primary instrument,accounts for his occasional mis-steps, where utterly idiomatic guitar writingis suddenly interrupted by bars that are unplayable. These instances areusually easily remedied by the appropriate re-spacing of chords, but occa-sionally more elaborate solutions are needed.While the standard version of the complete Platero settings follows the

composers manuscript (now part of the composers archive in the Libraryof Congress), there is nothing to suggest that this rather haphazard orderwas anything other than a convenient way of collecting the pieces in thesequence of their composition. The order certainly makes no narrativesense. For example Plateros death three-quarters of the way through the

76

SIMON WYNBERG GUITAR

Simon Wynberg enjoys a diverse career as aguitarist, chamber musician and artistic director.He established and directed the Scottish chamberfestival Music in Blair Atholl for 20 years and was artisticdirector of Canadas Guelph Spring Festival from 1994to 2002, when he was appointed Artistic Director of theARC Ensemble, the ensemble-in-residence at CanadasRoyal Conservatory of Music.His entry in The New Grove Dictionary of Music &

Musicians describes him as not only a virtuosoperformer of distinction but one of the guitars foremostscholars. He has researched and edited over 60volumes of hitherto unknown guitar music and his manyrecordings (on Chandos, ASV, Hyperion, Narada,Stradivari, Vox and Naxos) have received glowingreviews and awards: the Penguin CD Guide Rosette;Gramophone Critics Choice, and a Diapason Award.He has performed at festivals throughout North America,including Newport, Bermuda, Sitka, Ann Arbor, SantaF and Ottawa. He has collaborated with manycelebrated artists including the English ChamberOrchestra, the flautist William Bennett, the Gabrieli StringQuartet and the violinists Mark Peskanov and MartinBeaver. He plays a ten-string guitar designed and builtespecially for him by the late Thomas Humphrey.

COLIN FOX NARRATOR

Aside from a busy acting career spanning 50 years,on and off Broadway, the Stratford and Shaw Festi-vals, feature films, radio and television, Colin Fox madehis concert debut in 1974 in the title role of Berlioz Leliowith the Toronto and Boston Symphonies under SeijiOzawa. He has since appeared in Enoch Arden withpianist Anton Kuerti; as all the voices in LHistoire duSoldat; Carnival of the Animals with duo pianistsAnagnoson & Kinton; as the tortured husband in TolstoysThe Kreutzer Sonata which he edited to perform with thePenderecki Quartet; editing and reading the letters ofBrahms and Dvorak in Giants in Music, Friends in Letterswith the Gryphon Trio. He performed again with theToronto Symphony under Sir Andrew Davis in RayLuedekes Tales of the Netsilik.Mr. Fox wrote and narrated The Schumann Letters,

which has been seen in 50 venues across Canada,prompting the violinist James Ehnes to comment: Theconcept was fresh and the delivery impeccable. He isthe recipient of the Genie Award (1971) for Best Actor; theAnik award for Best Narration (Emily Carr, 1975); ACTRAand Andrew Allen awards for Best Performance in a radiodrama (1980); a Juno Award (1994) for Best ChildrensRecording for his title role in Tchaikovsky DiscoversAmerica. He credits his wife Carol for her inspiration andsupport in bringing Platero to a recording format.

98

SIMON WYNBERG GUITAR

Simon Wynberg enjoys a diverse career as aguitarist, chamber musician and artistic director.He established and directed the Scottish chamberfestival Music in Blair Atholl for 20 years and was artisticdirector of Canadas Guelph Spring Festival from 1994to 2002, when he was appointed Artistic Director of theARC Ensemble, the ensemble-in-residence at CanadasRoyal Conservatory of Music.His entry in The New Grove Dictionary of Music &

Musicians describes him as not only a virtuosoperformer of distinction but one of the guitars foremostscholars. He has researched and edited over 60volumes of hitherto unknown guitar music and his manyrecordings (on Chandos, ASV, Hyperion, Narada,Stradivari, Vox and Naxos) have received glowingreviews and awards: the Penguin CD Guide Rosette;Gramophone Critics Choice, and a Diapason Award.He has performed at festivals throughout North America,including Newport, Bermuda, Sitka, Ann Arbor, SantaF and Ottawa. He has collaborated with manycelebrated artists including the English ChamberOrchestra, the flautist William Bennett, the Gabrieli StringQuartet and the violinists Mark Peskanov and MartinBeaver. He plays a ten-string guitar designed and builtespecially for him by the late Thomas Humphrey.

COLIN FOX NARRATOR

Aside from a busy acting career spanning 50 years,on and off Broadway, the Stratford and Shaw Festi-vals, feature films, radio and television, Colin Fox madehis concert debut in 1974 in the title role of Berlioz Leliowith the Toronto and Boston Symphonies under SeijiOzawa. He has since appeared in Enoch Arden withpianist Anton Kuerti; as all the voices in LHistoire duSoldat; Carnival of the Animals with duo pianistsAnagnoson & Kinton; as the tortured husband in TolstoysThe Kreutzer Sonata which he edited to perform with thePenderecki Quartet; editing and reading the letters ofBrahms and Dvorak in Giants in Music, Friends in Letterswith the Gryphon Trio. He performed again with theToronto Symphony under Sir Andrew Davis in RayLuedekes Tales of the Netsilik.Mr. Fox wrote and narrated The Schumann Letters,

which has been seen in 50 venues across Canada,prompting the violinist James Ehnes to comment: Theconcept was fresh and the delivery impeccable. He isthe recipient of the Genie Award (1971) for Best Actor; theAnik award for Best Narration (Emily Carr, 1975); ACTRAand Andrew Allen awards for Best Performance in a radiodrama (1980); a Juno Award (1994) for Best ChildrensRecording for his title role in Tchaikovsky DiscoversAmerica. He credits his wife Carol for her inspiration andsupport in bringing Platero to a recording format.

98

11

Depuis longtemps, les rflexions mditatives de Juan Ramn Jimnezsur les prgrinations dun paysan andalou et de son loyal petit nePlatero habitent limaginaire espagnol. Publis en 1914, les 138 pomesen prose de Platero y yo (Platero et moi) rendent hommage la rgion etaux habitants de Moguer, la ville natale de Jimnez. Si le recueil est prcissur les questions demplacement et de sensibilit, sa candeur, sa simplicitet luniversalit de ses thmes humains nont pas de frontires temporelles,culturelles ou gographiques.N en 1881 dune famille aise, Jimnez manifesta des aptitudes

prcoces pour la posie. Envisageant au dpart une carrire juridique, ilsinscrivit officiellement la facult de droit de lUniversit de Sville, maisson engagement littraire se cimenta lorsque lminent pote nicara-guayen et fondateur du mouvement du modernismo, Rubn Daro, lut lesuvres de Jimnez, lencouragea visiter Madrid et laida publier sonuvre de jeunesse, Almas de violeta ( mes de violette .)La mort de son pre, survenue en 1900, plongea Juan Ramn dans une

dpression qui lamena jusqu un sanatorium de Bordeaux, o son rta-blissement fut marqu par une idylle avec lpouse de son mdecin.De retour Madrid, Jimnez rencontra lcrivaine et potesse ZenobiaCamprubi Aymar, quil pousa New York en 1916, lanne de la publica-tion du chef-duvre de Jimnez, Diario de un poeta reciencasado(Journal dun pote nouveau mari). Depuis lors, Zenobia fut toujours unlment indispensable de la vie crative de Jimnez.

PLATEROETMOI

PLATEROYYO

11

Depuis longtemps, les rflexions mditatives de Juan Ramn Jimnezsur les prgrinations dun paysan andalou et de son loyal petit nePlatero habitent limaginaire espagnol. Publis en 1914, les 138 pomesen prose de Platero y yo (Platero et moi) rendent hommage la rgion etaux habitants de Moguer, la ville natale de Jimnez. Si le recueil est prcissur les questions demplacement et de sensibilit, sa candeur, sa simplicitet luniversalit de ses thmes humains nont pas de frontires temporelles,culturelles ou gographiques.N en 1881 dune famille aise, Jimnez manifesta des aptitudes

prcoces pour la posie. Envisageant au dpart une carrire juridique, ilsinscrivit officiellement la facult de droit de lUniversit de Sville, maisson engagement littraire se cimenta lorsque lminent pote nicara-guayen et fondateur du mouvement du modernismo, Rubn Daro, lut lesuvres de Jimnez, lencouragea visiter Madrid et laida publier sonuvre de jeunesse, Almas de violeta ( mes de violette .)La mort de son pre, survenue en 1900, plongea Juan Ramn dans une

dpression qui lamena jusqu un sanatorium de Bordeaux, o son rta-blissement fut marqu par une idylle avec lpouse de son mdecin.De retour Madrid, Jimnez rencontra lcrivaine et potesse ZenobiaCamprubi Aymar, quil pousa New York en 1916, lanne de la publica-tion du chef-duvre de Jimnez, Diario de un poeta reciencasado(Journal dun pote nouveau mari). Depuis lors, Zenobia fut toujours unlment indispensable de la vie crative de Jimnez.

PLATEROETMOI

PLATEROYYO

1312

Mario Castelnuovo-Tedesco fut un compositeur trs prolifique, et son apti-tude tonnante et peu commune composer de la musique qui refltaitet renforait parfaitement la narration et latmosphre en fit un favori desservices musicaux hollywoodiens. En 15 ans peine, il produisit la tramemusicale de plus de 130 films; toutefois, comme les studios puisaient sesuvres dans des stocks de musique franche (libre de droits), son nom estsouvent absent du gnrique. Son apport titre de professeur au Conser-vatoire de musique de Los Angeles est incalculable; la liste de ses lvesrunit le gratin de la musique amricaine de laprs-guerre : en effet, AndrPrevin, Jerry Goldsmith, Henry Mancini, John Williams et Nelson Riddle sonttous, comme Castelnuovo-Tedesco lui-mme, des orchestrateurs excep-tionnellement dous et cratifs.Si Castelnuovo-Tedesco a compos beaucoup de musique de cham-

bre, vocale et orchestrale, on lassocie peut-tre surtout ses uvres pourguitare, dont beaucoup ont t crites pour Andrs Segovia et ddies cet minent guitariste. En juin 1960, le compositeur commena travail-ler laccompagnement pour guitare de 28 des pomes du recueilPlatero y yo de Jimnez. On ne saurait mieux dcrire ces pices quen par-lant de commentaires musicaux qui renforcent et compltent la prose deJimnez en collant de prs aux changements dambiance et en brossantun paysage sonore, parfois onomatopique, avec autant defficacit quedans ses trames sonores pour le cinma, bien quil dpende ici exclusive-ment du langage et non dindications visuelles.Castelnuovo-Tedesco a toujours compos une cadence prcipite,

une qualit certes essentielle Hollywood, et la composition de chacundes 28 mouvements (rpartis en quatre groupes de sept) ne la occupquun jour ou deux. Ce rythme, ainsi que le fait que son instrument princi-pal tait le piano, explique ses faux pas occasionnels, o une criture tout

Lorsquclata la guerre civile espagnole, en 1936, Jimnez et Zenobiamigrrent Porto Rico, o Jimnez devint par la suite professeur despa-gnol. Ils sjournrent galement Cuba, en Floride et Washington.Zenobia mourut en dcembre 1956, quelques jours aprs que Jimnez eutreu le prix Nobel de littrature. Le dcs de Zenobia eut un effet dvas-tateur sur Jimnez, qui mourut deux ans plus tard. Tous deux sont inhums Moguer. lexil de Jimnez Porto Rico en 1936 correspond celui de Mario

Castelnuovo-Tedesco en Amrique, trois ans plus tard. Castelnuovo-Tedesco naquit en 1895 dans une famille juive de Florence dont lesantcdents toscans remontent au XVIe sicle. Sa rputation stablit aveclopra La mandragola (La Mandragore), qui remporta le prestigieuxConcorso Lirico Nazionale et fut prsent en premire au clbre thtreLa Fenice de Venise. Au cours des annes 1930, des uvres deCastelnuovo-Tedesco furent galement excutes en Amrique, notam-ment son concerto pour violon I profeti (Les Prophtes) et son concertopour violoncelle. Ces deux uvres furent cres par Arturo Toscanini etlOrchestre philharmonique de New York, respectivement avec les solistesJascha Heifetz et Gregor Piatigorsky.La carrire europenne de Castelnuovo-Tedesco prit brusquement fin

en 1938 avec la mise en application du Manifesto della razza, versionmussolinienne des lois raciales allemandes, et linterdiction de sesuvres. Grce linfluence de Heifetz et de Toscanini, Castelnuovo-Tedesco et sa famille migrrent aux tats-Unis. Ils sembarqurent Trieste le 13 juillet 1939, soit six semaines avant linvasion de la Polognepar lAllemagne et le dbut de la Seconde Guerre mondiale. Ils finirentpar sinstaller Beverly Hills, o Castelnuovo-Tedesco vcut jusqu samort en 1968.

1312

Mario Castelnuovo-Tedesco fut un compositeur trs prolifique, et son apti-tude tonnante et peu commune composer de la musique qui refltaitet renforait parfaitement la narration et latmosphre en fit un favori desservices musicaux hollywoodiens. En 15 ans peine, il produisit la tramemusicale de plus de 130 films; toutefois, comme les studios puisaient sesuvres dans des stocks de musique franche (libre de droits), son nom estsouvent absent du gnrique. Son apport titre de professeur au Conser-vatoire de musique de Los Angeles est incalculable; la liste de ses lvesrunit le gratin de la musique amricaine de laprs-guerre : en effet, AndrPrevin, Jerry Goldsmith, Henry Mancini, John Williams et Nelson Riddle sonttous, comme Castelnuovo-Tedesco lui-mme, des orchestrateurs excep-tionnellement dous et cratifs.Si Castelnuovo-Tedesco a compos beaucoup de musique de cham-

bre, vocale et orchestrale, on lassocie peut-tre surtout ses uvres pourguitare, dont beaucoup ont t crites pour Andrs Segovia et ddies cet minent guitariste. En juin 1960, le compositeur commena travail-ler laccompagnement pour guitare de 28 des pomes du recueilPlatero y yo de Jimnez. On ne saurait mieux dcrire ces pices quen par-lant de commentaires musicaux qui renforcent et compltent la prose deJimnez en collant de prs aux changements dambiance et en brossantun paysage sonore, parfois onomatopique, avec autant defficacit quedans ses trames sonores pour le cinma, bien quil dpende ici exclusive-ment du langage et non dindications visuelles.Castelnuovo-Tedesco a toujours compos une cadence prcipite,

une qualit certes essentielle Hollywood, et la composition de chacundes 28 mouvements (rpartis en quatre groupes de sept) ne la occupquun jour ou deux. Ce rythme, ainsi que le fait que son instrument princi-pal tait le piano, explique ses faux pas occasionnels, o une criture tout

Lorsquclata la guerre civile espagnole, en 1936, Jimnez et Zenobiamigrrent Porto Rico, o Jimnez devint par la suite professeur despa-gnol. Ils sjournrent galement Cuba, en Floride et Washington.Zenobia mourut en dcembre 1956, quelques jours aprs que Jimnez eutreu le prix Nobel de littrature. Le dcs de Zenobia eut un effet dvas-tateur sur Jimnez, qui mourut deux ans plus tard. Tous deux sont inhums Moguer. lexil de Jimnez Porto Rico en 1936 correspond celui de Mario

Castelnuovo-Tedesco en Amrique, trois ans plus tard. Castelnuovo-Tedesco naquit en 1895 dans une famille juive de Florence dont lesantcdents toscans remontent au XVIe sicle. Sa rputation stablit aveclopra La mandragola (La Mandragore), qui remporta le prestigieuxConcorso Lirico Nazionale et fut prsent en premire au clbre thtreLa Fenice de Venise. Au cours des annes 1930, des uvres deCastelnuovo-Tedesco furent galement excutes en Amrique, notam-ment son concerto pour violon I profeti (Les Prophtes) et son concertopour violoncelle. Ces deux uvres furent cres par Arturo Toscanini etlOrchestre philharmonique de New York, respectivement avec les solistesJascha Heifetz et Gregor Piatigorsky.La carrire europenne de Castelnuovo-Tedesco prit brusquement fin

en 1938 avec la mise en application du Manifesto della razza, versionmussolinienne des lois raciales allemandes, et linterdiction de sesuvres. Grce linfluence de Heifetz et de Toscanini, Castelnuovo-Tedesco et sa famille migrrent aux tats-Unis. Ils sembarqurent Trieste le 13 juillet 1939, soit six semaines avant linvasion de la Polognepar lAllemagne et le dbut de la Seconde Guerre mondiale. Ils finirentpar sinstaller Beverly Hills, o Castelnuovo-Tedesco vcut jusqu samort en 1968.

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rcemment que des interprtes ont commenc prsenter le cyclePlatero avec un narrateur, un changement quon ne saurait tropapprouver.La version anglaise utilise par Castelnuovo-Tedesco pour composer les

mouvements de Platero y yo est tire de la traduction complte ralisepar luniversitaire amricaine Elose Roach et publie pour la premire foisen 1957. Son rendu possde un caractre quelque peu victorien : minu-tieux, guind, souvent maladroit, il se prte plutt mal une lecture haute voix. Dans la traduction utilise ici, nous avons tent de saisir lelyrisme, la passion et le franc-parler du texte original de Jimnez, tout engardant lesprit le son et la couleur du texte (de mme que son sens !)ainsi que sa concordance avec laccompagnement de guitare.

SIMON WYNBERG ET COLIN FOX, 2014TRADUCTION FRANAISE DE LOUIS COURTEAU

fait idiomatique pour la guitare est soudainement interrompue parquelques mesures injouables. Linterprte peut gnralement remdier ces problmes par des renversements daccords, mais il arrive que dessolutions plus labores simposent.La version standard du recueil Platero respecte lordre squentiel du

manuscrit (qui se trouve aujourdhui dans les archives du compositeur laBibliothque du Congrs), mais rien nindique que cet ordre plutt ala-toire ait t autre chose quun moyen pratique de colliger les pices selonla squence de leur composition. Chose certaine, il na aucun sens sur leplan narratif. Par exemple, la mort de Platero, aux trois quarts du recueil, estsuivie de sa rapparition guillerette dans un carnaval de village. De mme,rien ne permet de supposer que les 28 pices constituent un cycle com-plet dont chaque pome sinscrirait dans un plan et une structure laborsavec soin. Seuls les premier et dernier pomes se trouvent de toutevidence la bonne place. Il est plus plausible quayant compos unensemble substantiel de pices, le compositeur ait tout simplementdcid de passer un autre projet. Pour assembler notre cycle Platero,nous avons choisi 18 mouvements incontournables et les avons organissdans une squence narrative peu prs chronologique, tout en mna-geant aussi (nous lesprons) des contrastes musicaux et motionnelsefficaces.Castelnuovo-Tedesco esprait sans doute que Segovia jouerait un jour

Platero y yo dans sa forme originale, en partenariat avec un narrateur,plutt que sous la forme dun ensemble de pices pour guitare solodont les textes seraient imprims dans le programme du concert.Il nexiste cependant aucune trace dune telle excution, ce qui na riendtonnant quand on sait que Segovia jouait gnralement en soliste,seul ou avec un orchestre, plutt quen collaboration. En fait, cest tout

1514

rcemment que des interprtes ont commenc prsenter le cyclePlatero avec un narrateur, un changement quon ne saurait tropapprouver.La version anglaise utilise par Castelnuovo-Tedesco pour composer les

mouvements de Platero y yo est tire de la traduction complte ralisepar luniversitaire amricaine Elose Roach et publie pour la premire foisen 1957. Son rendu possde un caractre quelque peu victorien : minu-tieux, guind, souvent maladroit, il se prte plutt mal une lecture haute voix. Dans la traduction utilise ici, nous avons tent de saisir lelyrisme, la passion et le franc-parler du texte original de Jimnez, tout engardant lesprit le son et la couleur du texte (de mme que son sens !)ainsi que sa concordance avec laccompagnement de guitare.

SIMON WYNBERG ET COLIN FOX, 2014TRADUCTION FRANAISE DE LOUIS COURTEAU

fait idiomatique pour la guitare est soudainement interrompue parquelques mesures injouables. Linterprte peut gnralement remdier ces problmes par des renversements daccords, mais il arrive que dessolutions plus labores simposent.La version standard du recueil Platero respecte lordre squentiel du

manuscrit (qui se trouve aujourdhui dans les archives du compositeur laBibliothque du Congrs), mais rien nindique que cet ordre plutt ala-toire ait t autre chose quun moyen pratique de colliger les pices selonla squence de leur composition. Chose certaine, il na aucun sens sur leplan narratif. Par exemple, la mort de Platero, aux trois quarts du recueil, estsuivie de sa rapparition guillerette dans un carnaval de village. De mme,rien ne permet de supposer que les 28 pices constituent un cycle com-plet dont chaque pome sinscrirait dans un plan et une structure laborsavec soin. Seuls les premier et dernier pomes se trouvent de toutevidence la bonne place. Il est plus plausible quayant compos unensemble substantiel de pices, le compositeur ait tout simplementdcid de passer un autre projet. Pour assembler notre cycle Platero,nous avons choisi 18 mouvements incontournables et les avons organissdans une squence narrative peu prs chronologique, tout en mna-geant aussi (nous lesprons) des contrastes musicaux et motionnelsefficaces.Castelnuovo-Tedesco esprait sans doute que Segovia jouerait un jour

Platero y yo dans sa forme originale, en partenariat avec un narrateur,plutt que sous la forme dun ensemble de pices pour guitare solodont les textes seraient imprims dans le programme du concert.Il nexiste cependant aucune trace dune telle excution, ce qui na riendtonnant quand on sait que Segovia jouait gnralement en soliste,seul ou avec un orchestre, plutt quen collaboration. En fait, cest tout

SIMON WYNBERG GUITARE

Simon Wynberg mne une carrire clectique deguitariste, de chambriste et de directeur artistique.Il a fond et dirig pendant 20 ans le festival cossaisde musique de chambre Music in Blair Atholl et a tdirecteur artistique du Guelph Spring Festival, auCanada, de 1994 jusqu 2002, lanne de sa nomi-nation au poste de directeur artistique de lARCEnsemble, lensemble en rsidence du Conservatoireroyal de musique du Canada.Larticle son nom dans The New Grove Dictionary of

Music and Musicians le dcrit comme tant un inter-prte virtuose distingu, mais aussi un des plus grandrudits de la guitare . Il a ralis des travaux derecherche et ddition sur plus de 60 volumes de musique pour guitareinconnue jusque-l, et ses nombreux enregistrements (sous tiquettesChandos, ASV, Hyperion, Narada, Stradivari, Vox et Naxos) lui ont valu descritiques dithyrambiques et plusieurs prix, dont la Rosette du Penguin CDGuide, le Choix de la critique de Gramophone, ainsi quun prix Diapason.Il a frquent les festivals dun peu partout en Amrique du Nord, notam-ment ceux de Newport, des Bermudes, de Sitka, dAnn Arbor, de Santa Fet dOttawa. Il a collabor avec de nombreux artistes reconnus, dontlEnglish Chamber Orchestra, le fltiste William Bennett, le Quatuor cordesGabrieli ainsi que les violonistes Mark Peskanov et Martin Beaver. Son instru-ment est une guitare dix cordes conue et construite spcialement pourlui par le regrett luthier Thomas Humphrey.

COLIN FOX NARRATEUR

En plus de mener une carrire dacteur bien rempliequi couvre cinq dcennies Broadway et aux alen-tours, au Festival de Stratford, au Festival Shaw, au cinma, la radio et la tlvision, Colin Fox a fait ses dbuts enconcert en 1974 dans le rle-titre du Llio de Berlioz avecles orchestres symphoniques de Toronto et de Boston, sousla direction de Seiji Ozawa. Depuis, il sest signal dansEnoch Arden avec le pianiste Anton Kuerti; dans toutes lesvoix de LHistoire du soldat ; dans Le Carnaval des animauxavec les pianistes duettistes Anagnoson et Kinton; dans lerle dumari tortur de La Sonate Kreutzer de Tolsto, quila dite pour la prsenter avec le Quatuor Penderecki ;dans ldition et la lecture des lettres de Brahms et de

Dvok dansGiants in Music, Friends in Letters avec le Trio Gryphon. Il sest jointde nouveau lOrchestre symphonique de Toronto, dirig cette fois par SirAndrew Davis, pour Tales of the Netsilik de Ray Luedeke.M. Fox a crit et narr The Schumann Letters, qui a t prsent dans

50 salles dun bout lautre du Canada, suscitant le commentaire suivant duvioloniste James Ehnes : Le concept est nouveau et la prestation, impec-cable. Il est le laurat du prix Genie (1971) dumeilleur acteur ; du prix Anik dela narration pour Emily Carr (1975) ; des prix ACTRA et Andrew Allen de lameilleure prestation dans une dramatique radiophonique (1980) ; du prix Juno(1994) du meilleur enregistrement pour enfants pour son rle-titre dansTchaikovsky Discovers America. Il considre son pouse Carol comme unesource dinspiration et de soutien dans le cheminement de Platero vers saforme enregistre.

1716

SIMON WYNBERG GUITARE

Simon Wynberg mne une carrire clectique deguitariste, de chambriste et de directeur artistique.Il a fond et dirig pendant 20 ans le festival cossaisde musique de chambre Music in Blair Atholl et a tdirecteur artistique du Guelph Spring Festival, auCanada, de 1994 jusqu 2002, lanne de sa nomi-nation au poste de directeur artistique de lARCEnsemble, lensemble en rsidence du Conservatoireroyal de musique du Canada.Larticle son nom dans The New Grove Dictionary of

Music and Musicians le dcrit comme tant un inter-prte virtuose distingu, mais aussi un des plus grandrudits de la guitare . Il a ralis des travaux derecherche et ddition sur plus de 60 volumes de musique pour guitareinconnue jusque-l, et ses nombreux enregistrements (sous tiquettesChandos, ASV, Hyperion, Narada, Stradivari, Vox et Naxos) lui ont valu descritiques dithyrambiques et plusieurs prix, dont la Rosette du Penguin CDGuide, le Choix de la critique de Gramophone, ainsi quun prix Diapason.Il a frquent les festivals dun peu partout en Amrique du Nord, notam-ment ceux de Newport, des Bermudes, de Sitka, dAnn Arbor, de Santa Fet dOttawa. Il a collabor avec de nombreux artistes reconnus, dontlEnglish Chamber Orchestra, le fltiste William Bennett, le Quatuor cordesGabrieli ainsi que les violonistes Mark Peskanov et Martin Beaver. Son instru-ment est une guitare dix cordes conue et construite spcialement pourlui par le regrett luthier Thomas Humphrey.

COLIN FOX NARRATEUR

En plus de mener une carrire dacteur bien rempliequi couvre cinq dcennies Broadway et aux alen-tours, au Festival de Stratford, au Festival Shaw, au cinma, la radio et la tlvision, Colin Fox a fait ses dbuts enconcert en 1974 dans le rle-titre du Llio de Berlioz avecles orchestres symphoniques de Toronto et de Boston, sousla direction de Seiji Ozawa. Depuis, il sest signal dansEnoch Arden avec le pianiste Anton Kuerti; dans toutes lesvoix de LHistoire du soldat ; dans Le Carnaval des animauxavec les pianistes duettistes Anagnoson et Kinton; dans lerle dumari tortur de La Sonate Kreutzer de Tolsto, quila dite pour la prsenter avec le Quatuor Penderecki ;dans ldition et la lecture des lettres de Brahms et de

Dvok dansGiants in Music, Friends in Letters avec le Trio Gryphon. Il sest jointde nouveau lOrchestre symphonique de Toronto, dirig cette fois par SirAndrew Davis, pour Tales of the Netsilik de Ray Luedeke.M. Fox a crit et narr The Schumann Letters, qui a t prsent dans

50 salles dun bout lautre du Canada, suscitant le commentaire suivant duvioloniste James Ehnes : Le concept est nouveau et la prestation, impec-cable. Il est le laurat du prix Genie (1971) dumeilleur acteur ; du prix Anik dela narration pour Emily Carr (1975) ; des prix ACTRA et Andrew Allen de lameilleure prestation dans une dramatique radiophonique (1980) ; du prix Juno(1994) du meilleur enregistrement pour enfants pour son rle-titre dansTchaikovsky Discovers America. Il considre son pouse Carol comme unesource dinspiration et de soutien dans le cheminement de Platero vers saforme enregistre.

1716

We acknowledge the financial support of the Government of Canada through theDepartment of Canadian Heritage (Canada Music Fund).

Nous reconnaissons lappui financier du gouvernement du Canada par lentremisedu ministre du Patrimoine canadien (Fonds de la musique du Canada).

p 2014 Under exclusive license with Colin Fox2014 Sous licence exclusive avec Colin Fox

Music producer and Sound engineer / Ralisateur et ingnieur du son:Carl Talbot (Productions MUSICOM inc.)Studio engineer / Ingnieur du son en studio: Dennis PattersonRecorded at the / Enregistr au Glenn Gould Studio, CBC, TorontoAugust 23 - 24, 2013 / 23 - 24 aot 2013

Voice engineer / Enregistrement de la voix: Jim McBrideRecorded at / Enregistr au Technicolor Studios, Toronto June 21, 2014 / 21 juin 2014

Mixed by / Mixage: Carl Talbot

Photo cover / Photo de couverture: Getty imagesGraphic design / Graphisme: Diane LagacBooklet editor / Responsable du livret: Michel Ferland

Ten-string guitar by Thomas Humphrey, 2001 / Guitare 10 cordes de Thomas Humphrey

We acknowledge the financial support of the Government of Canada through theDepartment of Canadian Heritage (Canada Music Fund).

Nous reconnaissons lappui financier du gouvernement du Canada par lentremisedu ministre du Patrimoine canadien (Fonds de la musique du Canada).

p 2014 Under exclusive license with Colin Fox2014 Sous licence exclusive avec Colin Fox

Music producer and Sound engineer / Ralisateur et ingnieur du son:Carl Talbot (Productions MUSICOM inc.)Studio engineer / Ingnieur du son en studio: Dennis PattersonRecorded at the / Enregistr au Glenn Gould Studio, CBC, TorontoAugust 23 - 24, 2013 / 23 - 24 aot 2013

Voice engineer / Enregistrement de la voix: Jim McBrideRecorded at / Enregistr au Technicolor Studios, Toronto June 21, 2014 / 21 juin 2014

Mixed by / Mixage: Carl Talbot

Photo cover / Photo de couverture: Getty imagesGraphic design / Graphisme: Diane LagacBooklet editor / Responsable du livret: Michel Ferland

Ten-string guitar by Thomas Humphrey, 2001 / Guitare 10 cordes de Thomas Humphrey

ATMA Classique

PLATERO I

COLIN FOX NARRATORSIMON WYNBERG GUITAR

AND

MARIO CASTELNUOVO-TEDESCO

ACD2 2725