Listen & tracks
10 works · 75:09
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1 Introduction, Theme and Variations on “O cara armonia” from the Magic Flute, op. 9 Fernando Sor 9:37
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2 Fantaisie Hongroise, op. 65 Johann Kaspar Mertz 6:49
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The Prince’s ToysNikita Koshkin 5 movements17:18
- 3 i. The mischievous prince 3:04
- 4 ii. The mechanical monkey 2:53
- 5 iii. The doll with the blinking eyes 5:51
- 6 iv. Tin soldiers 3:04
- 7 v. The prince’s coach 2:26
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Three works in DSylvius Leopold Weiss 3 movements9:18
- 8 Fuga 2:50
- 9 Passacaille 4:10
- 10 Caprice 2:18
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FlockHarold Gretton 5 movements14:50
- 11 i. Currawong 4:46
- 12 ii. Magpie 2:25
- 13 iii. Blue Wren 1:59
- 14 iv. Galah 1:33
- 15 v. Rainbow Lorikeet 4:07
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16 Danza Brasilera Jorge Morel 2:39
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17 La Negra Antonio Lauro 2:50
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18 Estrellita Manuel María Ponce 2:39
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19 La Muerte del Ángel Astor Piazzolla 5:07
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20 Inarticulate Music Harold Gretton 4:02
From Baroque miniatures by Sylvius Leopold Weiß to Gretton’s own Australian bird suite, the recital draws a long arc of solo guitar writing. His playing rests as much on passion and imagination as on careful research, and John Taylor’s recording catches that approach in the distinctive acoustic of the Gothic church at Weston.
Beside classical and Latin favourites sit world-première recordings of Gretton’s own music. The package is completed by Penny Deacon’s watercolours and by detailed historical and personal notes.
In the artist’s words
Jet-lagged and unacclimatised to London’s winter chill was how I followed John Taylor into the Gothic Holy Trinity church in Weston on the 2nd of January 2019. It was to nestle into a cocoon of heaters in the middle of a pewless timber floor, perched on a wooden chair, playing music I love into a marvellous acoustic, and there was no place I’d rather be.
This album feels a long time coming. My relationship with some pieces stretching back over 20 years. My teenage lust for new repertoire was insatiable, and had me fumbling through works well beyond my abilities, including Sor’s timeless Magic Flute Variations. Aesthetically, the simple harmony, pure counterpoint and exquisite melodies make this an obvious starting point for the programme – an invitation into the intimate sound of the classical guitar.
Artists
Harold Gretton
guitar
Harold Gretton began playing guitar at the age of 7. He has won numerous national and international competitions, and been awarded many prizes, performing widely across Europe, North America, Asia and Australia.
Astor Piazzolla
composer
Astor Piazzolla turned the tango into something sharper, more restless and chamber-like. His nuevo tango draws jazz harmony and classical counterpoint into the dance without blunting its edge.
Leo Brouwer
composer
Leo Brouwer’s guitar music moves between Cuban pulse, modernist experiment and later modal clarity. The Etudes Simples, Hika in memory of Takemitsu, Micro Pieza and Berceuse show how sharply he can shape atmosphere and motif.
Nikita Koshkin
composer
Antonio Lauro
composer
Johann Kaspar Mertz
composer
Johann Kaspar Mertz (1806–1856) was an Austrian guitarist and composer whose romantic character pieces and concert fantasias remain central to the nineteenth-century guitar repertoire.
Jorge Morel
composer
Jorge Morel wrote for the classical guitar with a blend of Latin American rhythm and jazz harmony. His Danza Brasiliera and other pieces have become part of the instrument's standard concert and chamber repertoire.
Manuel María Ponce
composer
Manuel Ponce’s music draws Mexican popular song and folklore into the concert hall. His guitar works sit at the centre of the instrument’s repertory, while piano pieces and songs reshape European forms with a distinctly Latin American voice.
David Russell
composer
David Russell’s countertenor cuts cleanly through Mozart’s scatological canons with The Song Company, and he takes the solo line in Martin Wesley-Smith’s Who Killed Cock Robin?, turning the falsely accused caterpillar into a soft-shoe turn of real charm.
Fernando Sor
composer
Sylvius Leopold Weiss
composer
Sylvius Leopold Weiss left the largest known body of music for the lute: late Baroque sonatas, fantasias and concertos of intricate counterpoint and singing line, still claimed by classical guitar and mandolin as well as the period instrument.
Digital booklet
Digital booklet Notes, texts and credits — read online or download the PDF Download the PDFPerformers
- Harold Gretton · guitar
Technical credits
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Recording Engineer
John Taylor
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Editing Engineer
John Taylor
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Mastering Engineer
John Taylor
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Venue
Holy Trinity Church, Weston
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Credit
Penny Deacon
Details
- List price
- $25.00 AUD
- Total playing time
- 75 minutes 9 seconds
- Release date
- 1 Dec 2022
- Category
- Classical
- Genres
- Contemporary Classical, Baroque
- Musical work copyright
- © 2022 Harold Gretton
- Sound recording copyright
- ℗ 2022 Move Records
- Catalogue
- MCD 627
- EAN
- 9314574062724
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