Daniel Fortea (1878-1953)
The Fortea Project
David Malmberg (guitar)
No recording information provided
Op Cit idOCID0225 [50]
The history of the classical guitar, in the iteration we have come to recognise it, is relatively short, just over two centuries. Deemed an instrument of the street, and unrepresented in the major halls of learning until the first part of the 20th century, it had few truly outstanding exponents. These invariably composed much of the music they played, and were, of necessity, mainly autodidactic.
The most recognized, and lauded guitarist/composer of the latter 19th century was Francisco Tarrega, ‘the modern awakener of the guitar’ His disciples included Miguel Llobet, and Emilio Pujol. While Andres Segovia claimed to be autodidactic, there is much evidence indicating he was strongly influenced by Llobet. There is also further evidence that he received personal tutelage from Salvador Garcia, relatively unknown outside the circle of Tarrega aficionados, but considered by many ‘the pick of the crop’ of Tarrega’s disciples.
When referencing Tarrega’s more recognised disciples, Daniel Fortea must be included. Fortea met Tarrega when the former was 20 years of age. He remained under his tutelage until Tarrega’s death in 1909.The association extended well beyond that of teacher and pupil, and evolved into a deep and lasting friendship. It is evident that each shared characteristics that were independent of the guitar and music. Fortea was not only a respected concert guitarist; he also composed a significant amount of music for the instrument. In 1909 he established his own music school in Madrid, and the Biblioteca Fortea was considered one of the most important collections of guitar music at the time.
David Malmberg is best described as a finger-style guitarist. He was trained as a classical guitarist in Sevilla by America Martinez, however his repertory crosses over to jazz, folk and popular music. He has a fine singing voice, accompanies himself on the guitar, and also gives public performances as a ventriloquist.
The review disc is the first of two which presents the compositions of Daniel Fortea. There are 19 items, the shortest of which plays for 1:36 and the longest for 4:56. The music is both enjoyable and didactic. That said, it does not generally compare in quality with that of Tarrega, or the best of Llobet and Pujol.
All things considered, David Malmberg may not be the artist that one would anticipate embracing a project of this kind. There is a dearth of information accompanying this recording, and it may be conjectured that factors unrevealed are at play. The performance is correct and competent, but lacks the finesse that the youngest generation of concert masters have established as a paradigm. The guitar virtuosi of today reflect the same technical facility and musicianship found among pianists, violinists and cellists.
Malmberg should be lauded for so extensively recording the oeuvre of Daniel Fortea. Students will treat this as a valuable point of reference, and guitar aficionados will welcome the opportunity to listen to compositions by one of Tarrega’s most important disciples, too infrequently recorded.
Zane Turner
Availability: Artist’s Website
Contents
Estudio Poetico, Dialangando Op 25
Estudio Poetico, Seranata Op 25
Toledo
Mi Favorita
Estoy Solo
Aquellare
Preludio Op. 4
Tango
Caprichio Op 13
Preludio en La
Gavotta No 2
Balada Op. 47
Cuento Infantil Op 12
Mi Refugio
Gavotte
Vals
Preludio en Re
Cancion de Cuna
Madrigal Op 21
