MarioCASTELNUOVO-TEDESCO

24 Caprichos de Goya

Zoran Dukic, Guitar

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Zoran Dukic

Born in Zagreb in 1969, the guitarist Zoran Dukic has a busyschedule in performing, teaching, recording and publishing. Heis a professor at the music academies in Barcelona and TheHague and has himself studied with Darko Petrinjak andHubert Käppel. He is the only guitarist to have won bothAndrés Segovia competitions in Granada and in Palma deMallorca. Between 1990 and 1997 he won an astonishingnumber of other competitions, including those dedicated toFernando Sor, Manuel Ponce, Manuel de Falla, and FranciscoTárrega. These, in addition to his unique expressiveness andpoetry on the guitar, launched his worldwide career, bringinghim unrivalled distinction among contemporary guitarists.

Huge thanks to Norbert Kraft for his ideas and inspiration,Darko and the patient audience from Doctor Dou.

Dedicated to Eva.

Photo: Mario Majcan

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XXIV. Sueño de la mentira y inconstancia (Dream of lying and inconstancy)

Though not one of the eighty Caprichos, this picture is in similar style and technique. It depicts two-faced womenwithout fidelity surrounded by several grotesque figures, complete with a foreground snake signifying treachery.Naturally there is surmise that the man to the left of the picture is Goya himself and that the woman near him is theDuchess of Alba, but this is where legend and history become blurred and the precise biographical facts behind thepicture remain more in the realm of conjecture than certainty. The climax of Castelnuovo-Tedesco’s Caprichos deGoya is an extended work, comprising a Fantasia and Fugue. The Fantasia, with its flowing arpeggios divided byquieter moments of recitativo, contains certain characteristics of the last movement of the composer’s Sonata,Omaggio a Boccherini, Op. 77 (written for Segovia in 1934). The Fugue, marked ‘thoughtful and melancholic’, isvery succinct leading to further bursts of arpeggio patterns and a momentary reprise of the Fantasia, ‘expressive andsad’. This composition appropriately concludes with a coda marked ‘pomposo e solenne’, where the strident octavesrefer to the ending of the first piece of the entire set, the portrait of Goya himself.

Graham Wade

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Mario

CASTELNUOVO-TEDESCO(1895-1968)

24 Caprichos de Goya for Guitar, Op. 195CD 1 39:051 I. Francisco Goya y Lucientes, Pintor (Francisco Goya y Lucientes, Painter) 3:502 II. Tal para qual (Two of a kind) 3:573 III. Nadie se conoce (Nobody knows himself) 2:024 IV. Ni asi la distingue (Even so he cannot make her out) 1:545 V. Muchachos al avío (The boys getting ready) 2:376 VI. El amor y la muerte (Love and death) 3:577 VII. Estan calientes (They are hot) 2:048 VIII. Dios la perdone: Y era su madre

(God forgive her: and it was her mother) 3:409 IX. Bien tirada está (It is nicely stretched) 2:590 X. Al Conde Palatino (To the Count Palatine) 2:51! XI. Y se le quema la casa (And he’s burning down the house) 2:45@ XII. No hubo remedio (Nothing could be done about it) 6:28

CD 2 43:241 XIII. ¿Quién más rendido? (Which of them is more overwhelmed?) 2:342 XIV. Porque fue sensible (Because she was sensitive) 4:123 XV. ¿Si sabrá más el discipulo? (Perhaps the pupil knows better?) 3:424 XVI. ¡Brabísimo! (Bravissimo!) 2:505 XVII. ¿De que mal morira? (Of what ill will he die?) 4:566 XVIII. El sueño de la razón produce monstruos

(The sleep of reason produces monsters) 5:157 XIX. Hilan delgado (They spin finely) 3:248 XX. Obsequio a el maestro (Gift to the master) 3:439 XXI. ¡Qué pico de oro! (What a golden beak!) 2:310 XXII. Volaverunt (Off they flew) 1:47! XXIII. ¡Linda maestra! (Pretty teacher!) 3:03@ XXIV. Sueño de la mentira y inconstancia (Dream of lying and inconstancy) 5:27

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XXIII. ¡Linda maestra! (Pretty teacher!) (Plate No. 68)

Goya returns to the theme of witchcraft, using the time-honoured image of the broomstick as a means of blackmagic transportation. Marked Presto (like a witch’s ride), the music is reminiscent of Castelnuovo-Tedesco’sTarantella, (written in 1936 for Segovia), with its six-eight time and galloping rhythms. Despite the connotations ofwitchcraft, the ride that the composer offers is most enjoyable and spiced with sardonic humour.

Mario Castelnuovo-Tedesco was born in Florence andstudied composition and piano at the Istituto MusicaleCherubini and later at the Liceo Musicale of Bologna.His teachers were Pizzetti and Casella, members of theinfluential and progressive Società Italiana de Musica, agroup of influential composers with whomCastelnuovo-Tedesco became closely associated.Castelnuovo-Tedesco’s interest in writing for the guitarbegan with his introduction to Andrés Segovia, who hadtravelled to Italy with Manuel de Falla, at the VeniceInternational Festival in 1932. As a result he was tocompose over a hundred works for the instrument,including concertos, chamber music, many solos andsome of the finest pieces for two guitars, these lastinspired by the illustrious French duo, Ida Presti andAlexandre Lagoya. In 1939, as a result of Mussolini’santi-Jewish edicts, Castelnuovo-Tedesco was obliged toseek refuge abroad, but after settling in California hebecame a prolific writer of film music between 1940and 1956, in the same period composing more thanseventy concert works. As a member of the faculty ofthe Los Angeles Conservatory of Music, he numberedamong his pupils Henry Mancini, Nelson Riddle, AndréPrevin, and the composer, John Williams.

The great Spanish painter, Francisco Goya (1746-1828) was appointed Court Painter to Charles IV in1789. In 1792 he retreated to Cadiz for several monthswhen illness brought about severe deafness, but on hisreturn to Madrid in 1797 he resumed his activities,becoming First Court Painter in 1799. Around this timehe began etching his sequence of eighty Caprichos(Caprices). Following Napoleon’s invasion of Spain,Goya painted many vivid pictures of the atrocities of thewar as well as portraits of the Duke of Wellington. In1824 he left Spain and spent the last few years of his lifein France.

Mario Castelnuovo-Tedesco selected 23 picturesfrom Goya’s Caprichos, and a further etching in similarstyle, as inspiration for an extended sequence of guitarsolos, completing the work in 1961. The following notespresent possible interpretations of Goya’s images (manyof which are profoundly ambiguous and function atvarious symbolic and ironic levels of meaning), as wellas descriptions of the music accompanying each picture(the number of the relevant plate is shown in brackets).In Castelnuovo-Tedesco’s 24 Caprichos de Goya, Op.195, the composer allows his own imagination andartistic instincts to shape his individual response to eachwork of art rather than following any facileprogrammatic patterns.

Mario Castelnuovo-Tedesco (1895-1968)24 Caprichos de Goya for Guitar, Op. 195

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XXII. Volaverunt (Off they flew) (Plate No. 61)

Volaverunt, derived from the Latin, expresses a sense of total loss. Goya described the picture as ‘The group ofwitches who act as a support to this fashionable fool is more of a decoration than a necessity. Some heads are soswollen with gas that they can fly without the aid of balloons or witches’. The person borne aloft is the Duchess ofAlba, representing the inconstant nature of women. The composition is a study in triplets, ‘rapid and light’, itsperpetual motion evoking the incessant rapidity of the upward flight.

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I. Francisco Goya y Lucientes, Pintor (Francisco Goya y Lucientes, Painter) (Plate No. 1)

This provides a portrait of the painter. Castelnuovo-Tedesco’s sequence thus begins with Preamble, founded on amusical motto on Goya’s name, presenting a picture of a debonair, self-assured personality. Then comes a three partFugue (Allegretto moderato) with a central section somewhat in the style of a March. The ending, a repetition ofGoya’s name, this time in fortissimo octaves, is marked ‘sustained and pompous’.

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XXI. ¡Qué pico de oro! (What a golden beak!) (Plate No. 53)

A parrot speaks to a a group of allegedly learned men who are entranced by the bird’s eloquence. In a lively Gigue,the music imitates the short stilted utterances of the parrot. A contrasting section, marked ‘burlesque’, appears twicewhile the coda provides an ironically triumphant finale.

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II. Tal para qual (Two of a kind) (Plate No. 5)

The atmosphere here is of a shameless couple flirting ostentatiously, observed by two old women. The title suggeststhat both partners are equally to blame for improper behaviour. The music opens with a short introduction, playfuland mocking, followed by a rhythmic passage leading to Tempo di Fandango. A central section brings in a moretender mood before the Fandango’s reprise. Then comes a passage marked ‘very expressive with false sentiment’,and a brief coda recalls the opening motif.

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XX. Obsequio a el maestro (Gift to the master) (Plate No. 47)

The fawning disciples offer a new born baby to the teacher from whom they have learned their evil ways. Ratherthan conjuring up images of depravity, Castelnuovo-Tedesco presents an introspective work through which, byincluding themes from one of his early mentors, Ildebrando Pizzetti (1880-1968), he presents his own gift to aMaster.

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III. Nadie se conoce (Nobody knows himself) (Plate No. 6)

The key to this picture is the use of masks to hide identity, on the theme that society is governed by appearances.Goya himself commented that ‘Everybody tries to pretend to be something they are not, they all cheat and no oneknows.’ The piece, Allegretto con spirito, is in the tempo of the Furlana (sometimes called Forlana), a North Italiandance in duple time (or six eight as here), associated with Venice. The dance originated in the Italian region ofFriulia, a Slavonic republic under the control of the Venetian Republic, hence the lively Slav-like rhythms.

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XIX. Hilan delgado (They spin finely) (Plate No. 44)

An old woman with a long neck spins yarn observed by two equally grotesque companions. To the right are severalbabies suspended from the ceiling. This piece, marked ‘rapid and sinister (like a macabre spinner)’, follows thetradition of music (including works by Schubert, Mendelssohn, Wagner, Saint-Saëns and others), enacting theancient art of spinning. The perpetual motion is paused only for a sinister, misterioso interlude before the activityresumes.

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IV. Ni asi la distingue (Even so he cannot make her out) (Plate No. 7)

The gentleman in the picture is unable to establish exactly what kind of woman he is talking to, another instance ofGoya’s fascination with the deceptiveness of social appearances and human relationships. Castelnuovo-Tedescoexpresses these ambiguities through Allegretto mosso, pettegolo e manierato: Tempo di Badinage, meaning ‘fairlyquick, gossipy and affected, in the Tempo of Jesting Talk’. The mood is established by rapid semiquavers andagitated movement.

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XVIII. El sueño de la razón produce monstruos (The sleep of reason produces monsters) (Plate No. 43)

Among Goya’s most famous images, this has been considered as one of the artist’s self-portraits. The man, eithersleeping or dreaming (sueño in Spanish carries both meanings), is surrounded by evil-looking owls, a sinister lynxwith pointed ears, and bat-like creatures. The music takes the form of a short Chaconne with five variations.Variation 1 deploys rapid arpeggios accompanying the Chaconne theme. Variation 2 moves into triplet patternswhile Variation 3 uses the Chaconne in the bass against treble scale passages. The next Variation brings the themeback into the treble against a busy accompaniment before Variation 5, marked con fuoco (with fire) offers a chordalexploration in quavers of the insistent theme. The final recapitulation is ‘very slow and solemn’.

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V. Muchachos al avío (The boys getting ready) (Plate No. 11)

By their dress these ‘boys’ are identified as bandits or smugglers about to undertake their nefarious activities. Thework is in the tempo of the Villancico, originally a Spanish rustic dance from the late fifteenth century. The dottedrhythms enact the swaggering gait of the robbers. Castelnuovo-Tedesco injects an element of humour into thismovement as the painter confronts straightforward roguery, unlike the subtle but equally corrupt hypocrisies ofsocial existence depicted elsewhere.

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VI. El amor y la muerte (Love and death) (Plate No. 10)

In this picture a girl embraces a dying man whose duelling sword lies on the ground. The composer expresses thedrama in a Tempo di Tango, ‘heavy and tragic’, beginning with rhythmic chords followed by a plaintive, descendingmotif. Between them these elements represent the false bravado of the man and the grief of the lover. A middlesection, un poco agitato, features a poignant melody marked at one point, ‘expressive and desolate in the manner ofrecitativo’. The final bars represent the last painful convulsions of the mortally wounded duellist.

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XVII. ¿De que mal morira? (Of what ill will he die?) (Plate No. 40)

This striking picture illustrates Goya’s detestation of the ignorant doctors of his day whose treatment often killed thepatient. The donkey feels the pulse of the dying man but does not know the actual nature of the illness. The music,marked Funebre (Funereal), opens with a drumming dirge. A plaintive melody, fluttering like a weak pulse, isheard, followed by a Funeral March for a Marionette with staccato bass. The melodic elements are explored atlength before the return of the March. The coda, lento morente (slow dying), expresses the patient’s final momentsbefore the deadly drum ends the proceedings.

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XVI. ¡Brabísimo! (Bravissimo!) (Plate No. 38)

This picture of a monkey performing on a guitar to a donkey is a satire on authority and politicians. In the music thelistener is invited to imagine the material the monkey is performing. The piece begins with a very fast repeated notemotif before an Allegretto moderato tempo introduces a Serenade, ‘grotesque and a little like a caricature’. Thisgives way to a lively episode exploiting the single note concept of the opening. The recapitulation expresses thesentimental side of the Serenade as well as utilising the repeated notes, bringing together the dual aspects of thework.

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VII. Estan calientes (They are hot) (Plate No. 13)

Goya portrays the elements of greed as the gluttons gobble down their hot food with no restraint or manners. Theirantics are expressed musically by means of an opening Bourreé, rude e animato, imparting concepts of caricatureand mockery. A middle section in the tempo of a Galliard contrasts against a reprise of the Bourreé. A secondGalliard brings in a high staccato melody descending to soft rhythmic chords played con spirito.

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XV. ¿Si sabrá más el discipulo? (Perhaps the pupil knows better?) (Plate No. 37)

Goya endows animals with human characteristics, the pupil (a donkey) instructing the teacher (an older donkey), inthe alphabet. Behind the image is the concept of how schools of learning transmit follies and falsehoods. With anintroductory ass-like braying, the composer begins to lampoon the twelve-tone system of Schoenberg and hisfollowers. After setting out the tone-row, the twelve notes are deployed (with added harmonies) in a Gavotte, beforebeing ‘inverted’ and ‘retrograded’ in the usual manner of dodecaphonic practitioners. As well as Gavottes, twoMusettes are added, mocking modern dissonance in a playful manner.

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VIII. Dios la perdone: Y era su madre (God forgive her: and it was her mother) (Plate No. 16)

A fashionably attired and sophisticated woman (possibly a prostitute), is asked for money by an old lady, whohappens to be her mother. It may be that the young woman does not realise it is her mother or is deliberatelyignoring her, the haughty posture being contrasted against the bent supplicant. In an introductory ‘quasi recitativo’the notes spell out the Spanish words of the title, the phrases punctuated with loud staccato chords. The openingrhythm will be heard throughout in a Habanera, the popular Cuban dance with its seductive movement, whichconstitutes the main feature of the work. A short quasi cadenza section provides a moment of animated contrastbefore the return of the Habanera, ‘expressive and sad’.

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XIV. Porque fue sensible (Because she was sensitive) (Plate No. 32)

This portrait of a woman in prison is the only one of the set to have no etched lines, being rendered entirely throughaquatinting, a technique which enhances the contrast between the white prisoner and the gloomy background. Thispensive scene is depicted by the rhythms of the Zortzico, a Basque folk-dance with eight steps in five-eight time. A‘lamentoso’ introduction precedes the dance itself. A chordal episode, ‘sweet but rhythmic’ and ‘a little slow andsad’, looks forward to the gentle coda, expressing the girl’s plight with poignant intensity.

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IX. Bien tirada está (It is nicely stretched) (Plate No. 17)

In this image of the girl pulling on her stockings observed by an ugly crone, the implication is of low life and thesordid existence of the streets. The work begins with descending tritones (the musical interval of three whole tonesoften associated with sinister aspects). The mood is expressed through the jota, the dance from Aragon in which(among other features), the dancers swing outward first one leg then the other. Castelnuovo-Tedesco’s jota becomesincreasingly complex in texture, a middle section being marked ‘expressive and well sung’, but the essential vitalityof the dance is sustained throughout until the re-introduction of the tritones.

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XIII. ¿Quién más rendido? (Which of them is more overwhelmed?) (Plate No. 27)

This picture shows a social fop importuning the favours of a woman in the street, her companions looking on in thebackground. The superficiality of this behaviour is ironically characterized in the music by means of the Rigaudon,a courtship dance from southern France popular in both the seventeenth and eighteenth centuries. A middle sectionmarked ‘a little sentimental (but in tempo)’, offers a contrast, evoking the flattering words of the man before theRigaudon strikes up again.

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X. Al Conde Palatino (To the Count Palatine) (Plate No. 33)

A caption on the Prado etching version of this picture comments that in all sciences ‘there are charlatans who knoweverything without having studied anything and who have a remedy for everything.’ One such individual is depictedhere administering his own painful dentistry. The movement, in the form of a Minuet, to be played ‘ceremoniouslyand gallantly, but with irony’, is written first in the major key and then in the minor.

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XI. Y se le quema la casa (And he’s burning down the house) (Plate No. 18)

This shows an inebriated, debauched old man with open trousers accidentally setting his house on fire. Thesymbolism suggests that vices of lust and excess are self-destructive. Castelnuovo-Tedesco adopts herecharacteristics of the popular Spanish song and dance El Vito. Following the statement of the main theme, anothermood is introduced with a copla, an interlude evoking the singer’s solo voice (with implied guitar accompaniment).Finally the music fades away into the distance.

XII. No hubo remedio (Nothing could be done about it) (Plate No. 24)

Goya presents a picture of a woman sentenced by the Inquisition to be executed, flanked by stern figures ofauthority and the hideous faces of the mob. The composer deals with this grim topic by a set of variations inPassacaglia form on the theme of the Dies irae (Day of Wrath). The Passacaglia provides a bass melody aroundwhich seven variations are fashioned, each variation having its own distinct character. Variation 1, for example, hasthe theme in the treble, Variation 2 is molto tranquillo, while Variation 4 is a virtuosic study. The ending, Variation7, combines ‘sustained and grandiose’ loud chords with brilliant bursts of semiquavers in a final celebration of theDies irae mood.

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XI. Y se le quema la casa (And he’s burning down the house) (Plate No. 18)

This shows an inebriated, debauched old man with open trousers accidentally setting his house on fire. Thesymbolism suggests that vices of lust and excess are self-destructive. Castelnuovo-Tedesco adopts herecharacteristics of the popular Spanish song and dance El Vito. Following the statement of the main theme, anothermood is introduced with a copla, an interlude evoking the singer’s solo voice (with implied guitar accompaniment).Finally the music fades away into the distance.

XII. No hubo remedio (Nothing could be done about it) (Plate No. 24)

Goya presents a picture of a woman sentenced by the Inquisition to be executed, flanked by stern figures ofauthority and the hideous faces of the mob. The composer deals with this grim topic by a set of variations inPassacaglia form on the theme of the Dies irae (Day of Wrath). The Passacaglia provides a bass melody aroundwhich seven variations are fashioned, each variation having its own distinct character. Variation 1, for example, hasthe theme in the treble, Variation 2 is molto tranquillo, while Variation 4 is a virtuosic study. The ending, Variation7, combines ‘sustained and grandiose’ loud chords with brilliant bursts of semiquavers in a final celebration of theDies irae mood.

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XIII. ¿Quién más rendido? (Which of them is more overwhelmed?) (Plate No. 27)

This picture shows a social fop importuning the favours of a woman in the street, her companions looking on in thebackground. The superficiality of this behaviour is ironically characterized in the music by means of the Rigaudon,a courtship dance from southern France popular in both the seventeenth and eighteenth centuries. A middle sectionmarked ‘a little sentimental (but in tempo)’, offers a contrast, evoking the flattering words of the man before theRigaudon strikes up again.

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X. Al Conde Palatino (To the Count Palatine) (Plate No. 33)

A caption on the Prado etching version of this picture comments that in all sciences ‘there are charlatans who knoweverything without having studied anything and who have a remedy for everything.’ One such individual is depictedhere administering his own painful dentistry. The movement, in the form of a Minuet, to be played ‘ceremoniouslyand gallantly, but with irony’, is written first in the major key and then in the minor.

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XIV. Porque fue sensible (Because she was sensitive) (Plate No. 32)

This portrait of a woman in prison is the only one of the set to have no etched lines, being rendered entirely throughaquatinting, a technique which enhances the contrast between the white prisoner and the gloomy background. Thispensive scene is depicted by the rhythms of the Zortzico, a Basque folk-dance with eight steps in five-eight time. A‘lamentoso’ introduction precedes the dance itself. A chordal episode, ‘sweet but rhythmic’ and ‘a little slow andsad’, looks forward to the gentle coda, expressing the girl’s plight with poignant intensity.

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IX. Bien tirada está (It is nicely stretched) (Plate No. 17)

In this image of the girl pulling on her stockings observed by an ugly crone, the implication is of low life and thesordid existence of the streets. The work begins with descending tritones (the musical interval of three whole tonesoften associated with sinister aspects). The mood is expressed through the jota, the dance from Aragon in which(among other features), the dancers swing outward first one leg then the other. Castelnuovo-Tedesco’s jota becomesincreasingly complex in texture, a middle section being marked ‘expressive and well sung’, but the essential vitalityof the dance is sustained throughout until the re-introduction of the tritones.

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XV. ¿Si sabrá más el discipulo? (Perhaps the pupil knows better?) (Plate No. 37)

Goya endows animals with human characteristics, the pupil (a donkey) instructing the teacher (an older donkey), inthe alphabet. Behind the image is the concept of how schools of learning transmit follies and falsehoods. With anintroductory ass-like braying, the composer begins to lampoon the twelve-tone system of Schoenberg and hisfollowers. After setting out the tone-row, the twelve notes are deployed (with added harmonies) in a Gavotte, beforebeing ‘inverted’ and ‘retrograded’ in the usual manner of dodecaphonic practitioners. As well as Gavottes, twoMusettes are added, mocking modern dissonance in a playful manner.

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VIII. Dios la perdone: Y era su madre (God forgive her: and it was her mother) (Plate No. 16)

A fashionably attired and sophisticated woman (possibly a prostitute), is asked for money by an old lady, whohappens to be her mother. It may be that the young woman does not realise it is her mother or is deliberatelyignoring her, the haughty posture being contrasted against the bent supplicant. In an introductory ‘quasi recitativo’the notes spell out the Spanish words of the title, the phrases punctuated with loud staccato chords. The openingrhythm will be heard throughout in a Habanera, the popular Cuban dance with its seductive movement, whichconstitutes the main feature of the work. A short quasi cadenza section provides a moment of animated contrastbefore the return of the Habanera, ‘expressive and sad’.

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XVI. ¡Brabísimo! (Bravissimo!) (Plate No. 38)

This picture of a monkey performing on a guitar to a donkey is a satire on authority and politicians. In the music thelistener is invited to imagine the material the monkey is performing. The piece begins with a very fast repeated notemotif before an Allegretto moderato tempo introduces a Serenade, ‘grotesque and a little like a caricature’. Thisgives way to a lively episode exploiting the single note concept of the opening. The recapitulation expresses thesentimental side of the Serenade as well as utilising the repeated notes, bringing together the dual aspects of thework.

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VII. Estan calientes (They are hot) (Plate No. 13)

Goya portrays the elements of greed as the gluttons gobble down their hot food with no restraint or manners. Theirantics are expressed musically by means of an opening Bourreé, rude e animato, imparting concepts of caricatureand mockery. A middle section in the tempo of a Galliard contrasts against a reprise of the Bourreé. A secondGalliard brings in a high staccato melody descending to soft rhythmic chords played con spirito.

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VI. El amor y la muerte (Love and death) (Plate No. 10)

In this picture a girl embraces a dying man whose duelling sword lies on the ground. The composer expresses thedrama in a Tempo di Tango, ‘heavy and tragic’, beginning with rhythmic chords followed by a plaintive, descendingmotif. Between them these elements represent the false bravado of the man and the grief of the lover. A middlesection, un poco agitato, features a poignant melody marked at one point, ‘expressive and desolate in the manner ofrecitativo’. The final bars represent the last painful convulsions of the mortally wounded duellist.

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XVII. ¿De que mal morira? (Of what ill will he die?) (Plate No. 40)

This striking picture illustrates Goya’s detestation of the ignorant doctors of his day whose treatment often killed thepatient. The donkey feels the pulse of the dying man but does not know the actual nature of the illness. The music,marked Funebre (Funereal), opens with a drumming dirge. A plaintive melody, fluttering like a weak pulse, isheard, followed by a Funeral March for a Marionette with staccato bass. The melodic elements are explored atlength before the return of the March. The coda, lento morente (slow dying), expresses the patient’s final momentsbefore the deadly drum ends the proceedings.

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XVIII. El sueño de la razón produce monstruos (The sleep of reason produces monsters) (Plate No. 43)

Among Goya’s most famous images, this has been considered as one of the artist’s self-portraits. The man, eithersleeping or dreaming (sueño in Spanish carries both meanings), is surrounded by evil-looking owls, a sinister lynxwith pointed ears, and bat-like creatures. The music takes the form of a short Chaconne with five variations.Variation 1 deploys rapid arpeggios accompanying the Chaconne theme. Variation 2 moves into triplet patternswhile Variation 3 uses the Chaconne in the bass against treble scale passages. The next Variation brings the themeback into the treble against a busy accompaniment before Variation 5, marked con fuoco (with fire) offers a chordalexploration in quavers of the insistent theme. The final recapitulation is ‘very slow and solemn’.

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V. Muchachos al avío (The boys getting ready) (Plate No. 11)

By their dress these ‘boys’ are identified as bandits or smugglers about to undertake their nefarious activities. Thework is in the tempo of the Villancico, originally a Spanish rustic dance from the late fifteenth century. The dottedrhythms enact the swaggering gait of the robbers. Castelnuovo-Tedesco injects an element of humour into thismovement as the painter confronts straightforward roguery, unlike the subtle but equally corrupt hypocrisies ofsocial existence depicted elsewhere.

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XIX. Hilan delgado (They spin finely) (Plate No. 44)

An old woman with a long neck spins yarn observed by two equally grotesque companions. To the right are severalbabies suspended from the ceiling. This piece, marked ‘rapid and sinister (like a macabre spinner)’, follows thetradition of music (including works by Schubert, Mendelssohn, Wagner, Saint-Saëns and others), enacting theancient art of spinning. The perpetual motion is paused only for a sinister, misterioso interlude before the activityresumes.

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IV. Ni asi la distingue (Even so he cannot make her out) (Plate No. 7)

The gentleman in the picture is unable to establish exactly what kind of woman he is talking to, another instance ofGoya’s fascination with the deceptiveness of social appearances and human relationships. Castelnuovo-Tedescoexpresses these ambiguities through Allegretto mosso, pettegolo e manierato: Tempo di Badinage, meaning ‘fairlyquick, gossipy and affected, in the Tempo of Jesting Talk’. The mood is established by rapid semiquavers andagitated movement.

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XX. Obsequio a el maestro (Gift to the master) (Plate No. 47)

The fawning disciples offer a new born baby to the teacher from whom they have learned their evil ways. Ratherthan conjuring up images of depravity, Castelnuovo-Tedesco presents an introspective work through which, byincluding themes from one of his early mentors, Ildebrando Pizzetti (1880-1968), he presents his own gift to aMaster.

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III. Nadie se conoce (Nobody knows himself) (Plate No. 6)

The key to this picture is the use of masks to hide identity, on the theme that society is governed by appearances.Goya himself commented that ‘Everybody tries to pretend to be something they are not, they all cheat and no oneknows.’ The piece, Allegretto con spirito, is in the tempo of the Furlana (sometimes called Forlana), a North Italiandance in duple time (or six eight as here), associated with Venice. The dance originated in the Italian region ofFriulia, a Slavonic republic under the control of the Venetian Republic, hence the lively Slav-like rhythms.

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XXI. ¡Qué pico de oro! (What a golden beak!) (Plate No. 53)

A parrot speaks to a a group of allegedly learned men who are entranced by the bird’s eloquence. In a lively Gigue,the music imitates the short stilted utterances of the parrot. A contrasting section, marked ‘burlesque’, appears twicewhile the coda provides an ironically triumphant finale.

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II. Tal para qual (Two of a kind) (Plate No. 5)

The atmosphere here is of a shameless couple flirting ostentatiously, observed by two old women. The title suggeststhat both partners are equally to blame for improper behaviour. The music opens with a short introduction, playfuland mocking, followed by a rhythmic passage leading to Tempo di Fandango. A central section brings in a moretender mood before the Fandango’s reprise. Then comes a passage marked ‘very expressive with false sentiment’,and a brief coda recalls the opening motif.

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XXII. Volaverunt (Off they flew) (Plate No. 61)

Volaverunt, derived from the Latin, expresses a sense of total loss. Goya described the picture as ‘The group ofwitches who act as a support to this fashionable fool is more of a decoration than a necessity. Some heads are soswollen with gas that they can fly without the aid of balloons or witches’. The person borne aloft is the Duchess ofAlba, representing the inconstant nature of women. The composition is a study in triplets, ‘rapid and light’, itsperpetual motion evoking the incessant rapidity of the upward flight.

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I. Francisco Goya y Lucientes, Pintor (Francisco Goya y Lucientes, Painter) (Plate No. 1)

This provides a portrait of the painter. Castelnuovo-Tedesco’s sequence thus begins with Preamble, founded on amusical motto on Goya’s name, presenting a picture of a debonair, self-assured personality. Then comes a three partFugue (Allegretto moderato) with a central section somewhat in the style of a March. The ending, a repetition ofGoya’s name, this time in fortissimo octaves, is marked ‘sustained and pompous’.

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XXIII. ¡Linda maestra! (Pretty teacher!) (Plate No. 68)

Goya returns to the theme of witchcraft, using the time-honoured image of the broomstick as a means of blackmagic transportation. Marked Presto (like a witch’s ride), the music is reminiscent of Castelnuovo-Tedesco’sTarantella, (written in 1936 for Segovia), with its six-eight time and galloping rhythms. Despite the connotations ofwitchcraft, the ride that the composer offers is most enjoyable and spiced with sardonic humour.

Mario Castelnuovo-Tedesco was born in Florence andstudied composition and piano at the Istituto MusicaleCherubini and later at the Liceo Musicale of Bologna.His teachers were Pizzetti and Casella, members of theinfluential and progressive Società Italiana de Musica, agroup of influential composers with whomCastelnuovo-Tedesco became closely associated.Castelnuovo-Tedesco’s interest in writing for the guitarbegan with his introduction to Andrés Segovia, who hadtravelled to Italy with Manuel de Falla, at the VeniceInternational Festival in 1932. As a result he was tocompose over a hundred works for the instrument,including concertos, chamber music, many solos andsome of the finest pieces for two guitars, these lastinspired by the illustrious French duo, Ida Presti andAlexandre Lagoya. In 1939, as a result of Mussolini’santi-Jewish edicts, Castelnuovo-Tedesco was obliged toseek refuge abroad, but after settling in California hebecame a prolific writer of film music between 1940and 1956, in the same period composing more thanseventy concert works. As a member of the faculty ofthe Los Angeles Conservatory of Music, he numberedamong his pupils Henry Mancini, Nelson Riddle, AndréPrevin, and the composer, John Williams.

The great Spanish painter, Francisco Goya (1746-1828) was appointed Court Painter to Charles IV in1789. In 1792 he retreated to Cadiz for several monthswhen illness brought about severe deafness, but on hisreturn to Madrid in 1797 he resumed his activities,becoming First Court Painter in 1799. Around this timehe began etching his sequence of eighty Caprichos(Caprices). Following Napoleon’s invasion of Spain,Goya painted many vivid pictures of the atrocities of thewar as well as portraits of the Duke of Wellington. In1824 he left Spain and spent the last few years of his lifein France.

Mario Castelnuovo-Tedesco selected 23 picturesfrom Goya’s Caprichos, and a further etching in similarstyle, as inspiration for an extended sequence of guitarsolos, completing the work in 1961. The following notespresent possible interpretations of Goya’s images (manyof which are profoundly ambiguous and function atvarious symbolic and ironic levels of meaning), as wellas descriptions of the music accompanying each picture(the number of the relevant plate is shown in brackets).In Castelnuovo-Tedesco’s 24 Caprichos de Goya, Op.195, the composer allows his own imagination andartistic instincts to shape his individual response to eachwork of art rather than following any facileprogrammatic patterns.

Mario Castelnuovo-Tedesco (1895-1968)24 Caprichos de Goya for Guitar, Op. 195

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XXIV. Sueño de la mentira y inconstancia (Dream of lying and inconstancy)

Though not one of the eighty Caprichos, this picture is in similar style and technique. It depicts two-faced womenwithout fidelity surrounded by several grotesque figures, complete with a foreground snake signifying treachery.Naturally there is surmise that the man to the left of the picture is Goya himself and that the woman near him is theDuchess of Alba, but this is where legend and history become blurred and the precise biographical facts behind thepicture remain more in the realm of conjecture than certainty. The climax of Castelnuovo-Tedesco’s Caprichos deGoya is an extended work, comprising a Fantasia and Fugue. The Fantasia, with its flowing arpeggios divided byquieter moments of recitativo, contains certain characteristics of the last movement of the composer’s Sonata,Omaggio a Boccherini, Op. 77 (written for Segovia in 1934). The Fugue, marked ‘thoughtful and melancholic’, isvery succinct leading to further bursts of arpeggio patterns and a momentary reprise of the Fantasia, ‘expressive andsad’. This composition appropriately concludes with a coda marked ‘pomposo e solenne’, where the strident octavesrefer to the ending of the first piece of the entire set, the portrait of Goya himself.

Graham Wade

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Mario

CASTELNUOVO-TEDESCO(1895-1968)

24 Caprichos de Goya for Guitar, Op. 195CD 1 39:051 I. Francisco Goya y Lucientes, Pintor (Francisco Goya y Lucientes, Painter) 3:502 II. Tal para qual (Two of a kind) 3:573 III. Nadie se conoce (Nobody knows himself) 2:024 IV. Ni asi la distingue (Even so he cannot make her out) 1:545 V. Muchachos al avío (The boys getting ready) 2:376 VI. El amor y la muerte (Love and death) 3:577 VII. Estan calientes (They are hot) 2:048 VIII. Dios la perdone: Y era su madre

(God forgive her: and it was her mother) 3:409 IX. Bien tirada está (It is nicely stretched) 2:590 X. Al Conde Palatino (To the Count Palatine) 2:51! XI. Y se le quema la casa (And he’s burning down the house) 2:45@ XII. No hubo remedio (Nothing could be done about it) 6:28

CD 2 43:241 XIII. ¿Quién más rendido? (Which of them is more overwhelmed?) 2:342 XIV. Porque fue sensible (Because she was sensitive) 4:123 XV. ¿Si sabrá más el discipulo? (Perhaps the pupil knows better?) 3:424 XVI. ¡Brabísimo! (Bravissimo!) 2:505 XVII. ¿De que mal morira? (Of what ill will he die?) 4:566 XVIII. El sueño de la razón produce monstruos

(The sleep of reason produces monsters) 5:157 XIX. Hilan delgado (They spin finely) 3:248 XX. Obsequio a el maestro (Gift to the master) 3:439 XXI. ¡Qué pico de oro! (What a golden beak!) 2:310 XXII. Volaverunt (Off they flew) 1:47! XXIII. ¡Linda maestra! (Pretty teacher!) 3:03@ XXIV. Sueño de la mentira y inconstancia (Dream of lying and inconstancy) 5:27

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MarioCASTELNUOVO-TEDESCO

24 Caprichos de Goya

Zoran Dukic, Guitar

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Zoran Dukic

Born in Zagreb in 1969, the guitarist Zoran Dukic has a busyschedule in performing, teaching, recording and publishing. Heis a professor at the music academies in Barcelona and TheHague and has himself studied with Darko Petrinjak andHubert Käppel. He is the only guitarist to have won bothAndrés Segovia competitions in Granada and in Palma deMallorca. Between 1990 and 1997 he won an astonishingnumber of other competitions, including those dedicated toFernando Sor, Manuel Ponce, Manuel de Falla, and FranciscoTárrega. These, in addition to his unique expressiveness andpoetry on the guitar, launched his worldwide career, bringinghim unrivalled distinction among contemporary guitarists.

Huge thanks to Norbert Kraft for his ideas and inspiration,Darko and the patient audience from Doctor Dou.

Dedicated to Eva.

Photo: Mario Majcan

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With its grotesque cast of supernatural beings and subhuman characters, the satirical etchingsof Francisco Goya’s Los Caprichos (1799) portray the sufferings of 18th century Spain in someof Western art’s most influential images. Originally conceived for Andrés Segovia, MarioCastelnuovo-Tedesco’s 24 Caprichos de Goya has seldom been recorded complete, as it is here byCroatian guitarist Zoran Dukic, whose spectacular virtuosity, profound musicianship andartistic maturity have won him more first prizes in international competitions than anyone elsein the world. DDD

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MarioCASTELNUOVO-TEDESCO

(1895-1968)

24 Caprichos de Goya for Guitar, Op. 195

Zoran Dukic, Guitar

CD 1

1-@ Caprichos Nos. 1-12 39:05

CD 2

1-@ Caprichos Nos. 13-24 43:24

A detailed track list can be found on page 2 of the bookletRecorded at St. John Chrysostom Church, Newmarket, Ontario, Canada,

on 15th, 16th, 24th and 25th May, 2008 Producers: Norbert Kraft and Bonnie Silver • Engineer and editor: Norbert Kraft

Booklet notes: Graham Wade • Publisher: Berben • Guitar by Daniel Friederich, ParisCover image: The Sleep of Reason Produces Monsters, plate 43 of ‘Los Caprichos’,

by Francisco José de Goya y Lucientes (1746-1828) (Bibliothèque Nationale, Paris, France / Archives Charmet / The Bridgeman Art Library)

The booklet also includes reproductions of the 24 Goya etchings which inspired Castelnuovo-Tedescos’s Caprichos (Private Collection / The Bridgeman Art Library )

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