572565bk Florian:570034bk Hasse 3/3/10 9:21 PM Page 4

The second song, Agitato, opens with harp-like grand chords and leading to a melody played over an
arpeggios which give way to intermittent rapid slurred
scale passages, evoking flamenco techniques. The
impression is of an infinitely delicate improvisation, in
arpeggiated accompaniment. This progresses to three
distinct sections, Allegro assai, an episode of robust
octaves with a repetition of the melody and
Laureate Series • Guitar
which the composer’s imagination is given free rein. accompaniment style heard previously, Andantino, a short
The French guitarist/composer, Napoléon Coste, reflective interlude, and a final Agitato presenting an
studied in Paris with the great Spanish master, Fernando energetic coda.
Sor (1778-1839), being greatly influenced by him. Coste
began to publish compositions from 1840 onwards, writing
also for the seven-string guitar. His work is characterized
Le Retour (subtitled ‘Triumphal March’), includes on
the score the date mentioned above. Though the guitar is
often compared to a miniature orchestra, here it is more
Florian Larousse
by an ambitious expressive range and a profoundly akin to a military band. After the martial opening, the 2009 Winner
dramatic romanticism. texture becomes somewhat ornate, leading to a final
His Opus 31 actually comprises two pieces, Le extended section which uses some familiar guitaristic Guitar Foundation of America Competition
Départ (The Departure) and Le Retour (The Return), and devices of the era such as bass melodies accompanied by
was inspired by the events of 29th December 1855, when
the French marched into Paris after their siege of
treble chords, and themes in the treble sustained by
powerful chords. A strident coda brings the work to a DOWLAND • REGONDI • JOSÉ
Sebastopol.
Le Départ opens with an Andante largo, beginning with
rousing finale.
Graham Wade D’ANGELO • COSTE
Photo: Tristan Manoukian

Florian Larousse
Born in 1988, Florian Larousse began his study of the
guitar at the age of eight with Philippe Vanderstichel. He
continued his musical education under the tutelage of
guitarist Pedro Ibanez at the Conservatoire National de
Région de Paris and obtained the first prize in 2006.
Entering the Conservatoire National Supérieur de Musique
de Paris the same year, he studied in Roland Dyens’s class
while also working intensively with Judicaël Perroy. His
recent victories at the Guitar Foundation of America’s
competition in 2009 and the Hubert Kappel competition in
Koblenz have assured him a large international audience
with a series of concerts planned in the United States,
Canada, Mexico, China, Germany and elsewhere. Florian
Larousse’s international awards also include first prize at C
the José Tomás International Competition in 2007, second
prize at the Southwest Guitar festival, San Antonio, Texas,
third prize at the International Competition of Iserlohn, M
Germany, and third prize at the International Competition
of Sernancelhe, Portugal. He plays a guitar by the French Y
luthier Hugo Cuvilliez and is endorsed by Savarez strings.
K
8.572565 4
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Florian Larousse: Guitar Recital chords, elaborate embellishment, and miniature cadenza- new language to an ancient dance form. At first dotted
John Dowland (1563–1626): A Fancy • Lachrimae Pavan • Fantasia like bars, as well as rapid scale passages and fast arpeggio rhythms suggest a certain lightness of atmosphere but the
sequences. This is contrasted with a scintillating Allegretto predominant mood of the movement turns out to be
Giulio Regondi (1822–1872): Introduction et Caprice scherzando. After the initial thematic statement, various melancholic rather than lyrical. Once again, intricate
Antonio José (1902–1936): Sonata (1933) flights of fancy are offered in brilliant episodes, providing harmonic progressions lift this dance to new expressive
Nuccio D’Angelo (b. 1955): Due Canzoni Lidie a dazzling display of pyrotechnics. heights reminiscent of Rodrigo’s use of traditional musical
Napoléon Coste (1806–1883): Le Départ – Le Retour, Fantaisie Dramatique, Op. 31 Antonio José was praised by Maurice Ravel as a structures to create fresh and meaningful vehicles for
composer who would ‘become the greatest Spanish modern music.
The sheer range of the concert guitar’s expressiveness is Nigel North, has described this as ‘the most popular pavan musician of our century’. But his arrest and execution by Final begins with strummed chords characteristic of
well represented in this selection, extending from tran- of its age, a model for all pavans’, and ‘a central piece in a Falangist firing squad near his home city of Burgos in the Spanish guitar. Their function is not to provide
scriptions of lute works and compositions of nineteenth- the Elizabethan repertoire’. 1936 during the Spanish Civil War cast his music into a Andalusian associations but to establish part of a
century masters to the post-romanticism of the 1930s and Fantasia (No. 71 in the Diana Poulton Collection), is subsequent obscurity which has only recently been compelling framework for statements of the first
a vividly progressive twentieth-century composition. All based on a descending chromatic scale, repeated 27 times remedied. A monograph about his life and work has been movement presented in modified rondo form. This
this stylistic variety is synthesized within the resources of throughout the work. It begins with a contrapuntal section published by the municipality of Burgos. structure supplies a powerful means of presenting familiar
the guitar’s six strings. Certainly few other instruments where each voice enters in strict imitation, followed by Considerable interest was aroused by the discovery in material from new perspectives while achieving a
could absorb so many epochs with such authenticity within two episodes with two-part counterpoint, the chromatic the late 1980s of the Sonata, which Antonio José had satisfyingly unifying effect between the first and last
a single programme. But the long traditions of the guitar theme being reiterated six times in the upper voice. During finished on 23rd August 1933. It was later established that movements. After much harmonic divagation, the work
involve a complex blend of many nationalities and the last three of these repetitions the rhythm changes to one movement was given a first performance in Burgos in ends decisively on the chord of E major, one of the most
sensibilities, and the repertoire’s diversity remains a 6/8 before returning to the 4/4 time signature with the November 1934 by Regino Sáinz de la Maza. convenient and appropriate keys in keeping with the
constant delight. melody now in the bass. A final statement comes in three- It can be observed with historical hindsight that guitar’s usual tuning.
John Dowland was both composer and virtuoso lutenist, part counterpoint, the theme moving from voice to voice, José’s Sonata is a remarkably original and inventive work, Nuccio D’Angelo studied composition and guitar at
creating solo lute works, consort writing, and a uniquely with its last manifestation on the treble strings. written in a period of very few precedents for guitar in this the Florence Conservatory, where he graduated with
inventive output of songs. Dowland travelled extensively Giulio Regondi, an acclaimed infant prodigy of the genre. By 1933 Moreno Torroba, Ponce and Turina had honours in 1984. He performs internationally as soloist
in Europe, becoming royal lutenist for Christian IV of guitar, matured into an eminent artist and renowned indeed presented various pieces in sonata form to Andrés and chamber ensemble player and has given masterclasses
Denmark in 1598. In 1612 he was appointed as one of the composer. Born in Lyon, France, Regondi made his debut Segovia but it is by no means certain that José was in the United States and Europe.
King’s Lutes at the court of James I. in Paris by the age of seven, becoming known as ‘The acquainted with these compositions. The composer has commented that a primary element
A Fancy is one of seven fantasies printed in The Infant Paganini’. In 1831 he arrived with his father in The first movement contrasts the lively lyricism of the in Due Canzoni Lidie (Two Lydian Songs) (1984), is the
Varietie of Lute Lessons (1610) and No.6 in the Poulton London, which was to be his home for the rest of his life. opening statements with meditative slow chords and Lydian scale on E flat, though diverse melodic aspects are
Collection. Following the opening melody, a second voice Unfortunately, in a somewhat mysterious occurrence, his answering arpeggio patterns. This leads to a passage also developed. Within the work definite influences of
enters at the interval of a fifth below the cantus or opening father absconded with his son’s earnings, leaving the boy characterized by urgent pedal notes sustaining a short burst jazz and Indian music can be discerned, as well as
theme. The piece then slowly develops into a formidable dependent on the good will of strangers. However, of three-part chords before the return of the opening section D’Angelo’s early passion for improvising on the electric
instrumental challenge with rapid scale passages, complex Regondi continued triumphantly to give concerts through- and a modified recapitulation. In these final pages, the guitar. Unusual and striking timbres are produced by a
contrapuntal effects, rhythmic intricacies and a taxing coda out Europe, becoming also a virtuoso of the concertina. previous musical substance is taken through various special scordatura, the guitar’s second and sixth strings
where all the resources of plucked strings are called upon. He died of cancer in London in 1872 and is buried in St modulations before concluding with a resounding chord of being tuned down a semitone to B flat and E flat
Lachrimae Pavan (Tears Pavan) is also known both as Mary’s Catholic Cemetery, Kensal, London. E major. respectively.
the lute song, Flow my teares, and as an arrangement for Regondi’s achievements were lost to posterity for The Minueto retains the 3/4 metre of its traditional The first song begins with three short sections,
viols and lutes in Lachrimae or Seven Teares. After decades until his compositions were re-discovered, edited predecessors of the eighteenth century, but otherwise espressivo, risoluto, and declamato, leading to the main
publication towards the end of the sixteenth century, this by Simon Wynberg and published by Chanterelle in 1981. assumes an entirely twentieth-century vocabulary. Though body of the piece, marked Tranquillo, where subtle
piece became famous throughout the continent and was His works combine virtuosity with touching intensity, the essence of its opening theme is straightforward, its melodic nuances appear above or below a two note
taken up by leading composers such as Byrd, Morley, pleasing to performers and audiences alike. harmonic basis is complex, leading to a rainbow of modu- ostinato accompaniment. The music grows increasingly
Farnaby, Sweelinck and Besard, who added their own Introduction et Caprice, Op. 23, opens with an lations through diverse keys and labyrinthine sequences. richer in texture until the return of Tempo I and a reprise
‘divisions’ or variations to the theme. The eminent lutenist, intricate Adagio in E major, full of stately themes, powerful Similarly Pavana triste, written in 3/2 time, brings a of the Tranquillo mood, culminating in ethereal harmonics.

8.572565 2 3 8.572565
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Florian Larousse: Guitar Recital chords, elaborate embellishment, and miniature cadenza- new language to an ancient dance form. At first dotted
John Dowland (1563–1626): A Fancy • Lachrimae Pavan • Fantasia like bars, as well as rapid scale passages and fast arpeggio rhythms suggest a certain lightness of atmosphere but the
sequences. This is contrasted with a scintillating Allegretto predominant mood of the movement turns out to be
Giulio Regondi (1822–1872): Introduction et Caprice scherzando. After the initial thematic statement, various melancholic rather than lyrical. Once again, intricate
Antonio José (1902–1936): Sonata (1933) flights of fancy are offered in brilliant episodes, providing harmonic progressions lift this dance to new expressive
Nuccio D’Angelo (b. 1955): Due Canzoni Lidie a dazzling display of pyrotechnics. heights reminiscent of Rodrigo’s use of traditional musical
Napoléon Coste (1806–1883): Le Départ – Le Retour, Fantaisie Dramatique, Op. 31 Antonio José was praised by Maurice Ravel as a structures to create fresh and meaningful vehicles for
composer who would ‘become the greatest Spanish modern music.
The sheer range of the concert guitar’s expressiveness is Nigel North, has described this as ‘the most popular pavan musician of our century’. But his arrest and execution by Final begins with strummed chords characteristic of
well represented in this selection, extending from tran- of its age, a model for all pavans’, and ‘a central piece in a Falangist firing squad near his home city of Burgos in the Spanish guitar. Their function is not to provide
scriptions of lute works and compositions of nineteenth- the Elizabethan repertoire’. 1936 during the Spanish Civil War cast his music into a Andalusian associations but to establish part of a
century masters to the post-romanticism of the 1930s and Fantasia (No. 71 in the Diana Poulton Collection), is subsequent obscurity which has only recently been compelling framework for statements of the first
a vividly progressive twentieth-century composition. All based on a descending chromatic scale, repeated 27 times remedied. A monograph about his life and work has been movement presented in modified rondo form. This
this stylistic variety is synthesized within the resources of throughout the work. It begins with a contrapuntal section published by the municipality of Burgos. structure supplies a powerful means of presenting familiar
the guitar’s six strings. Certainly few other instruments where each voice enters in strict imitation, followed by Considerable interest was aroused by the discovery in material from new perspectives while achieving a
could absorb so many epochs with such authenticity within two episodes with two-part counterpoint, the chromatic the late 1980s of the Sonata, which Antonio José had satisfyingly unifying effect between the first and last
a single programme. But the long traditions of the guitar theme being reiterated six times in the upper voice. During finished on 23rd August 1933. It was later established that movements. After much harmonic divagation, the work
involve a complex blend of many nationalities and the last three of these repetitions the rhythm changes to one movement was given a first performance in Burgos in ends decisively on the chord of E major, one of the most
sensibilities, and the repertoire’s diversity remains a 6/8 before returning to the 4/4 time signature with the November 1934 by Regino Sáinz de la Maza. convenient and appropriate keys in keeping with the
constant delight. melody now in the bass. A final statement comes in three- It can be observed with historical hindsight that guitar’s usual tuning.
John Dowland was both composer and virtuoso lutenist, part counterpoint, the theme moving from voice to voice, José’s Sonata is a remarkably original and inventive work, Nuccio D’Angelo studied composition and guitar at
creating solo lute works, consort writing, and a uniquely with its last manifestation on the treble strings. written in a period of very few precedents for guitar in this the Florence Conservatory, where he graduated with
inventive output of songs. Dowland travelled extensively Giulio Regondi, an acclaimed infant prodigy of the genre. By 1933 Moreno Torroba, Ponce and Turina had honours in 1984. He performs internationally as soloist
in Europe, becoming royal lutenist for Christian IV of guitar, matured into an eminent artist and renowned indeed presented various pieces in sonata form to Andrés and chamber ensemble player and has given masterclasses
Denmark in 1598. In 1612 he was appointed as one of the composer. Born in Lyon, France, Regondi made his debut Segovia but it is by no means certain that José was in the United States and Europe.
King’s Lutes at the court of James I. in Paris by the age of seven, becoming known as ‘The acquainted with these compositions. The composer has commented that a primary element
A Fancy is one of seven fantasies printed in The Infant Paganini’. In 1831 he arrived with his father in The first movement contrasts the lively lyricism of the in Due Canzoni Lidie (Two Lydian Songs) (1984), is the
Varietie of Lute Lessons (1610) and No.6 in the Poulton London, which was to be his home for the rest of his life. opening statements with meditative slow chords and Lydian scale on E flat, though diverse melodic aspects are
Collection. Following the opening melody, a second voice Unfortunately, in a somewhat mysterious occurrence, his answering arpeggio patterns. This leads to a passage also developed. Within the work definite influences of
enters at the interval of a fifth below the cantus or opening father absconded with his son’s earnings, leaving the boy characterized by urgent pedal notes sustaining a short burst jazz and Indian music can be discerned, as well as
theme. The piece then slowly develops into a formidable dependent on the good will of strangers. However, of three-part chords before the return of the opening section D’Angelo’s early passion for improvising on the electric
instrumental challenge with rapid scale passages, complex Regondi continued triumphantly to give concerts through- and a modified recapitulation. In these final pages, the guitar. Unusual and striking timbres are produced by a
contrapuntal effects, rhythmic intricacies and a taxing coda out Europe, becoming also a virtuoso of the concertina. previous musical substance is taken through various special scordatura, the guitar’s second and sixth strings
where all the resources of plucked strings are called upon. He died of cancer in London in 1872 and is buried in St modulations before concluding with a resounding chord of being tuned down a semitone to B flat and E flat
Lachrimae Pavan (Tears Pavan) is also known both as Mary’s Catholic Cemetery, Kensal, London. E major. respectively.
the lute song, Flow my teares, and as an arrangement for Regondi’s achievements were lost to posterity for The Minueto retains the 3/4 metre of its traditional The first song begins with three short sections,
viols and lutes in Lachrimae or Seven Teares. After decades until his compositions were re-discovered, edited predecessors of the eighteenth century, but otherwise espressivo, risoluto, and declamato, leading to the main
publication towards the end of the sixteenth century, this by Simon Wynberg and published by Chanterelle in 1981. assumes an entirely twentieth-century vocabulary. Though body of the piece, marked Tranquillo, where subtle
piece became famous throughout the continent and was His works combine virtuosity with touching intensity, the essence of its opening theme is straightforward, its melodic nuances appear above or below a two note
taken up by leading composers such as Byrd, Morley, pleasing to performers and audiences alike. harmonic basis is complex, leading to a rainbow of modu- ostinato accompaniment. The music grows increasingly
Farnaby, Sweelinck and Besard, who added their own Introduction et Caprice, Op. 23, opens with an lations through diverse keys and labyrinthine sequences. richer in texture until the return of Tempo I and a reprise
‘divisions’ or variations to the theme. The eminent lutenist, intricate Adagio in E major, full of stately themes, powerful Similarly Pavana triste, written in 3/2 time, brings a of the Tranquillo mood, culminating in ethereal harmonics.

8.572565 2 3 8.572565
572565bk Florian:570034bk Hasse 3/3/10 9:21 PM Page 4

The second song, Agitato, opens with harp-like grand chords and leading to a melody played over an
arpeggios which give way to intermittent rapid slurred
scale passages, evoking flamenco techniques. The
impression is of an infinitely delicate improvisation, in
arpeggiated accompaniment. This progresses to three
distinct sections, Allegro assai, an episode of robust
octaves with a repetition of the melody and
Laureate Series • Guitar
which the composer’s imagination is given free rein. accompaniment style heard previously, Andantino, a short
The French guitarist/composer, Napoléon Coste, reflective interlude, and a final Agitato presenting an
studied in Paris with the great Spanish master, Fernando energetic coda.
Sor (1778-1839), being greatly influenced by him. Coste
began to publish compositions from 1840 onwards, writing
also for the seven-string guitar. His work is characterized
Le Retour (subtitled ‘Triumphal March’), includes on
the score the date mentioned above. Though the guitar is
often compared to a miniature orchestra, here it is more
Florian Larousse
by an ambitious expressive range and a profoundly akin to a military band. After the martial opening, the 2009 Winner
dramatic romanticism. texture becomes somewhat ornate, leading to a final
His Opus 31 actually comprises two pieces, Le extended section which uses some familiar guitaristic Guitar Foundation of America Competition
Départ (The Departure) and Le Retour (The Return), and devices of the era such as bass melodies accompanied by
was inspired by the events of 29th December 1855, when
the French marched into Paris after their siege of
treble chords, and themes in the treble sustained by
powerful chords. A strident coda brings the work to a DOWLAND • REGONDI • JOSÉ
Sebastopol.
Le Départ opens with an Andante largo, beginning with
rousing finale.
Graham Wade D’ANGELO • COSTE
Photo: Tristan Manoukian

Florian Larousse
Born in 1988, Florian Larousse began his study of the
guitar at the age of eight with Philippe Vanderstichel. He
continued his musical education under the tutelage of
guitarist Pedro Ibanez at the Conservatoire National de
Région de Paris and obtained the first prize in 2006.
Entering the Conservatoire National Supérieur de Musique
de Paris the same year, he studied in Roland Dyens’s class
while also working intensively with Judicaël Perroy. His
recent victories at the Guitar Foundation of America’s
competition in 2009 and the Hubert Kappel competition in
Koblenz have assured him a large international audience
with a series of concerts planned in the United States,
Canada, Mexico, China, Germany and elsewhere. Florian
Larousse’s international awards also include first prize at C
the José Tomás International Competition in 2007, second
prize at the Southwest Guitar festival, San Antonio, Texas,
third prize at the International Competition of Iserlohn, M
Germany, and third prize at the International Competition
of Sernancelhe, Portugal. He plays a guitar by the French Y
luthier Hugo Cuvilliez and is endorsed by Savarez strings.
K
8.572565 4
 NAXOS

NAXOS
Winner of the 2009 Guitar Foundation of America’s International Concert Artist
Competition, French guitarist Florian Larousse presents a wide-ranging selection of
music encompassing transcriptions of Renaissance lute works by John Dowland,
compositions by 19th-century masters Giulio Regondi and Napoléon Coste, Antonio 8.572565
José’s post-romantic Sonata (1933) and a vividly progressive 20th-century composition,
FLORIAN LAROUSSE: Guitar Recital

FLORIAN LAROUSSE: Guitar Recital

Nuccio D’Angelo’s Due Canzoni Lidie. Praised for the subtlety and clarity of his DDD
playing, the Paris Conservatory student is set for an international career.
Playing Time
FLORIAN LAROUSSE 64:23
Guitar Recital
JOHN DOWLAND (1563–1626)
1 A Fancy 2:51
2 Lachrimae Pavan 4:55
3 Fantasia 5:54
GIULIO REGONDI (1822–1872)
4 Introduction et Caprice 10:32
ANTONIO JOSÉ (1902–1936)
Sonata (1933) 20:18
www.naxos.com
Printed & Assembled in USA
Disc Made in Canada
Booklet notes in English
Naxos Rights International Ltd.
 & 훿 2010

5 Allegro moderato 7:17

6 Minueto 2:44
7 Pavana triste 5:14
8 Final 4:56
NUCCIO D’ANGELO (b. 1955)
Due Canzoni Lidie 10:11
9 No. 1 6:48
0 No. 2 3:21 C
NAPOLÉON COSTE (1806–1883)
! Le Départ – Le Retour, Fantaisie Dramatique, Op. 31 9:18 M
8.572565

8.572565

Recorded at St John Chrysostom Church, Newmarket, Ontario, Canada, 5–8 November 2009 Y
Producers: Norbert Kraft & Bonnie Silver • Engineer & Editor: Norbert Kraft
Booklet notes: Graham Wade • Guitar: Hugo Cuvilliez, Marsanne, France • Strings: Savarez K
Publishers: Berben (José); Max Eschig (D’Angelo) • Cover photo of Florian Larousse by Tristan Manoukian