Daniel Fortea (1878-1953)
The Fortea Project Volume II
David Malmberg (guitar)
rec. 2025
Op Cit Id OCID0525 [52]

This is the second disc of guitar compositions by Daniel Fortea, recorded by guitarist David Malmberg. Volume I was recently reviewed on this forum.

Despite his eminent place in the history of the classical guitar, original compositions by Fortea are infrequently recorded. Volume II comprises an additional fifteen compositions, complementary to the nineteen to be found in volume I. Compositions by Fortea are generally short, and on this occasion they range from 1:26, to Opus 22, the three components of which require 21 minutes of playing time.

The general dearth of Fortea recorded works was alleviated by Agustin Maruri who, in 2004, released a recording of 32 original works by him; these performances were claimed as recorded premieres. The programme contained only two fewers items than the combined efforts of Malmberg. Other contributions to the opus of Fortea may be accessed via social media.

Daniel Fortea was one of the most eminent of Francisco Tarrega’s disciples. He met the great Spanish master in 1898 and maintained a close relationship with him until Tarrega’s death in 1909. Aside from the mutual love of music and the guitar, pupil and maestro shared personal ideologies. It may have also been a mutual habit that contributed to their demise: both were heavy cigarette smokers. Tarrega was usually seen with a cigarette in his mouth, and his guitars bore cigarette-ash burns. He died in 1909, probably of issues directly related to cigarette smoking. Fortea, also a heavy smoker, wrote studies for the left hand only, to accommodate the habit. (El Pitillo). He died in 1953, and spent the last days of his life in a Madrid hospital; having suffered from hemiplegia, he was almost paralysed.

Commenting on the works of Daniel Fortea, Tarrega’s son, Paquito, noted: his father had only two followers, Pujol and Fortea, and that these two guitarists have been the only two composers to have contributed, via their creative genius, to the guitar repertory with pieces of the highest artistic standard. Guitarist Agustin Maruri felt that Fortea’s unique poetic expressiveness made him an exceptional voice in the guitar’s repertory. and this legacy was that of a true poet. What Paquito Tarrega omitted are key names such as Miguel Llobet and Salvador Garcia, and comparison between the compositions of Llobet, Pujol and Fortea suggest the former two possessed a higher level of proficiency. Many of Fortea’s compositions have creative didactic components, and a good proportion of all his works attest to the assessment of both Paquito Tarrega and Agustin Maruiri.

David Malmberg is a very interesting, and diversified artist. He has a fine singing voice, accompanies himself on the guitar, and performs also as a ventriloquist. He is an accomplished guitarist who learned his trade in Sevilla under the tutelage of America Martinez, also a pupil of Fortea. His renditions are very capable and correct; the tone is pleasing. We are not made privy to the instrument being used but it has an impressive sound. Almost every aspect of guitar playing has been refined over the past recent decades, particularly in the area of technique. The art of playing single note passages rapidly and clearly was championed in the modern era by Paco de Lucia. Today there are classical guitarists who can play picado as well as Paco did, but unfortunately David Malmberg is not one of them, as is demonstrated in the flamenco flavoured Soleá (tr 14).

Having listened to both volumes of Malmberg’s recordings, also virtually the same recorded repertory by Maruri, there is an important element in paucity. All the eminent composers demonstrated an ability to infuse didactic elements with musical beauty. None did it better than Chopin for piano, or Sor for the guitar. The legacy which Fortea contributed in this creativity, is not fully explored by either guitarist. A quick review of similar repertory, as executed by guitarist José Maria Gallardo del Rey on social media, will quickly demonstrate the finesse of this point.

Generally, this is an enjoyable recording, and provides both students and aficionados of the classical guitar with greater insight into the oeuvre of Daniel Fortea, one of Tarrega’s most important disciples. It is a valuable addition to the discography of the guitar.

Zane Turner

Contents
Murmullos
Danza de Gnomos
La Paxarina
Estudio Poeticos Op 25
Homenaje a Sor
Sonatina Op. 20
Danza de Muñecos
Nocturno Op.33
Evcacion Op. 16
Argentina
Meditación Op. 24
Elegia Op. 15
Andaluza Op. 22 No.1
Soleá Op.22 No 2
Granadina Op.22 No 3