572306bk Bianco:570034bk Hasse

5/3/09

The Sonatas three movements represent the three

main elements of the form in terms of exposition,
development and recapitulation. Thus the first movement
opens Allegro energico, with distinctive melodic and
rhythmic patterns evolving into more complex figurations.
Further thematic elements emerge until an episode, Tempo
primo, reminds us of the opening motif though with
increasing intricacy. Then comes an extended Agitato
section of great intensity, leading to a finale marked by
repeated pedal notes in the treble with the theme in the
bass, as heard at the outset of the piece. A tranquil lento
coda concludes. A theme high up on the fingerboard,
with answering chords begins the extended slow
movement, Adagio molto. This develops into a melodic
statement on the lower strings responded to by dissonant
two-part chords. These aspects are then modified in
episodes marked Pi mosso, agitato, reflecting the
opening of the movement, and Andantino, another motif

11:47 AM

Page 4

played against bass quavers. The momentum develops

steadily, Con moto, to arrive at vivid chords, reminiscent
of the Agitato of the first movement. A slightly altered
recapitulation of the Adagios opening theme then points
us towards familiar territory.
The final movement, Presto, risoluto energico, is a
synthesis of previous melodic and rhythmic elements both
expressed and implied. A central section exploits the
traditional concept of treble melody and bass
accompaniment, though here the technique deploys an
entirely contemporary vocabulary. This is followed by
repeated pedal notes reminiscent of the first movement
but now with a very different effect. The Sonata ends
with a recapitulation of various characteristics of the
Presto opening, re-constituted and explored in depth,
culminating in a triumphantly virtuosic finale.

Photo: Philippe Sisbane

Gabriel Bianco
2008 Winner
Guitar Foundation of
America Competition

Graham Wade

Gabriel Bianco
Having performed concerts regularly for the last five years, Gabriel Bianco has
won first prize in a number of international competitions in Austria (Vienna),
Germany (Koblenz), France (Ile de R and Barbezieux), Poland (Tychy) and
Portugal (Sernancelhe). His most recent triumph at the 2008 Guitar Foundation
of America Competition brought him the coveted fifty-concert tour of the United
States, Mexico, and Canada, with additional concerts in China, Colombia, and
Brazil. No stranger to the spotlight, he has already performed in over thirty music
festivals across the world, in France, Germany, the Czech Republic, Poland,
Austria, Spain, Italy, Hungary, Romania, Portugal, Slovakia, and Thailand. At the
age of twelve he performed for French television (Mezzo), and later appeared on
Romanian television (TVR Cultura). Born into a family of musicians, Gabriel
Bianco made an early start on the guitar, receiving lessons at the age of five from
his father. A few years later, he began his studies in Paris with Ramon de Herrera
at the Conservatoire National de Rgion, Conservatoire Suprieur de Paris and
later at the Conservatoire National Suprieur de Musique et de Danse of Paris,
where he received the highest performance distinction under the teaching of
Olivier Chassain. Since 2005 he has studied with French virtuoso Judical Perroy.
Gabriel Bianco plays on Savarez strings. www.gabrielbianco.com

8.572306

Laureate Series Guitar

GUITAR RECITAL
J. K. MERTZ
Lob der Trnen Elegy
Capriccio Tarantella
Hungarian Fantasy

J. S. BACH
Sonata No. 3 in C major

C
M

N. KOSHKIN

Sonata for Guitar

572306bk Bianco:570034bk Hasse

5/3/09

11:48 AM

Page 2

Gabriel Bianco: Guitar Recital

Johann Kaspar Mertz (18061856): Lob der Trnen (Praise of Tears) Capriccio
Tarantelle Elegy Hungarian Fantasy, Op. 65, No. 1
Johann Sebastian Bach (16851750): Sonata No. 3 in C major, BWV 1005
Nikita Koshkin (b. 1956): Sonata for Guitar
Johann Kaspar Mertz, a virtuoso performer on both guitar
and flute, was born in Pressburg (now Bratislava,
Slovakia). He moved to Vienna in 1840 and made his
concert debut at the Court Theatre of the Empress
Carolina Augusta. In subsequent years, Mertz toured
Moravia, Poland and Russia, gave concerts in Berlin and
Dresden, and also played at the court of Ludwig of
Bavaria. Shortly after his death from a heart ailment at
the age of fifty, Mertz was posthumously awarded the
first prize for his composition Concertino at the Brussels
Competition of 1856. Mertz performed on various types
of guitar, including eight- and ten-stringed instruments,
from the 1840s onwards. His prolific compositions
include didactic and easy pieces, concert works,
arrangements of Schubert, pieces for two guitars or guitar
and piano, and fantasies based on famous operatic themes.
Nikolai Makaroff (1810-1890), the eminent Russian
guitarist, described his playing as marked by force,
sweep, sensitivity, precision, expression and assurance
and praised his skill with every secret and effect of the
guitar. Despite his output of over one hundred compositions, Mertz was neglected by guitarists for many
decades, a revival of interest in his creative activities being
achieved with Simon Wynbergs ten volume edition of
his works (Chanterelle, 1985). Since that time his music
has become a significant feature of the concert repertoire.
Lob der Trnen (Praise of Tears), is a fairly free
arrangement of Schuberts setting of a poem by Schlegel,
published 1822. The poem begins:
Laue Lfte,
Blumendfte,
Alle Lenz- und Jugendlust,
Frischer Lippen
Ksse nippen,

8.572306

Sanft gewiegt an zarter Brust;

Dann der Trauben
Nektar rauben,
Reihentanz und Spiel und Scherz,
Was die Sinnen
Nur gewinnen:
Ach, erfllt es je das Herz?
Gentle breezes,
scents of flowers,
full of spring and young desire,
stealing kisses from fresh lips,
snuggling up to a soft breast;
then stealing the nectar from grapes;
dances and games and jokes;
can the heart ever be fulfilled
with what the senses have gained?
(Translated by David Stevens)
Mertzs guitar arrangement brings together both
Schuberts song and the essential elements of the original
piano accompaniment in an artistically satisfying union.
Capriccio is from Book 3 of Mertzs Bardenklnge
(Bardic Sounds), a collection of impressionistic pieces,
possibly inspired to some extent by the romantic novels
of Sir Walter Scott. This Caprice has many characteristics
of guitar styles of the epoch, delighting in arpeggios,
snatches of tremolo, melodic sequences, and sonorous
chords.
Tarantelle, from Bardenklnge, Book 6, is an
exploration of this lively dance in six-eight time which
originated in Taranto in southern Italy. The piece begins
with a short introduction before the theme, marked Presto
allegramente, makes its first appearance. The rondo-like
nature of the form enables the composer to present various
contrasting episodes, the mood intensifying throughout

until a vivid Prestissimo coda brings matters to a thrilling

climax.
Elegy, one of Mertzs expressive masterpieces,
exemplifies the spirit of romanticism in its melodic
inventiveness. From the first exposition of its plaintive
theme, the work develops in complexity. Following the
plain chordal opening, Elegy proceeds to deeper intensity,
contrasting slower sections of harmonic intricacy with
sparkling arpeggios. This continues to a poignant quiet
ending endowed with an almost pianistic richness of
sonorities.
Finally, Hungarian Fantasy, Op. 65, No. 1, represents
the virtuosic aspects of Mertzs instrumental mastery. The
first section consists of stately melodic passages
progressing to a memorable Adagio maestoso with
syncopated descending chords, and a deceptively calm
episode marked lugubre (gloomy). This leads to one of the
most remarkable examples of nineteenth-century guitar
writing, an Allegro vivace section of extraordinary
exuberance.
The tradition of performing J.S. Bachs music on guitar
was first established by Francisco Trrega (1852-1909),
continued by Andrs Segovia, and developed by later
generations. Nowadays Bachs genius is an integral aspect
of the guitarists landscape, incorporating transcriptions
from works for violin, cello, and keyboard.
Jaap Schrder, the distinguished violinist, has pointed
out that Sonata No. 3 in C major, BWV 1005, is distinct
from Bachs other two violin sonatas as the first two
movements do not have an Italianate character. The
opening Adagio serves the purpose of a Prelude to the
fugue, while the Fuga itself, a long chorale melody, is
characteristic of the German Reformation. The Largo and
Allegro assai, however, follow the inspiration of previous
sonatas being influenced by the Italian sonate da chiesa
with its slow-fast-slow-fast order of movements.
The serene Adagio, preparing the mood for the Fuga,
is well suited for transcription to plucked strings because
of its chordal nature. The predominant feature is the use
of dotted rhythms and the development in places of four
part harmony, very convenient for guitar or lute. The

Fugas opening is based on an ancient sequence of

Pentecost for which the text, Veni, Sancte Spiritus, was
established by Pope Innocent III during the twelfth
century. The German version, Komm, heiliger Geist,
Herre Gott, was adapted four hundred years later by
Martin Luther. Bach used this theme in his Pentecost
cantatas (BWV 59 and 175), and in the motet, BWV 226.
From this noble motif emerges a massive fugal
exploration comprising four separate sections of thematic
entries, the second in stretto (where subject and
countersubject are brought close together), the third with
the main theme inverted, and a climax of close-packed
polyphonic intensity. Largo, in F major, serves to release
fugal tension. Against the gently flowing semiquavers of
the melody, Bach added a bass line, again ideal for
plucked string interpretation. Allegro assai, in binary
form, has been described by Schrder as fast, very open
in sound, and whirls around like a spinning top. In Bachs
score there are no accompanying notes but only a single
brilliant line providing a vigorous finale to a majestic
Sonata.
Nikita Koshkin, guitarist, composer and teacher, began
to study music at the age of fourteen when his grandfather
presented him with a guitar and a recording of Andrs
Segovia. Soon afterwards he decided this would be his
future career. Koshkin studied guitar under George
Emanov at the Moscow Conservatory and with Alexander
Frauchi at the Russian Academy of Music, and was a
composition student of Victor Egorov. He achieved
international fame as a composer with The Princes Toys
(1980) and Usher Waltz (1984) and is now acclaimed as
one of the major creative artists of the contemporary
guitar.
The twentieth century witnessed a profound
consolidation of guitar sonata traditions with composers
such as Torroba, Ponce, Castelnuovo-Tedesco, Berkeley,
Bennett, Tippett, and Brouwer contributing to the genre.
Koshkins Sonata for guitar solo (1997), dedicated to
Elena Papandreou, is a further landmark in the repertoire.
This challenging work provides a major contribution to
the guitars significant development within modern music.

8.572306

572306bk Bianco:570034bk Hasse

5/3/09

11:48 AM

Page 2

Gabriel Bianco: Guitar Recital

Johann Kaspar Mertz (18061856): Lob der Trnen (Praise of Tears) Capriccio
Tarantelle Elegy Hungarian Fantasy, Op. 65, No. 1
Johann Sebastian Bach (16851750): Sonata No. 3 in C major, BWV 1005
Nikita Koshkin (b. 1956): Sonata for Guitar
Johann Kaspar Mertz, a virtuoso performer on both guitar
and flute, was born in Pressburg (now Bratislava,
Slovakia). He moved to Vienna in 1840 and made his
concert debut at the Court Theatre of the Empress
Carolina Augusta. In subsequent years, Mertz toured
Moravia, Poland and Russia, gave concerts in Berlin and
Dresden, and also played at the court of Ludwig of
Bavaria. Shortly after his death from a heart ailment at
the age of fifty, Mertz was posthumously awarded the
first prize for his composition Concertino at the Brussels
Competition of 1856. Mertz performed on various types
of guitar, including eight- and ten-stringed instruments,
from the 1840s onwards. His prolific compositions
include didactic and easy pieces, concert works,
arrangements of Schubert, pieces for two guitars or guitar
and piano, and fantasies based on famous operatic themes.
Nikolai Makaroff (1810-1890), the eminent Russian
guitarist, described his playing as marked by force,
sweep, sensitivity, precision, expression and assurance
and praised his skill with every secret and effect of the
guitar. Despite his output of over one hundred compositions, Mertz was neglected by guitarists for many
decades, a revival of interest in his creative activities being
achieved with Simon Wynbergs ten volume edition of
his works (Chanterelle, 1985). Since that time his music
has become a significant feature of the concert repertoire.
Lob der Trnen (Praise of Tears), is a fairly free
arrangement of Schuberts setting of a poem by Schlegel,
published 1822. The poem begins:
Laue Lfte,
Blumendfte,
Alle Lenz- und Jugendlust,
Frischer Lippen
Ksse nippen,

8.572306

Sanft gewiegt an zarter Brust;

Dann der Trauben
Nektar rauben,
Reihentanz und Spiel und Scherz,
Was die Sinnen
Nur gewinnen:
Ach, erfllt es je das Herz?
Gentle breezes,
scents of flowers,
full of spring and young desire,
stealing kisses from fresh lips,
snuggling up to a soft breast;
then stealing the nectar from grapes;
dances and games and jokes;
can the heart ever be fulfilled
with what the senses have gained?
(Translated by David Stevens)
Mertzs guitar arrangement brings together both
Schuberts song and the essential elements of the original
piano accompaniment in an artistically satisfying union.
Capriccio is from Book 3 of Mertzs Bardenklnge
(Bardic Sounds), a collection of impressionistic pieces,
possibly inspired to some extent by the romantic novels
of Sir Walter Scott. This Caprice has many characteristics
of guitar styles of the epoch, delighting in arpeggios,
snatches of tremolo, melodic sequences, and sonorous
chords.
Tarantelle, from Bardenklnge, Book 6, is an
exploration of this lively dance in six-eight time which
originated in Taranto in southern Italy. The piece begins
with a short introduction before the theme, marked Presto
allegramente, makes its first appearance. The rondo-like
nature of the form enables the composer to present various
contrasting episodes, the mood intensifying throughout

until a vivid Prestissimo coda brings matters to a thrilling

climax.
Elegy, one of Mertzs expressive masterpieces,
exemplifies the spirit of romanticism in its melodic
inventiveness. From the first exposition of its plaintive
theme, the work develops in complexity. Following the
plain chordal opening, Elegy proceeds to deeper intensity,
contrasting slower sections of harmonic intricacy with
sparkling arpeggios. This continues to a poignant quiet
ending endowed with an almost pianistic richness of
sonorities.
Finally, Hungarian Fantasy, Op. 65, No. 1, represents
the virtuosic aspects of Mertzs instrumental mastery. The
first section consists of stately melodic passages
progressing to a memorable Adagio maestoso with
syncopated descending chords, and a deceptively calm
episode marked lugubre (gloomy). This leads to one of the
most remarkable examples of nineteenth-century guitar
writing, an Allegro vivace section of extraordinary
exuberance.
The tradition of performing J.S. Bachs music on guitar
was first established by Francisco Trrega (1852-1909),
continued by Andrs Segovia, and developed by later
generations. Nowadays Bachs genius is an integral aspect
of the guitarists landscape, incorporating transcriptions
from works for violin, cello, and keyboard.
Jaap Schrder, the distinguished violinist, has pointed
out that Sonata No. 3 in C major, BWV 1005, is distinct
from Bachs other two violin sonatas as the first two
movements do not have an Italianate character. The
opening Adagio serves the purpose of a Prelude to the
fugue, while the Fuga itself, a long chorale melody, is
characteristic of the German Reformation. The Largo and
Allegro assai, however, follow the inspiration of previous
sonatas being influenced by the Italian sonate da chiesa
with its slow-fast-slow-fast order of movements.
The serene Adagio, preparing the mood for the Fuga,
is well suited for transcription to plucked strings because
of its chordal nature. The predominant feature is the use
of dotted rhythms and the development in places of four
part harmony, very convenient for guitar or lute. The

Fugas opening is based on an ancient sequence of

Pentecost for which the text, Veni, Sancte Spiritus, was
established by Pope Innocent III during the twelfth
century. The German version, Komm, heiliger Geist,
Herre Gott, was adapted four hundred years later by
Martin Luther. Bach used this theme in his Pentecost
cantatas (BWV 59 and 175), and in the motet, BWV 226.
From this noble motif emerges a massive fugal
exploration comprising four separate sections of thematic
entries, the second in stretto (where subject and
countersubject are brought close together), the third with
the main theme inverted, and a climax of close-packed
polyphonic intensity. Largo, in F major, serves to release
fugal tension. Against the gently flowing semiquavers of
the melody, Bach added a bass line, again ideal for
plucked string interpretation. Allegro assai, in binary
form, has been described by Schrder as fast, very open
in sound, and whirls around like a spinning top. In Bachs
score there are no accompanying notes but only a single
brilliant line providing a vigorous finale to a majestic
Sonata.
Nikita Koshkin, guitarist, composer and teacher, began
to study music at the age of fourteen when his grandfather
presented him with a guitar and a recording of Andrs
Segovia. Soon afterwards he decided this would be his
future career. Koshkin studied guitar under George
Emanov at the Moscow Conservatory and with Alexander
Frauchi at the Russian Academy of Music, and was a
composition student of Victor Egorov. He achieved
international fame as a composer with The Princes Toys
(1980) and Usher Waltz (1984) and is now acclaimed as
one of the major creative artists of the contemporary
guitar.
The twentieth century witnessed a profound
consolidation of guitar sonata traditions with composers
such as Torroba, Ponce, Castelnuovo-Tedesco, Berkeley,
Bennett, Tippett, and Brouwer contributing to the genre.
Koshkins Sonata for guitar solo (1997), dedicated to
Elena Papandreou, is a further landmark in the repertoire.
This challenging work provides a major contribution to
the guitars significant development within modern music.

8.572306

572306bk Bianco:570034bk Hasse

5/3/09

The Sonatas three movements represent the three

main elements of the form in terms of exposition,
development and recapitulation. Thus the first movement
opens Allegro energico, with distinctive melodic and
rhythmic patterns evolving into more complex figurations.
Further thematic elements emerge until an episode, Tempo
primo, reminds us of the opening motif though with
increasing intricacy. Then comes an extended Agitato
section of great intensity, leading to a finale marked by
repeated pedal notes in the treble with the theme in the
bass, as heard at the outset of the piece. A tranquil lento
coda concludes. A theme high up on the fingerboard,
with answering chords begins the extended slow
movement, Adagio molto. This develops into a melodic
statement on the lower strings responded to by dissonant
two-part chords. These aspects are then modified in
episodes marked Pi mosso, agitato, reflecting the
opening of the movement, and Andantino, another motif

11:47 AM

Page 4

played against bass quavers. The momentum develops

steadily, Con moto, to arrive at vivid chords, reminiscent
of the Agitato of the first movement. A slightly altered
recapitulation of the Adagios opening theme then points
us towards familiar territory.
The final movement, Presto, risoluto energico, is a
synthesis of previous melodic and rhythmic elements both
expressed and implied. A central section exploits the
traditional concept of treble melody and bass
accompaniment, though here the technique deploys an
entirely contemporary vocabulary. This is followed by
repeated pedal notes reminiscent of the first movement
but now with a very different effect. The Sonata ends
with a recapitulation of various characteristics of the
Presto opening, re-constituted and explored in depth,
culminating in a triumphantly virtuosic finale.

Photo: Philippe Sisbane

Gabriel Bianco
2008 Winner
Guitar Foundation of
America Competition

Graham Wade

Gabriel Bianco
Having performed concerts regularly for the last five years, Gabriel Bianco has
won first prize in a number of international competitions in Austria (Vienna),
Germany (Koblenz), France (Ile de R and Barbezieux), Poland (Tychy) and
Portugal (Sernancelhe). His most recent triumph at the 2008 Guitar Foundation
of America Competition brought him the coveted fifty-concert tour of the United
States, Mexico, and Canada, with additional concerts in China, Colombia, and
Brazil. No stranger to the spotlight, he has already performed in over thirty music
festivals across the world, in France, Germany, the Czech Republic, Poland,
Austria, Spain, Italy, Hungary, Romania, Portugal, Slovakia, and Thailand. At the
age of twelve he performed for French television (Mezzo), and later appeared on
Romanian television (TVR Cultura). Born into a family of musicians, Gabriel
Bianco made an early start on the guitar, receiving lessons at the age of five from
his father. A few years later, he began his studies in Paris with Ramon de Herrera
at the Conservatoire National de Rgion, Conservatoire Suprieur de Paris and
later at the Conservatoire National Suprieur de Musique et de Danse of Paris,
where he received the highest performance distinction under the teaching of
Olivier Chassain. Since 2005 he has studied with French virtuoso Judical Perroy.
Gabriel Bianco plays on Savarez strings. www.gabrielbianco.com

8.572306

Laureate Series Guitar

GUITAR RECITAL
J. K. MERTZ
Lob der Trnen Elegy
Capriccio Tarantella
Hungarian Fantasy

J. S. BACH
Sonata No. 3 in C major

C
M

N. KOSHKIN

Sonata for Guitar

GW ok

Laureate Series Guitar

GB ok
NK/BS ok

Gabriel Bianco

KA ok
PB ok

2008 Winner
Guitar Foundation of
America Competition

KH ok
K&A Timings ok

GUITAR RECITAL
J. K. MERTZ
Lob der Trnen Elegy
Capriccio Tarantella
Hungarian Fantasy

J. S. BACH
Sonata No. 3 in C major

Remove frame.

C
M

N. KOSHKIN

Sonata for Guitar

NAXOS

NAXOS

8.572306

Playing Time

74:16

GABRIEL BIANCO
Guitar Recital
JOHANN KASPAR MERTZ (18061856)
1
2
3
4
5

Lob der Trnen (Praise of Tears)

Capriccio (from Bardenklnge, Book 3, No. 3)
Tarantelle (from Bardenklnge, Book 6, No. 1)
Elegy
Hungarian Fantasy, Op. 65, No. 1

3:23
1:36
3:53
8:31
7:29

Sonata No. 3 in C major, BWV 1005

6
7
8
9

Adagio
Fuga
Largo
Allegro assai

21:45
4:21
8:38
3:06
5:38

NIKITA KOSHKIN (b. 1956)

Sonata for Guitar (1997)

0 I. Allegro energico
! II. Adagio molto
@ III. Presto, risoluto energico

27:29
9:18
9:23
8:42

C
M
8.572306

8.572306

Recorded at St John Chrysostom Church, Newmarket, Ontario, Canada, 2931 January 2009
Producers: Norbert Kraft & Bonnie Silver Engineer & Editor: Norbert Kraft Booklet notes: Graham Wade
Guitar: G. Smallman, Australia Strings: Savarez Publishers: Chanterelle (Mertz); public domain (Bach);
Musical Editions Papagrigoriou-Nakas (Koshkin) Cover photo of Gabriel Bianco: Laurence Danire

& 2009
Naxos Rights International Ltd.
Booklet notes in English
Disc Made in Canada
Printed & Assembled in USA

JOHANN SEBASTIAN BACH (16851750)

GABRIEL BIANCO: Guitar Recital

DDD

www.naxos.com

GABRIEL BIANCO: Guitar Recital

The young French guitarist Gabriel Bianco adds First Prize in the 2008 GFA International
Solo Competition to an impressive list of previous awards from international competitions.
He started playing guitar at the age of five, and graduated at the age of twenty with first
prize from the Conservatoire National de Rgion de Paris. The same year, he received the
highest mark and ranking in the entrance competition to the Conservatoire National
Suprieur de Musique et de Danse de Paris. Gabriel Bianco gave his first concert in Paris
when he was fifteen, and is now invited to play throughout the world. His teachers have
included Ramon de Herrera, Oliver Chassain and Judical Perroy.

Y
K