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Deborah Wai Kapohe: Canciones españolas (MMT2038) |
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Deborah Wai Kapohe soprano
David Harper piano
Canciones españolas
Xavier Montsalvatge
Cinco Canciones Negras (12:22)
1 Cuba Dentro de un Piano (4:34)
2 Punto de Habanera (1:51) [LISTEN]
3 Chévere (1:58)
4 Canción de Cuna para Dormir a un Negrito (2:45)
5 Canto Negro (1:15)
Fernando Obradors
from Canciones Clásicas Españolas, Vol. 1 (12:21)
6 La mi sola, Laureola… (3:01)
7 Al Amor (1:02)
8 El Majo Celoso (2:38)
9 Con amores, la mi madre… (1:45)
10 Dos Cantares Populares (1:12) [LISTEN]
11 Coplas de Curro Dulce (2:40)
Jesús Guridi
Seis Canciones Castellanas (17:51)
12 Allá arriba en aquella montaña (2:44)
13 ¡Sereno! (2:44)
14 Llámale con el pañuelo (2:17)
15 No quiero tus avellañzs (3:58)
16 Cómo quieres que adivine… (3:00)
17 Mañanita de San Juan (3:26) [LISTEN]
Joaquín Rodrigo
Cuatro Canciones Sefardíes (10:26)
18 Respóndemos (3:15)
19 Una pastora yo ami (2:27)
20 Nani, nani (Canción de cuna) (3:49) [LISTEN]
21 “Morena” me llaman (0:54)
Enrique Granados
from Tonadillas (8:42)
22 Amor y Odio (2:26)
23 El Majo Timido (0:53)
24 El Tra la la y el Punteado (1:16)
25 El Mirar de la Maja (2:27)
26 El Majo Discreto (1:39)
Total Duration 62:08
Copyright clearance via AMCOS
MMT2038 Digital Stereo Recording
© 2002 HRL Morrison Music Trust
P 2002 HRL Morrison Music Trust
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Canciones españolas
From the outset of our working relationship Deborah showed a distinct flair for the Spanish classical song repertoire. We have long pondered on the reason for this but are unable to come to any satisfactory conclusion – occasionally, one just connects in some strange instinctive way with a particular foreign language and culture. This was my own experience when I went to London in 1967. The first real friends I made there (fellow students, and co-waiters in restaurants) happened to be Spanish,
and I decided to learn their language for no particular reason at all except that I was hearing it around me every day.
I subsequently visited Spain countless times and became a rather fluent speaker, growing to love Spanish music – both flamenco and classical – with a deep and abiding passion.
What a thrill it was to find in Deborah a fellow antipodean artist who shared the same passion for this rich and colourful language and its vast classical song repertoire. It seemed inevitable, therefore, that we should decide to record our interpretations of some of these wonderful songs when we were invited by Trust Records to undertake this, our first recording together.
I have enjoyed a long and intense connection with many of the songs we have chosen, having had the opportunity to perform them with a great variety of singers over the years. Some, however, such as the Sephardin Songs by Rodrigo I didn’t know at all; Deborah came across them herself when she was in Spain – and what a discovery for both of us!
We hope that our particular selection on this CD will give as much pleasure and satisfaction to the listener as we ourselves gained in its preparation and recording.
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Recorded in the Ilott Chamber, Wellington Town Hall, Wellington, New Zealand, 29 November to 1 December 2001.
Producer Murray Khouri, Contiunuum
Recording Engineer Keith Warren, Radio New Zealand
Digital Editing and Mastering Wayne Laird, Atoll
Executive Producer Ross Hendy
Piano Technician Michael Ashby
Booklet Editor Janey MacKenzie
Translations Christian Jara
Design Mallabar Music
Thanks to
Gregory O’Brien (City Gallery, Wellington)
Jenny Gibbs
James Wallace
Jamie Bull
Shaun Peyman
Accenture
Radio New Zealand
Wellington Convention Centre
Victoria University of Wellington School of Music |
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A life making music is a most wonderful life
Through music I have met many inspirational people of all ages, nationalities, beliefs and walks of life. I thank music for this gift to me.
If I were to name all those who I wish to thank I would need a book – as the saying goes, no man is an island. From my early years I needed encouragement and help to attend music lessons. I wish to thank my family, especially my Mum and Nana for their unconditional love and support. Thank you to all of my music teachers of all instruments and at all stages in my development; the community of Southland, and, above all, thank you to the Invercargill Brass Band for encouraging me to sing in public.
I wish to thank God that I was born in New Zealand. I am of the belief that one is only limited here by one’s imagination and belief in oneself. My guitar teacher Dr Sue Court believed that if I wanted I could have a career in music. The day she identified that to me was one of the happiest of my life, as I had decided that if she said I could – then I would! Thank you, Sue, for those words, and thank you to this country for your support.
A life making music is a most wonderful life
I wish to thank the team at Trust for this CD and your commitment to me. Thank you especially to Lloyd and Ross for your time, belief and patience, and to Murray who produced this recording.
I wish to thank ‘the team’ – David Harper (vocal coach and accompanist) and Jamie Bull (manager) – you are beyond words.
Thank you to my Spanish sister Tina who introduced me to the brilliant world of Spain and her family in Australia. Thank you to my friends in Spain. This CD is yours.
Finally I wish to thank my own family – Michael, Alyssa and Portia.
Arohanui
Deborah Wai Kapohe
Deborah Wai Kapohe is proudly sponsored by Accenture.
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Milan Mrkusich (b.1925),
Painting No: 1 (1950-53), oil on hardboard, 500 x 385 mm.
Gibbs Collection. Reproduced by permission of the artist.
An early example of abstraction in New Zealand, this work exemplifies many of the attributes found in European and American abstraction of the same period. There is a sense still of the surrealist space of Miro, from which artists as diverse as Rothko and Newman (as well as Mrkusich) evolved their own painting language.
Ralph Hotere (b.1931), Lo Negro Sobre Lo Oro (1992), acrylic and gold leaf on glass, c.920 x 900 mm.
Private collection, Wellington. Reproduced by permission of the artist. Photograph by Michael Roth.
The title of this work translates from the Spanish as ‘The black over the gold’. Ralph Hotere has often explored the religious, cultural and artistic significance of the colour black in his artworks. During the 1990s he also explored the symbolism and visual effects inherent in gold.
Born in the remote Northland settlement of Mitimiti in 1931, Ralph Hotere (Te Aupouri) lived in England and Europe between 1961 and 1965. During that time, and often since, he visited Spain where he has been greatly impressed by the Spanish painterly tradition from El Greco to Antoni Tapies, with its primordial darknesses and mystical passages of light. Here the artist pays homage to these sources.
Gregory O’Brien
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