Preludio sobreesdrújulo / Preproparoxytone prelude

For Guitar


Commentary
Recording
Review
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Commentary

Composed in September 1994 at the request of Gabriel Estarellas, to whom it is dedicated, this Preludio sobreesdrújulo proposes a continuous alternation between an idea formed by brief periods of a uniform rhythm of eighth notes, systematically accentuated on the antepenultimate note -hence the adjective "sobreesdrújulo (preproparoxytone)" that qualifies the prelude-, always very ornamented with all kinds of arpeggiated formulas, of great technical difficulty, and five brief sections in which the thematic material, different in all of them, is based on the octave, in the first one, the major seventh and the minor second, in the second one, the minor seventh and the minor second, in the third one, and so on, until both ideas converge in the tritone interval at the end of the piece.
The premiere of the Preludio sobreesdrújulo took place on May 11, 1995 at the French Institute in Madrid, naturally by Gabriel Estarellas, who also starred its recording within the CD "Preludes for guitar", released in 2016 by the label La Cúpula Music.

Recording

Recording: Gabriel Estarellas

Review

Twelve preludes for Estarellas
By Tomás Marco
(Review published in Diario 16, Madrid, May 13, 1995)
Someday -sooner rather than later- Spanish music will have to acknowledge the debt it owes to Gabriel Estarellas.
The Mallorcan guitarist, based in Madrid, is not only one of the greatest performers of this instrument today, but also a restless seeker who has contributed immensely to the Spanish guitar repertoire. He has even persuaded renowned composers who had never written for the guitar before -such as Luis de Pablo and Carmelo Bernaola- to do so.
First came an important series of fantasies, then sonatas, then sonatinas, all interspersed with several concertos. Altogether, a vast repertoire that already includes several indisputable masterpieces. And beyond expanding the creative landscape of Spanish guitar music, Estarellas performs it with impeccable technique, a beautiful sound, and a profound and authentic interpretative sense.
Now, he has inspired a collection of twelve guitar preludes, which he recently premiered at the splendid new hall of the French Institute. The concert drew a full house and received a level of success fully in line with its significance.
The preludes, in order of performance, were by Benguerel, Larrauri, Consuelo Díez, José Luis Turina, Bertomeu, Alonso, Marco, Zulema de la Cruz, Moreno Buendía, Bernaola, Prieto, and García Abril.
This is an important collection that not only makes the concert itself a major event but also meaningfully enriches the Spanish guitar repertoire. And it is all thanks to Estarellas, who, in addition, delivered a performance of the highest artistic caliber.
This was a true musical event, and not another parade of overpriced foreign orchestras playing overfamiliar repertoire.

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(Score without watermarks available at www.asesores-musicales.com )