SMC Pro-Arte REY de la TORRE THE MUSIC OF FRANCISCO TARREGA (1852-1909) / RARE
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SMC Pro-Arte EXTREMELY RARE REY de la TORRE THE MUSIC OF FRANCISCO TARREGA (1852-1909)COVER ......... VG+
VINYL...... VG++
José Rey de la Torre (Dec. 9, 1917-July 21, 1994) was one of the greatest classical guitarists of the 20th century.
Born in Gibara, Cuba, like many virtuosi Rey got off to a fast start as a child prodigy (“El Nino”). When the family moved to Havana, he took up the guitar at age ten under the guidance of Severino Lopez ((1907-1978), a “young and shy” former pupil of the Catalan Miguel Llobet (1878-1938), who was the foremost guitarist of the era. Rey made fast progress: his first solo recital in Havana, at age twelve, included Sor’s variations on a theme of Mozart, “Granada” by Albeniz, Tárrega’s “Capricho Arabe” and “Recuerdos de la Alhambra.”
In 1932, at fourteen, his family sent him to Barcelona to study with Llobet. Rey wrote a detailed portrait of the master and a tender account of those two and a half years in Guitar Review (Winter 1985). What he left out was his own success there just before returning to Cuba, when Llobet presented him in concert—his programme included a work still at the outer limits of guitar technique, Alfonso Broqua’s “Ritmos Camperos.”
Rey received raves from the tough Barcelona critics, who compared him not only to Llobet but to Casals; composer Jaime Pahissa declared Rey the most complete guitarist he’d ever heard, with “a sweet but powerful tone and an extraordinary technical perfection that permits him to play the most difficult passages with ease.”
The composer and pianist Joaquin Nin-Culmell (1908-2004) recalled meeting Rey back in Havana just after his return. “As a young performer he was astounding. His playing was aristocratic and exact, quite different from the romantic, improvisational school of Segovia. He had a truly purist mind; this purism went into his concept of technique, which he got from Llobet but which he took much, much further. He was one of the very few guitarists with a respect for the musical text. And I’ve met very few musicians as well read as Rey, a man of extraordinary culture and interests. Even when he was twenty, he had a tremendous literary, cultural, philosophical, and political point of view.”
When Rey began his career, the present worldwide popularity of the classical guitar, so easy to take for granted, was still many years away. The guitar was, as Rey wrote, “practically unknown to musical audiences and. . . largely ignored by the classical performers.” Beginning with his Barcelona debut in 1934 at sixteen, for over four decades Rey concertized across North America, Europe, and parts of Central America, the Caribbean, and the Middle East, and did much to bring the instrument the worldwide respect it enjoys today. His New York recitals (mostly Town Hall, but also Carnegie Hall, Alice Tully, and the Metropolitan Museum) became annual milestones. He made countless radio and TV appearances.
For the historical record, Rey gave world premieres of Joaquin Nin-Culmell’s “Six Variations on a Theme by Milán” in (Town Hall, N.Y.C., Nov. 10, 1947); of José Ardevol’s “Sonata” (Woodstock, N.Y., Sept. 3, 1950); of Julián Orbón’s “Preludio y Danza” (originally “Preludio y Toccata,” in 1953); and of Carlos Chavez’s “Three Pieces for Guitar” (Alice Tully, N.Y.C., Nov. 14, 1969; written back in 1923). He also performed in the premiere of Villa-Lobos’ “Introduction to the Chôros” (N.Y.C., August 1962). And I believe but cannot confirm that he was the first guitarist to perform in its totality the seven-movement suite, “Evocaciones Criollas,” of Alfonso Broqua.
Rey made the first recordings of works by Sor, Giuliani, Tárrega, Cervantes, Falla, Grau, Torroba, Rodrigo, Ponce, Lee, as well as the Boccherini, Nin-Culmell, and Orbón pieces included here. He may also have been the first guitarist to record duets by performing both parts himself.
As Michael Lorimer says, “When the guitar world had few great performers, Rey gave a standard of excellence to which to aspire. As the outstanding student of Miguel Llobet, who was the most distinguished performer in the school of Tárrega, Rey directly linked us to that fountainhead of guitaristic tradition. At the same time, Rey’s collaborations with composers provided the literature beautiful new vistas.”
This grading guide is reprinted from Goldmine magazine, which is considered to be the standard for record collectors worldwide.
Mint | Near Mint | Very Good Plus | Very Good | Good/Good Plus | Poor/Fair
Mint (M): Absolutely perfect in every way - certainly never played, possibly even still sealed. (More on still sealed below). Should be used sparingly as a grade, if at all. ---- ( I will only grade a record mint if it is SEALED...or in such IMMACULATE and PRISTINEcondition that it is flawless.)
Near Mint (NM or M-): A nearly perfect record. Many dealers won't give a grade higher than this implying (perhaps correctly) that no record is ever truly perfect. The record shows no obvious sign of wear. A 45 rpm sleeve has no more than the most minor defects, such as almost invisible ring wear or other signs of slight handling. An LP jacket has no creases, folds, seam splits or any other noticeable similar defect. No cut-out holes, either. And of course, the same is true of any other inserts, such as posters, lyric sleeves, and the like. Basically, Near Mint looks as if you just got it home from a new record store and removed the shrink wrap.
Very Good Plus (VG+): Shows some signs that it was played and otherwise handled by a previous owner who took good care of it. Record surfaces may show some slight signs of wear and may have slight scuffs or very light scratches that don't affect one's listening experience. Slight warps that do not affect the sign are OK. The label may have some ring wear or discoloration, but is should be barely noticeable. The center hole is not misshapen by repeated play. Picture sleeves and LP inner sleeves will have some slight wear, lightly turn-up corners, or a slight seam-split. An LP jacket my have slight signs of wear also and may be marred by a cut-out hole, indentation or corner indicating it was taken out of print and sold at a discount. In general, if not for a couple of minor things wrong with it, this would be Near Mint. All but the most mint-crazy collectors will find a Very Good Plus record highly acceptable.
Very Good (VG): Many of the defects found in a VG+ record are more pronounced in a VG disc. Surface noise is evident upon playing, especially in soft passages and during the song's intro and fade, but will not overpower the music otherwise. Groove wear will start to be noticeable, as will light scratches (deep enough to feel with a fingernail) that will affect the sound. Labels may be marred by writing, or have tape or stickers (or their residue) attached. The same will be true of picture sleeves or LP covers. However, it will not have all of these problems at the same time, only two or three of them.
Good (G), Good Plus (G+): Good does not mean bad! A record in Good or Good Plus condition can be put onto a turntable and will play through without skipping. But it will have significant surface noise and scratches and visible groove wear. A jacket or sleeve has seem splits, especially at the bottom or on the spine. Tape, writing, ring wear or other defects will start to overwhelm the object. If it's a common item, you'll probably find another copy in better shape eventually. Pass it up. But if it's something you have been seeking for years, and the price is right, get it.
Poor (P), Fair (F): The record is cracked, badly warped, and won't play through without skipping or repeating. The picture sleeve is water damaged, split on all three seams and heavily marred by wear and/or writing. The LP jacket barely keeps the LP inside it. Inner sleeves are fully seam split, and written upon. Except for impossibly rare records otherwise unattainable, records in this condition should be bought or sold for no more than a few cents each.
Still Sealed (SS) : Let the buyer beware, unless it's a U.S. pressing from the last 10-15 years or so. It's too easy to reseal on. Yes, some legitimately never-opened LPs from the 1960s still exist. But if you're looking for a specific pressing, the only way you can know for sure is to open the record. Also, European imports are not factory-sealed, so if you see them advertised as sealed, someone other than the manufacturer sealed them.
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For those seeking other than the ordinary,welcome to Liquid Steel Design. I am a metal artisan, my work is handcrafted and one of a kind. I cut, weld, prime, paint and clear coat all my metal work. I initially took interest in welding for its artistic merits,the manipulation of steel in a liquid state seemed interesting, difficult and curious. After completing 1200 hours I recieved my certificate in Applied Welding Technology. I worked as a welder for a while, pay was good but I couldn't get the creative satisfaction I NEED.. So here we are!!!! I also sculpt ceramic chess sets and offer various vintage Lp's from my personal collection. Thank you for looking and Enjoy!
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