{"id":12804,"date":"2019-04-18T16:27:08","date_gmt":"2019-04-18T23:27:08","guid":{"rendered":"http:\/\/classicalguitarmagazine.com\/?p=12804"},"modified":"2019-04-19T08:44:30","modified_gmt":"2019-04-19T15:44:30","slug":"video-pick-of-the-week-emmanuel-sowicz-plays-lennox-berkeleys-quatre-pieces","status":"publish","type":"post","link":"https:\/\/classicalguitarmagazine.com\/video-pick-of-the-week-emmanuel-sowicz-plays-lennox-berkeleys-quatre-pieces\/","title":{"rendered":"Video Pick of the Week: Emmanuel Sowicz Plays Lennox Berkeley&#8217;s &#8216;Quatre Pi\u00e8ces&#8217;"},"content":{"rendered":"<p>Here&#8217;s another outstanding video produced by the good folks at <a href=\"http:\/\/openstringsberlin.com\/\" target=\"_blank\" rel=\"noopener\">Open Strings Berlin<\/a>. This one features English guitarist <a href=\"https:\/\/www.emmanuelsowicz.com\/\" target=\"_blank\" rel=\"noopener\"><strong>Emmanuel Sowicz<\/strong> <\/a>(showcased last fall in a <a href=\"http:\/\/classicalguitarmagazine.com\/emmanuel-sowicz-wins-first-prize-at-2018-igf-london-international-guitar-competition-watch-him-master-some-bach\/\" target=\"_blank\" rel=\"noopener\">news item<\/a> about his\u00a0winning First Prize at the 2018\u00a0IGF London International Guitar Competition\u00a0in London), who plays a wonderful, but still relatively unknown piece by British composer\u00a0<a href=\"https:\/\/en.wikipedia.org\/wiki\/Lennox_Berkeley\" target=\"_blank\" rel=\"noopener\">Lennox Berkeley<\/a> (1903\u20131989), called\u00a0<em>Quatre Pi\u00e8ces<\/em>. Berkeley is\u00a0best known in the classical guitar world for his 1957<em> Sonatina<\/em>, written for and first recorded by Julian Bream.<\/p>\n<p>In a note accompanying the link to the video, Sowicz wrote: &#8220;The\u00a0<em>Quatre Pi\u00e8ces<\/em> were composed c. 1927, so they seem to be one of the earliest guitar pieces written by a non-guitarist composer, soon after de Falla\u2019s 1920 <em>Homenaje: Le Tombeau de Claude Debussy<\/em>. These were written for Andr\u00e9s Segovia while Berkeley was living in Paris studying with Nadia Boulanger, however it seems Segovia never played them. They were found in his archive in 2001 and published by B\u00e8rben soon after, which seems quite lucky for us.&#8221;<\/p>\n<p>I first heard the work on Roberto Moronn Perez&#8217;s revelatory 2017 album <a href=\"https:\/\/open.spotify.com\/album\/23O8KqBf3xklkYI2H900ab\" target=\"_blank\" rel=\"noopener\"><em>Viva Segovia<\/em><\/a>\u2014one\u00a0 of three volumes highlighting pieces in the Segovia archive that were written for the Maestro but which he did not not record, for whatever reason\u2014but Sowicz notes, &#8220;I first heard the <em>Quatre Pi\u00e8ces<\/em> on Graham Anthony Devine\u2019s fantastic Naxos album,\u00a0<em>British Guitar Music <\/em>[2005]. However, I recently found and also enjoyed Roberto Moronn Perez\u2019 recording. I came to learn them myself when Julian Berkeley, Lennox\u2019s son, and his partner Tony Scotland, kindly gifted me a copy of the music.&#8221;<\/p>\n<p>It&#8217;s a great piece that deserves to be heard more!\u00a0\u00a0\u2014<em>Blair Jackson<\/em><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Here&#8217;s another outstanding video produced by the good folks at Open Strings Berlin. This one features English guitarist Emmanuel Sowicz (showcased last fall in a news item about his\u00a0winning First Prize at the 2018\u00a0IGF London International Guitar Competition\u00a0in London), who plays a wonderful, but still relatively unknown piece by British composer\u00a0Lennox Berkeley (1903\u20131989), called\u00a0Quatre Pi\u00e8ces. Berkeley is\u00a0best known in the classical guitar world for his 1957 Sonatina, written for and first recorded by Julian Bream. In a note accompanying the [&hellip;]<\/p>\n","protected":false},"author":11,"featured_media":12805,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"video","meta":{"advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[6,7],"tags":[],"class_list":["post-12804","post","type-post","status-publish","format-video","has-post-thumbnail","hentry","category-news","category-watch","post_format-post-format-video"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2019\/04\/Sowicz-e1555630000324.jpg?fit=800%2C450&ssl=1","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/12804","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/users\/11"}],"replies":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/comments?post=12804"}],"version-history":[{"count":0,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/12804\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media\/12805"}],"wp:attachment":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media?parent=12804"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/categories?post=12804"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/tags?post=12804"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}