268:
417:) as slowly as you do?' 'Why, yes' he (Yepes) said, 'Look at the paper (music) and you will see it written that way'. When I again mentioned that Segovia did not play it that way, he had no doubt had enough of my comparisons and answered, somewhat heatedly 'I have a great admiration for Segovia and everything he has done for the guitar and its history, but I do not have to put on a record of Segovia and play the music exactly as he does. No, I don't think so!'" Elsewhere, Yepes was quoted as saying, "Segovia is a very beautiful player, but it is not necessary to imitate him. Why should
429:
452:"Mr. Yepes' playing was distinguished by its clarity of detail, particularly in the ornaments, and facility of the passage-work. He was also able to sustain contrapuntal lines by some devilish trick, and he used color, not like Segovia, for its sensual appeal, but to help underline phrases and structural details ... Yepes had poetry and power in large measure and flexibility of rhythm that was a total contradiction to the tight beat he kept. Mr. Yepes' startling performing magnetism is a natural product of his technical mastery..."
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486:"An engaging and empathetic personality made Yepes an unusually persuasive teacher, particularly in the public format of a masterclass. Never an authoritarian, he reached his students' minds with a judicious mixture of humor and information that greatly facilitated the learning process. An invariable custom was to draw more attention to a student's strong points than to the weak. As he put it, 'As you grow in your strengths, you will forget your weaknesses.'"
449:"Guitar concerts in Carnegie Hall can be a frustrating affair. Narciso Yepes brought his 10-string invention there last Thursday, and suddenly it was not a problem hearing that instrument in that space. His guitar fills the hall with sound. The musician who plucks it is one of the finest in the world today. ... One left his recital stimulated and elated, with nary a thought as to the potential limitations of the instrument, dynamically or musically." (1982)
104:, as on a piano or a violin. 'If you can't play like that,' he told me, 'you must take up another instrument.'" Through practice and improvement in his technique, Yepes could match Asencio's piano scales on the guitar. "'So,' he said, 'it's possible on the guitar. Now play that fast in thirds, then in chromatic thirds.'" Allan Kozinn observed that, "Thanks to Mr. Asencio's goading, Mr. Yepes learned "to play music the way
241:
64:
575:"Spanish guitarist Narciso Yepes (1927â97) was one of the oddest high-profile players active in the second half of the century. He adhered to no school and seems to have had few followers. His playing on his numerous Deutsche Grammophon recordings is almost always inexplicably quirky, with crisp, staccato articulation, square phrasing, metronomic rhythms, and interpretations that can be eerily devoid of expression."
499:"Flawless, lilting melodies rained from the unique ten-string guitar ... Here and there were flashes of the fire and passion of Spain but more generally the selections were softer, dreamier, lute-like, making it easy for the listener in the warm, still theater to feel transported to a sun-kissed far-away land where a gentle sirocco fluttered through exotic flower petals and ruffled mantilla laces."
634:"There is a rhythmic imprecision, for example, which occasionally develops into a pronounced instability in keeping the meter recognizable. Slightly delayed attacks, performed for expressive purposes, accumulate until the sense of the beat is gone. This sort of thing is acceptable, even idiomatic, in a fantasy or a caprice; but it is out of keeping in the dance movement of a Bach Suite."
578:"The Yepes interpretive hallmarks are all here: crisp articulation, square phrasing, and metronomic regularity. It always struck me as very odd that this elder statesman among Spanish guitarists could produce such mannered and stiff renditions of these Iberian favorites. It seems almost as though Yepes deliberately sought to position himself as the antidote to Segovian excesses.
532:"Yepes' triumph Saturday night was in his right hand. (His bowing, one might say.) He commands a wide variety of tonal quality, thanks to some extent to his vibrato and tonal shading on the fingerboard, but mostly to the careful and accurate positioning of his plucking fingers: now on the bridge, now over the sound-hole, again on the fingerboard itself."
631:"Mr. Yepes is a faithful product of the hot, dry Andalucian climate, and his playing has little of the refinement that English listeners associate with the classical guitar. His rhythms are tense and urgent, his phrasing stylized in emphasis, his tone kaleidoscopic but favouring the plangency that non-Iberian players reserve for special effect."
618:"The suite by Falckenhagen and the two Scarlatti sonata transcriptions â both clean and cool in their symmetry â seemed burdened to the point of stumbling by Mr. Yepes's rhapsodic pauses and surges. In three Villa-Lobos studies, however, Mr. Yepes's generosity of phrase found sympathetic and grateful recipients."
393:
As one writer has observed, "His taking advantage of the instrument's flexibility has opened Yepes to some criticism," citing Bach's
Chaconne in D Minor as an example. Yepes responded that, "There are three versions of the Chaconne and I analyzed all three. The version I play is the one I think Bach
325:
Apart from being a consummate musician, Yepes was also a significant scholar. His research into forgotten manuscripts of the sixteenth and seventeenth centuries resulted in the rediscovery of numerous works for guitar or lute. He was also the first person to record the complete lute works of Bach on
535:"It seemed as though everyone in the audience had stopped breathing during the Adagio movement of Joaquin Rodrigo's 'Concierto de Aranjuez,' played by Yepes with such delicacy, with such attention to nuance and with such clarity of beauty as to captivate me and everyone present."
572:" exciting and perceptive performances of the lute works, which were recorded between 1981 and 1984, are light years better than the stilted, drab, and often utterly stillborn interpretations of Narciso Yepes, who does not sound by any means comfortable playing the lute."
473:"An admirable musician, a master of his instrument ... his interpretations are solidly built up and are not affected by the slightest trace of sentiment ... The audience showed their enthusiasm by their eager and well-deserved applause and foot-stomping. Certainly merited".
137:. The overwhelming success of this performance brought him renown from critics and public alike. Soon afterwards, he began to tour with Argenta, visiting Switzerland, Italy, Germany, and France. During this time he was largely responsible for the growing popularity of the
232:
In Paris he met Maria
Szumlakowska, a young Polish philosophy student, the daughter of Marian Szumlakowski, the Ambassador of Poland in Spain from 1935 to 1944. They married in 1958 and had two sons, Juan de la Cruz (deceased), Ignacio Yepes, an orchestral conductor and
545:"Compared with the more flowing style of his older contemporary, Andrés Segovia , Mr. Yepes's style could sound oddly clipped, yet his admirers pointed out that his approach allowed counterpoint to emerge with a clarity unusual on the guitar."
607:"Yepes can be downright unmusical in his pedantic interpretations of some pieces , yet stunning â musically and technically â in other pieces." (Classical Music: The Listener's Companion by Alexander J. Morin, Harold C. Schonberg;
52:. His father gave him his first guitar when he was four years old, and took the boy five miles on a donkey to and from lessons three days a week. Yepes took his first lessons from JesĂșs Guevara, in Lorca. Later his family moved to
464:"He is a consummate technician and a knowledgeable interpreter in a variety of guitar idioms, from the Renaissance and Baroque to the Modern ... His attributes as a well-disciplined master of the guitar are of the first rank."
502:"... the three sonatas by Scarlatti offered an opportunity for the performer to delight his audience with his unusually wide range of tonal colors ... Narciso Yepes' playing in every detail was impeccable ... " 85
1996:
508:"This is a connoisseur's "Aranjuez," full of willful departures from the text, rhythmic freedoms and subjective coloring by Mr. Yepes, and a thorough rebalancing of the orchestra accompaniment by conductor
1106:
409:, met with Yepes afterwards and questioned him about his phrasing, which was very different from Segovia's. In his memoir, Mairants wrote, "I exclaimed 'Do you think it necessary to play that section (of
519:"Narciso Yepes is not only an outstanding exponent of this repertoire, he also has the rare gift of consistently creating electricity in the recording studio, and all this music springs vividly to life."
167:
flow by, Yepes unexpectedly heard a voice inside him ask, "What are you doing?" He had been a nonbeliever for 25 years, perfectly content that there was no God or transcendence or afterlife. But that
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526:. This must surely be the only successful concerto written for the instrument. The beautiful balance of ideas and harmonies, the sensitive atmosphere and orchestration are an ever fresh delight."
96:) fingers of the right hand. Guitar teachers traditionally taught their students to play by alternating the index and middle fingers, or I-M. However, since Yepes studied under teachers who were
100:
guitarists, they pushed him to expand on the traditional technique. According to Yepes, Asencio "was a pianist who loathed the guitar because a guitarist couldn't play scales very fast and very
476:"His musical personality is of the widest possible scope. It took no more than three opening pieces to establish Mr. Yepes as a vibrant, sensual, searching and highly articulate performer."
298:
exclusively, touring all six inhabited continents, performing in recitals as well as with the world's leading orchestras, giving an average of 130 performances each year. He recorded the
582:
his approach just falls flat, as in most of the other
Spanish standards by Albeniz, Granados, and company. Yepes often seems determined to make this music neither exciting nor romantic.
2032:
337:). In addition, through his patient and intensive study of his instrument, Narciso Yepes developed a revolutionary technique and previously unsuspected resources and possibilities.
455:"With a rare intelligence and sensibility, Narciso Yepes conveyed to his audience that powerful silencing of all the critical spirit that only really great performers can bestow."
548:"Yepes is, of course, a thoroughly accomplished performer, but in this repertory he seems a bit too cool and, at times, even mechanical. Certainly his account of the famous
479:"If the poetry of the guitar lies in its evocative colors, then Narciso Yepes stands among the supreme poets of the instrument. Throughout his recital Sunday afternoon in
461:"Yepes is more than a brilliant virtuoso and more than a consummate musician ... he is a magician who needs no more than a rhythm or a chord to bring all under his power."
201:") has often been attributed to other authors; indeed published versions exist from before Yepes was even born, and the earliest known recording of the work dates from a
2002:
405:
in 1961, some in the audience were split about Yepes' phrasing. Mairants, who had started as a jazz guitarist but took up the classical guitar and had two lessons with
141:, and made two early recordings, both with Argenta â one in mono with the Madrid Chamber Orchestra (released between 1953 and 1955), and the second in stereo with the
552:, if more rhythmically stable than Segovia's, has none of the rich panoply of colors that Segovia produced. Then, too, the three-note figurations that comprise the E
75:. Here he followed courses in harmony, composition, and performance. Yepes is credited by many with developing the A-M-I technique of playing notes with the ring (
604:"The Spaniard Narciso Yepes, now, is famous, as much for his occasional lapses as for his occasional excellences. Both sides of Yepes are usually on display"
529:"Narciso Yepes is my favorite guitarist, that is, outside of the family. And of course, Bream, I enjoy him. But the one I enjoy the most is Narciso Yepes."
580:
But the guitar world is richer for having had a Yepes. Such polar opposites stir things up and encourage critical reappraisals of interpretive traditions.
1987:
643:
933:
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question, which he understood as God's call, changed everything for him. He became a devout
Catholic, which he remained for the rest of his life.
1898:
584:
if you are interested in building your library, there are dozens of other recordings of this standard fare that you would be better off with."
791:
357:
522:"A concert with the Paris Conservatoire Orchestra ... included a splendidly restrained performance with Narciso Yepes of JoaquĂn Rodrigo's
2107:
2042:
1218:
760:"Johann Sebastian Bach: Werke fĂŒr Laute" (Works for Lute â Recording on Ten-String Guitar) (Deutsche Grammophon, 445 714â2 & 445 715â2)
446:. The range of timbres he can produce, to contrast phrases and to shape them, is astonishing . . . The work is not worthy of such playing."
1954:
2062:
1967:
2077:
2037:
763:"Johann Sebastian Bach: Werke fĂŒr Laute II" (Works for Lute II - Recording on Ten-String Guitar) (Deutsche Grammophon 1974, 2530 462)
737:"Johann Sebastian Bach: Werke fĂŒr Laute" (Works for Lute â Complete Recording on Period Instruments) (Deutsche Grammophon, 2708 030)
467:"Other fine guitarists have visited Japan, but none of them, not even Segovia, revealed such delicacy and beauty in the instrument."
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209:, however, "Romance" is credited as "Traditional: arranged â Narciso Yepes." Yepes also performed other pieces for the
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After 1993, Narciso Yepes limited his public appearances due to illness. He gave his last concert on 1 March 1996 in
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1991:
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492:"For this reviewer his performance was more varied, more enjoyable, more virtuosic than that of even the legendary
483:, Yepes created a range of sonority, color and inflection that only a few guitarists performing today could equal."
2087:
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624:"But even here his heart was always ruled by his head, and he also seemed to prefer a crisp, dry texture to the
621:"Other American critics have called attention to the 'dry sherry style' that distinguishes Yepes' recordings ..."
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of the bass notes. However, the main reason for the invention of this instrument was the addition of string
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He was granted many official honours including the Gold Medal for
Distinction in Arts, conferred by King
160:. This was followed by a long period in Italy where he profited from contact with artists of every kind.
458:"Such incomparable artistry, coupled with staggering technical virtuosity, is rare among artists today."
71:
When he was 13, he was accepted to study at the
Conservatorio de Valencia with the pianist and composer
2067:
367:
with his son
Ignacio Yepes on flute and recorder and his daughter Ana dancing to her own choreography.
142:
134:
1761:"Music Noted in Brief; Narciso Yepes Plays A Guitar Recital at Met",; Bernard Holland, 'New York Times
806:"The Beginning of a Legend vol. 3: Studio Recordings 1960/1963" (Istituto Discografico Italiano, 6701)
710:"JoaquĂn Rodrigo: Concierto de Aranjuez, FantasĂa para un Gentilhombre" (Deutsche Grammophon, 139 440)
215:
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1584:
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587:"Narciso Yepes is a clean-fingered (though not infallible) player with a rather academic approach"
288:
116:
would also push Yepes to improve his technique, which also allowed him to play with greater speed.
53:
1891:
1691:
1677:
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803:"The Beginning of a Legend vol. 2: Studio Recordings 1960" (Istituto Discografico Italiano, 6625)
311:
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In 1950, after performing in Paris, he spent a year studying interpretation under the violinist
800:"The Beginning of a Legend: Studio Recordings 1953/1957" (Istituto Discografico Italiano, 6620)
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36:. He is considered one of the finest virtuoso classical guitarists of the twentieth century.
861:
2022:
2017:
371:
349:
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885:
778:"Narciso Yepes" (Collectors Edition box set) (Deutsche Grammophon, 474 667â2 to 474 671â2)
8:
960:
202:
979:
1085:
837:
707:"Spanische Gitarrenmusik aus fĂŒnf Jahrhunderten, Vol. 2" (Deutsche Grammophon, 139 366)
704:"Spanische Gitarrenmusik aus fĂŒnf Jahrhunderten, Vol. 1" (Deutsche Grammophon, 139 365)
410:
327:
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tuned to C, A#, G#, F#, which resulted in the first guitar with truly chromatic string
178:"), Yepes claims to have written when he was a young boy, became the theme to the film
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819:
489:"... we finally have a real departure from the Segovia style of playing, not an echo."
428:
130:
120:
1930:
1308:
My Fifty
Fretting Years: A Personal History of the Twentieth Century Guitar Explosion
1262:
1013:
716:"Luigi Boccerini: Gitarren-Quintette" (Deutsche Grammophon, 2530 069 & 429 512â2)
608:
191:
57:
591:
493:
406:
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900:
766:"Rodrigo/Halffter/Castelnuovo-Tedesco" (Concertos) (Deutsche Grammophon, 449 098-2)
559:
505:"Yepes dazzled the audience with his insightful and technically brilliant playing."
275:
The instrument made it possible to transcribe works originally written for baroque
153:
49:
33:
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317:
1902:
1725:
1627:"Narciso Yepes, Spanish Guitarist And an Innovative Musician, 69". Allan Kozinn,
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21:
1053:
10: Narciso Yepes is Not Only a
Virtuoso; He Invented a New Sound for the Guitar
163:
On 18 May 1951, as he leant on the parapet of a bridge in Paris and watched the
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984:
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1935:
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945:
769:"Domenico Scarlatti: Sonatas" (Deutsche Grammophon, 457 325â2 & 413 783â2)
307:
2011:
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924:
873:
849:
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728:"Antonio Vivaldi" (Concertos) (Deutsche Grammophon, 2530 211 & 429 528â2)
569:"Yepes, for all his wonderful technique, seems quite removed from the music."
398:
341:
225:
149:
113:
1917:
1070:
Kozinn, Allan (22 November 1981). "Narciso Yepes and His 10-String Guitar".
558:
Prelude are plucked out with a stiff rigidity lacking the nuance and legato
1842:
1152:
Urbano, Pilar (January 1988). "Interview with
Narciso Yepes (in Spanish)".
1010:
All Music Guide to Classical Music: The Definitive Guide to Classical Music
990:
MarĂa de la ConcepciĂłn Lebrero Baena: Remembranza de Juan de la Cruz (1989)
825:
595:
563:
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soundtrack. His later credits as film composer include the soundtracks to
867:
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1341:"Opera at Carnegie Hall? There's more dazzle than at many a Met evening"
240:
1926:
1600:
Charles Shere, "Guitarist Yepes Aided by St. Mary's Chapel Acoustics,"
686:"Simplemente" (re-release of early recordings) (MusicBrokers, MBB 5191)
284:
653:"La Fille aux Yeux d'Or" (original film soundtrack) (Fontana, 460.805)
1325:
345:
722:"Heitor Villa-Lobos" (Deutsche Grammophon, 2530 140 & 423 700â2)
260:, which he invented in collaboration with the renowned guitar maker
1941:
1911:(includes audio interview) by Manuel Segura; Murcia, February 1988
1852:
394:
would have written if he'd composed the piece for guitar or lute."
382:
234:
787:"G.P. Telemann" (Duos with Godelieve Monden) (Deutsche Grammophon)
223:(1991). He also starred as a musician in the 1967 film version of
1376:
797:"Leonardo Balada: Symphonies" ('Persistencies') (Albany, TROY474)
745:"JoaquĂn Rodrigo" (Guitar Solos) (Deutsche Grammophon, 419 620â2)
671:"Vivaldi/Bach/Palau" (Conciertos & Chaconne)(London, CS 6201)
656:"Narciso Yepes: Bacarisse/Torroba" (Concertos) (London, CCL 6001)
331:
291:â similar to that of the piano with its sustain/pedal mechanism.
63:
470:"...We consider Yepes the most complete guitarist of our times."
1832:
1281:
1008:
Woodstra, Chris; Brennan, Gerald; Schrott, Allen, eds. (2005).
757:"Rodrigo/Bacarisse" (Concertos) (Deutsche Grammophon, 439 5262)
378:
101:
775:"Asturias: Art of the Guitar" (Deutsche Grammophon, 459 613â2)
713:"Rendezvous mit Narciso Yepes" (Deutsche Grammophon, 2538 106)
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Conservatorio de MĂșsica "Narciso Yepes" Lorca (Murcia) España
164:
32:(14 November 1927 – 3 May 1997) was a Spanish
1034:""Fritz Buss Interview: Narciso Yepes, as I Knew Him," 2004"
930:
Leonardo Balada: "Persistencias" SinfonĂa-concertante (1972)
692:"Recital Amerique Latine & Espagne" (Forlane, UCD 10907)
683:"The World of the Spanish Guitar Vol. 2" (London, STS 15306)
659:"Jeux Interdits" (Original film soundtrack) (London, Kl 320)
1235:
590:"Respectfully, I cannot place Yepes on the same level with
334:
276:
237:, and one daughter, Ana Yepes, a dancer and choreographer.
1971:
1958:
1918:αÏÎčÎÏÏΌα ÎłÎčα Ïα 80 ÏÏÏÎœÎčα αÏÏ Ïη ÎłÎΜΜηÏη ÏÎżÏ
Narciso Yepes
1613:
Dave Crookston, "Guitarist Delights Audience at Concert,"
811:
Works composed for or dedicated to Narciso Yepes (partial)
628:
which many guitarists try to coax from their instruments."
2033:
Converts to Roman Catholicism from atheism or agnosticism
1338:
1215:
Early Spanish Cylinders and the Viuda de Aramburo Company
972:
Xavier Montsalvatge: FantasĂa para guitarra y arpa (1983)
754:"Canciones españolas II" (Deutsche Grammophon, 435 850â2)
701:"Fernando Sor â 24 Etudes" (Deutsche Grammophon, 139 364)
665:"Falla/Rodrigo" (Concierto de Aranjuez) (London, CS 6046)
442:"Narciso Yepes gave a most delicate account of Rodrigo's
119:
On 16 December 1947 he made his Madrid début, performing
2003:
JoaquĂn Rodrigo â Concierto de Aranjuez by Narciso Yepes
751:"Canciones españolas I" (Deutsche Grammophon, 435 849â2)
719:"J.S. Bach â S.L. Weiss" (Deutsche Grammophon, 2530 096)
112:
wants." Similarly, the composer, violinist, and pianist
987:: Concerto No. 2 for Guitar and Strings, Op. 394 (1985)
1007:
784:"Guitar Music of Five Centuries" (Deutsche Grammophon)
1938:
Narciso Yepes explains his authorship of the Romance
1879:(A.MA.MUS. es una AsociaciĂłn de Maestros de MĂșsica)
969:: Concerto pour guitare et orchestre Ă cordes (1982)
742:"Francisco TĂĄrrega" (Deutsche Grammophon, 410 655â2)
734:"Guitarra Romantica" (Deutsche Grammophon, 2530 871)
432:
Yepes performing at Teatro ColĂłn, Buenos Aires, 1962
197:
Despite Yepes's claims of composing it, the piece ("
25:
Yepes in concert at Teatro ColĂłn, Buenos Aires, 1962
855:
Maurice Ohana: Concerto "Trois Graphiques" (1950â7)
1259:"The Ten-String Guitar" in Things About the Guitar
748:"Romance d'Amour" (Deutsche Grammophon, 423 699â2)
1168:"Narciso Yepes speaks on Forbidden Games Romance"
1088:Douglas Niedt's Guitar Technique Tip of the Month
912:Antonio Ruiz-PipĂł: "Tablas" Concerto (1968â69/72)
781:"20th Century Guitar Works" (Deutsche Grammophon)
772:"Guitar Recital" (Deutsche Grammophon, 459 565â2)
731:"MĂșsica Catalana" (Deutsche Grammophon, 2530 273)
725:"MĂșsica Española" (Deutsche Grammophon, 2530 159)
698:"Les Grands d'Espagne, Vol. 5" (Forlane, UM 3907)
695:"Les Grands d'Espagne, Vol. 4" (Forlane, UM 3903)
668:"Spanish Classical Guitar Music" (London, KL 303)
44:Yepes was born into a family of humble origin in
2009:
1944:Site about the authentic Yepes ten-string guitar
1828:International Jose Guillermo Carrillo Foundation
1562:The Penguin Guide to Compact Discs and Cassettes
356:of Spain, and he was elected unanimously to the
1738:The New Grove Dictionary of Music and Musicians
954:Miguel Ăngel Cherubito: Suite popular Argentina
939:Jorge Labrouve: Juex op. 12 (Concertino) (1975)
1892:Narciso Yepes receiving Doctores Honoris Causa
677:"Rodrigo/Ohana" (Concertos) (London, CS 6356)
358:Real Academia de Bellas Artes de San Fernando
348:el Sabio" and an Honorary Doctorate from the
205:from around 1900. In the credits of the film
891:Antonio Ruiz-PipĂł: Canciones y Danzas (1961)
1936:https://www.youtube.com/watch?v=TWJfF0XegAw
1256:
1137:Narciso Yepes and the Concierto de Aranjuez
1121:The World's Encyclopaedia of Recorded Music
689:"Guitar Music Of Spain" (LP Contour cc7584)
662:"Narciso Yepes: Recital" (London, CCL 6002)
1310:. Ashley Mark Publishing Co. p. 286.
951:Francisco Casanovas: La gata i el belitre
858:Maurice Ohana: Si le jou paraĂźt... (1963)
680:"Guitar Recital: Vol. 3" (London, KL 305)
674:"Guitar Recital: Vol. 2" (London, KL 304)
145:(recorded in 1957 and released in 1959).
1305:
1189:Viuda de Aramburo, Madrid (PrĂncipe, 12)
1123:. January 1953. pp. Supplement III.
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316:
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239:
62:
20:
1107:"The Spanish Legacy of AtaĂșlfo Argenta"
638:
2010:
1151:
1069:
1999:(Oviatt Library Digital Collections)
1719:Guitar Review, Issue 115/Winter 1999
1705:Compton Mackenzie, Christopher Stone
1065:
1063:
1061:
401:noted that after a Yepes concert at
244:Ten-string classical guitar of Yepes
2108:20th-century Spanish male musicians
2043:Musicians from the Region of Murcia
1617:(Massillon, Ohio), 20 Nov. 1975, 3.
1261:, Bold Strummer, pp. 137â141,
921:Vicente Asencio: Suite de Homenajes
539:
13:
1968:Narciso Yepes y su legado olvidado
963:: Metamorfosis de Concierto (1980)
381:in 1997, after a long battle with
312:Orquesta Sinfonica R.T.V. Española
156:. He also studied informally with
14:
2124:
2063:Spanish male film score composers
1821:
1564:, New Edition, 1992, p. 1289
1058:
1047:Williams, Roger M. (April 1985).
2078:20th-century classical composers
2038:Inventors of musical instruments
1992:Deutsche Grammophon Gesellschaft
1695:; Steven Rings; 1 September 2003
1681:; Steven Rings; 1 September 2001
1012:. Backbeat Books. p. 1526.
648:Deutsche Grammophon Gesellschaft
344:; membership in the Academy of "
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1506:
1494:
1481:
1468:
1455:
1443:
1431:
1419:
1406:
1394:
1383:
1369:
1358:
1339:The Christian Science Monitor.
1332:
1314:
1299:
1274:
1250:
1224:
1208:
1197:
1182:
1160:
388:
2098:20th-century Spanish musicians
1656:, 1969; University of Michigan
1234:. Anayepes.com. Archived from
1170:. Youtube.com. 26 January 2009
1145:
1127:
1113:
1099:
1078:
1040:
1026:
1001:
882:: Guitar Concerto No. 1 (1965)
271:Yepes' 10-string guitar tuning
1:
2113:Deaths from lymphoma in Spain
1981:
1345:The Christian Science Monitor
994:
352:. In 1986 he was awarded the
254:Berlin Philharmonic Orchestra
248:In 1964, Yepes performed the
2058:Spanish film score composers
2048:Spanish classical guitarists
1955:Narciso Yepes en el recuerdo
1909:Entrevista Con Narciso Yepes
601:"controversially different"
302:for the first time with the
221:La viuda del capitĂĄn Estrada
39:
7:
2093:Deutsche Grammophon artists
1948:
1861:(RegiĂłn de Murcia Digital)
1217:(Carlos MartĂn Ballester -
1086:""Fast Scales With 'ami,'"
1051:. pp. Vol. 215 p.148.
948:: Concierto "Eco" (1976â78)
846:Salvador Bacarisse: Ballade
436:
363:In the 1980s, Yepes formed
294:After 1964, Yepes used the
143:Orquesta Nacional de España
16:Spanish classical guitarist
10:
2129:
1957:by Antonio DĂaz Bautista (
1894:at Universidad de Murcia (
1775:Current Biography Yearbook
1257:Ramirez III, Jose (1994),
1204:another newspaper clipping
888:: Cinqo Movimientos (1965)
321:Monument to Yepes in Lorca
135:Spanish National Orchestra
1329:, 6 Nov 1974 p. 11)
942:Luigi DonorĂ : Rito (1975)
918:: Collectici Ăntim (1970)
843:Salvador Bacarisse: Suite
822:: En los trigales (1939)
816:Estanislao Marco: Guajira
354:Premio Nacional de MĂșsica
1997:Some photos of LP covers
1942:www.tenstringguitar.info
1724:16 November 2009 at the
907:Eduardo Sainz de la Maza
2103:20th-century guitarists
2073:Spanish Roman Catholics
2053:Spanish male guitarists
1901:5 February 2012 at the
1615:The Evening Independent
1463:New York Herald Tribune
1306:Mairants, Ivor (1980).
840:: Concertino in A-minor
2088:London Records artists
2083:20th-century composers
1514:Cleveland Plain Dealer
1390:Records and Recordings
433:
397:Guitarist and teacher
322:
272:
245:
216:La Fille aux yeux d'or
108:want, not the way the
68:
26:
1749:American Record Guide
1693:American Record Guide
1679:American Record Guide
1666:American Record Guide
1550:Oshkosh Advance Titan
1232:"Compagnie Ana Yepes"
936:: Enigma op. 9 (1974)
828:: Concierto levantino
598:." (Angelo Gilardino)
444:Concierto de Aranjuez
431:
320:
300:Concierto de Aranjuez
270:
250:Concierto de Aranjuez
243:
139:Concierto de Aranjuez
126:Concierto de Aranjuez
66:
24:
1851:by Robert Cummings (
1835:www.narcisoyepes.org
1286:www.narcisoyepes.org
980:Canço i dansa no. 13
834:Manuel Palau: Sonata
790:"Guitar Duos" (with
639:Recordings (partial)
350:University of Murcia
279:without deleterious
1801:London, 22 May 1965
1440:, Santiago de Chile
1282:"narciscoyepes.org"
1072:New York Times, D21
961:Xavier Montsalvatge
903:: Interludio (1968)
2028:People from Murcia
1814:, 4 Dec. 1972, 39.
1789:, 18 November 1961
1763:, 10 November 1986
1644:1984; Joel Flegler
1604:, 4 Dec. 1972, 39.
1461:Wriston Locklair,
957:JosĂ© Peris: ElegĂa
927:: Y después (1971)
909:: Laberinto (1968)
897:: AnalogĂas (1967)
876:: Modulos I (1965)
862:CristĂłbal Halffter
838:Salvador Bacarisse
831:Manuel Palau: Ayer
512:." (Allan Kozinn,
434:
328:period instruments
323:
273:
246:
152:, and the pianist
69:
27:
2068:Spanish lutenists
1833:Official Homepage
1654:The Music Journal
1538:Lethbridge Herald
1450:Journal de GenĂšve
1238:on 10 August 2020
1141:. 23 August 2009.
886:Antonio Ruiz-PipĂł
304:ten-string guitar
296:ten-string guitar
258:ten-string guitar
256:, premiĂšring the
174:In 1952 a work ("
60:started in 1936.
58:Spanish Civil War
2120:
1977:
1964:
1923:
1914:
1882:
1873:
1864:
1815:
1808:
1802:
1796:
1790:
1784:
1778:
1772:
1766:
1758:
1752:
1746:
1740:
1735:
1729:
1716:
1710:
1703:
1697:
1689:
1683:
1675:
1669:
1663:
1657:
1651:
1645:
1639:
1633:
1624:
1618:
1611:
1605:
1598:
1592:
1582:
1576:
1571:
1565:
1559:
1553:
1547:
1541:
1535:
1529:
1523:
1517:
1510:
1504:
1498:
1492:
1485:
1479:
1472:
1466:
1459:
1453:
1447:
1441:
1435:
1429:
1423:
1417:
1410:
1404:
1398:
1392:
1387:
1381:
1373:
1367:
1362:
1356:
1355:
1353:
1351:
1336:
1330:
1318:
1312:
1311:
1303:
1297:
1296:
1294:
1292:
1278:
1272:
1271:
1254:
1248:
1247:
1245:
1243:
1228:
1222:
1212:
1206:
1201:
1195:
1186:
1180:
1179:
1177:
1175:
1164:
1158:
1157:
1149:
1143:
1142:
1131:
1125:
1124:
1117:
1111:
1110:
1103:
1097:
1096:
1094:
1082:
1076:
1075:
1067:
1056:
1055:
1044:
1038:
1037:
1030:
1024:
1023:
1005:
901:Leon Schidlowsky
864:: Codex 1 (1963)
792:Godelieve Monden
557:
556:
540:Neutral/negative
262:JosĂ© RamĂrez III
154:Walter Gieseking
50:Region of Murcia
2128:
2127:
2123:
2122:
2121:
2119:
2118:
2117:
2008:
2007:
1984:
1975:
1962:
1951:
1921:
1912:
1903:Wayback Machine
1880:
1871:
1870:(Guitarreando)
1862:
1824:
1819:
1818:
1812:Oakland Tribune
1809:
1805:
1797:
1793:
1785:
1781:
1773:
1769:
1759:
1755:
1747:
1743:
1736:
1732:
1726:Wayback Machine
1717:
1713:
1704:
1700:
1690:
1686:
1676:
1672:
1664:
1660:
1652:
1648:
1640:
1636:
1625:
1621:
1612:
1608:
1602:Oakland Tribune
1599:
1595:
1583:
1579:
1572:
1568:
1560:
1556:
1548:
1544:
1536:
1532:
1524:
1520:
1511:
1507:
1501:Musical America
1499:
1495:
1489:The Independent
1486:
1482:
1476:Chicago Tribune
1473:
1469:
1460:
1456:
1448:
1444:
1436:
1432:
1424:
1420:
1411:
1407:
1399:
1395:
1388:
1384:
1374:
1370:
1365:Musical America
1363:
1359:
1349:
1347:
1337:
1333:
1319:
1315:
1304:
1300:
1290:
1288:
1280:
1279:
1275:
1269:
1255:
1251:
1241:
1239:
1230:
1229:
1225:
1213:
1209:
1202:
1198:
1187:
1183:
1173:
1171:
1166:
1165:
1161:
1150:
1146:
1133:
1132:
1128:
1119:
1118:
1114:
1105:
1104:
1100:
1092:
1084:
1083:
1079:
1068:
1059:
1045:
1041:
1032:
1031:
1027:
1020:
1006:
1002:
997:
976:Federico Mompou
916:Vicente Asencio
895:Leonardo Balada
880:Leonardo Balada
852:: Tiento (1955)
820:JoaquĂn Rodrigo
813:
641:
583:
581:
579:
554:
553:
542:
524:Guitar Concerto
439:
391:
310:conducting the
211:Forbidden Games
181:Forbidden Games
158:Nadia Boulanger
133:conducting the
131:AtaĂșlfo Argenta
121:JoaquĂn Rodrigo
73:Vicente Asencio
42:
17:
12:
11:
5:
2126:
2116:
2115:
2110:
2105:
2100:
2095:
2090:
2085:
2080:
2075:
2070:
2065:
2060:
2055:
2050:
2045:
2040:
2035:
2030:
2025:
2020:
2006:
2005:
2000:
1994:
1983:
1980:
1979:
1978:
1965:
1950:
1947:
1946:
1945:
1939:
1933:
1924:
1915:
1906:
1889:
1883:
1874:
1865:
1856:
1846:
1836:
1830:
1823:
1822:External links
1820:
1817:
1816:
1803:
1791:
1779:
1767:
1753:
1741:
1730:
1711:
1707:The Gramophone
1698:
1684:
1670:
1658:
1646:
1634:
1629:New York Times
1619:
1606:
1593:
1577:
1566:
1554:
1542:
1530:
1518:
1505:
1493:
1487:Colin Cooper,
1480:
1474:Howard Reich,
1467:
1454:
1442:
1430:
1426:Sankei Shinbun
1418:
1414:New York Times
1405:
1393:
1382:
1368:
1357:
1331:
1321:Paul Griffiths
1313:
1298:
1273:
1267:
1249:
1223:
1207:
1196:
1181:
1159:
1154:Ăpoca, no. 147
1144:
1126:
1112:
1098:
1077:
1057:
1039:
1025:
1018:
999:
998:
996:
993:
992:
991:
988:
985:Alan Hovhaness
982:
973:
970:
964:
958:
955:
952:
949:
943:
940:
937:
934:Jorge Labrouve
931:
928:
922:
919:
913:
910:
904:
898:
892:
889:
883:
877:
871:
865:
859:
856:
853:
847:
844:
841:
835:
832:
829:
823:
817:
812:
809:
808:
807:
804:
801:
798:
795:
788:
785:
782:
779:
776:
773:
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767:
764:
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758:
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749:
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739:
738:
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723:
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702:
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693:
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669:
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640:
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635:
632:
629:
622:
619:
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588:
585:
576:
573:
570:
567:
546:
541:
538:
537:
536:
533:
530:
527:
520:
517:
516:, 15 Feb 1981)
514:New York Times
510:Garcia Navarro
506:
503:
500:
497:
490:
487:
484:
481:Orchestra Hall
477:
474:
471:
468:
465:
462:
459:
456:
453:
450:
447:
438:
435:
390:
387:
207:Jeux Interdits
187:Jeux interdits
89:), and index (
41:
38:
15:
9:
6:
4:
3:
2:
2125:
2114:
2111:
2109:
2106:
2104:
2101:
2099:
2096:
2094:
2091:
2089:
2086:
2084:
2081:
2079:
2076:
2074:
2071:
2069:
2066:
2064:
2061:
2059:
2056:
2054:
2051:
2049:
2046:
2044:
2041:
2039:
2036:
2034:
2031:
2029:
2026:
2024:
2021:
2019:
2016:
2015:
2013:
2004:
2001:
1998:
1995:
1993:
1989:
1986:
1985:
1973:
1969:
1966:
1960:
1956:
1953:
1952:
1943:
1940:
1937:
1934:
1932:
1928:
1927:Narciso Yepes
1925:
1919:
1916:
1910:
1907:
1904:
1900:
1897:
1893:
1890:
1887:
1884:
1878:
1875:
1869:
1866:
1860:
1857:
1854:
1850:
1847:
1844:
1840:
1837:
1834:
1831:
1829:
1826:
1825:
1813:
1807:
1800:
1795:
1788:
1783:
1776:
1771:
1765:
1764:
1757:
1750:
1745:
1739:
1734:
1727:
1723:
1720:
1715:
1708:
1702:
1696:
1694:
1688:
1682:
1680:
1674:
1667:
1662:
1655:
1650:
1643:
1638:
1632:
1630:
1623:
1616:
1610:
1603:
1597:
1590:
1589:Guitar Player
1586:
1581:
1575:
1570:
1563:
1558:
1551:
1546:
1539:
1534:
1527:
1522:
1515:
1512:Ethel Boros,
1509:
1502:
1497:
1490:
1484:
1477:
1471:
1465:, 31 Oct 1964
1464:
1458:
1451:
1446:
1439:
1434:
1427:
1422:
1416:
1415:
1409:
1402:
1397:
1391:
1386:
1379:
1378:
1372:
1366:
1361:
1346:
1342:
1335:
1328:
1327:
1322:
1317:
1309:
1302:
1287:
1283:
1277:
1270:
1264:
1260:
1253:
1237:
1233:
1227:
1220:
1216:
1211:
1205:
1200:
1194:
1190:
1185:
1169:
1163:
1155:
1148:
1140:
1138:
1130:
1122:
1116:
1108:
1102:
1091:
1089:
1081:
1073:
1066:
1064:
1062:
1054:
1050:
1043:
1035:
1029:
1021:
1019:0-87930-865-6
1015:
1011:
1004:
1000:
989:
986:
983:
981:
977:
974:
971:
968:
967:Jean Françaix
965:
962:
959:
956:
953:
950:
947:
944:
941:
938:
935:
932:
929:
926:
925:Bruno Maderna
923:
920:
917:
914:
911:
908:
905:
902:
899:
896:
893:
890:
887:
884:
881:
878:
875:
874:Alcides Lanza
872:
869:
866:
863:
860:
857:
854:
851:
850:Maurice Ohana
848:
845:
842:
839:
836:
833:
830:
827:
824:
821:
818:
815:
814:
805:
802:
799:
796:
793:
789:
786:
783:
780:
777:
774:
771:
768:
765:
762:
759:
756:
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750:
747:
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741:
740:
736:
733:
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727:
724:
721:
718:
715:
712:
709:
706:
703:
700:
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694:
691:
688:
685:
682:
679:
676:
673:
670:
667:
664:
661:
658:
655:
652:
651:
650:
649:
645:
633:
630:
627:
623:
620:
617:
614:
613:0-87930-638-6
610:
606:
603:
600:
597:
593:
589:
586:
577:
574:
571:
568:
565:
561:
551:
547:
544:
543:
534:
531:
528:
525:
521:
518:
515:
511:
507:
504:
501:
498:
495:
491:
488:
485:
482:
478:
475:
472:
469:
466:
463:
460:
457:
454:
451:
448:
445:
441:
440:
430:
426:
424:
420:
416:
415:Prelude No. 1
412:
408:
404:
400:
399:Ivor Mairants
395:
386:
384:
380:
375:
373:
368:
366:
361:
359:
355:
351:
347:
343:
342:Juan Carlos I
338:
336:
333:
329:
319:
315:
313:
309:
306:in 1969 with
305:
301:
297:
292:
290:
286:
282:
281:transposition
278:
269:
265:
263:
259:
255:
251:
242:
238:
236:
230:
228:
227:
226:El amor brujo
222:
218:
217:
212:
208:
204:
200:
195:
193:
189:
188:
183:
182:
177:
172:
170:
166:
161:
159:
155:
151:
150:George Enescu
146:
144:
140:
136:
132:
128:
127:
122:
117:
115:
114:George Enescu
111:
107:
103:
99:
95:
93:
88:
86:
81:
79:
74:
67:Yepes in 1939
65:
61:
59:
55:
51:
47:
37:
35:
31:
30:Narciso Yepes
23:
19:
1976:(in Spanish)
1963:(in Spanish)
1913:(in Spanish)
1881:(in Spanish)
1872:(in Spanish)
1863:(in Spanish)
1811:
1806:
1798:
1794:
1786:
1782:
1774:
1770:
1762:
1756:
1748:
1744:
1737:
1733:
1714:
1706:
1701:
1692:
1687:
1678:
1673:
1665:
1661:
1653:
1649:
1641:
1637:
1631:, 4 May 1997
1628:
1622:
1614:
1609:
1601:
1596:
1588:
1585:Angel Romero
1580:
1573:
1569:
1561:
1557:
1552:, 4 Apr 1985
1549:
1545:
1537:
1533:
1528:, 2 Dec 1965
1525:
1521:
1513:
1508:
1500:
1496:
1491:, 6 May 1997
1488:
1483:
1478:, 2 Nov 1987
1475:
1470:
1462:
1457:
1449:
1445:
1437:
1433:
1425:
1421:
1412:
1408:
1400:
1396:
1389:
1385:
1375:
1371:
1364:
1360:
1348:. Retrieved
1344:
1334:
1324:
1316:
1307:
1301:
1289:. Retrieved
1285:
1276:
1258:
1252:
1240:. Retrieved
1236:the original
1226:
1219:publications
1210:
1199:
1184:
1172:. Retrieved
1162:
1153:
1147:
1136:
1129:
1120:
1115:
1101:
1087:
1080:
1071:
1052:
1048:
1042:
1028:
1009:
1003:
826:Manuel Palau
642:
625:
564:Julian Bream
549:
523:
513:
443:
419:Rostropovich
414:
403:Wigmore Hall
396:
392:
389:Press quotes
376:
369:
364:
362:
339:
324:
299:
293:
274:
249:
247:
231:
224:
220:
214:
210:
206:
196:
192:René Clément
185:
179:
173:
162:
147:
138:
124:
118:
109:
105:
97:
91:
90:
84:
83:
77:
76:
70:
43:
29:
28:
18:
2023:1997 deaths
2018:1927 births
1972:laverdad.es
1959:laverdad.es
1888:(Esperanto)
1886:Information
1859:Information
1591:, Apr. 1972
1516:20 Nov 1965
1438:El Mercurio
1401:Aux Ăcoutes
1350:27 November
1291:27 November
1049:Connoisseur
946:TomĂĄs Marco
868:Leo Brouwer
411:Villa Lobos
377:He died in
330:(14-course
308:OdĂłn Alonso
219:(1961) and
169:existential
82:), middle (
2012:Categories
1988:Recordings
1982:Recordings
1922:(in Greek)
1540:, 4 Nov 19
1526:Lowell Sun
1380:, Brussels
1268:8487969402
995:References
870:: Tarantos
644:Recordings
365:Trio Yepes
285:resonators
1877:Biography
1868:Biography
1849:Biography
1839:Biography
1799:The Times
1787:The Times
1574:The Strad
1503:Dec. 1964
1326:The Times
626:cantabile
374:(Spain).
372:Santander
346:Alfonso X
289:resonance
252:with the
56:when the
40:Biography
34:guitarist
1949:Articles
1899:Archived
1853:Allmusic
1722:Archived
1642:Fanfare,
1452:, Geneva
1242:9 August
1174:9 August
560:phrasing
555:♭
550:Chaconne
437:Positive
421:imitate
383:lymphoma
235:flautist
203:cylinder
54:Valencia
1810:Shere,
1428:, Tokyo
1403:, Paris
1377:Le Soir
794:) (BMG)
592:Segovia
494:Segovia
407:Segovia
332:baroque
199:Romance
176:Romance
1920:(Tar)
1777:, 1966
1751:, 1986
1709:. 1954
1668:; 1984
1265:
1016:
611:
423:Casals
379:Murcia
110:guitar
102:legato
1896:audio
1093:(PDF)
596:Bream
562:that
190:) by
165:Seine
129:with
94:ndice
80:nular
46:Lorca
1931:IMDb
1352:2015
1293:2015
1263:ISBN
1244:2012
1193:alt.
1176:2012
1014:ISBN
609:ISBN
594:and
335:lute
277:lute
87:edio
1990:at
1929:at
646:at
425:?"
123:'s
98:not
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1974:)
1961:)
1587:,
1343:.
1323:,
1284:.
1191:,
1060:^
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