Masterpiece by a Hollywood Starby Angelo Gilardino

Hungarian Miklós Rózsa, celebrated com-poser of soundtracks, wrote a Sonata for gui-tar that’s a perfect example of good art:classic form, solid structure, clear definitionof the particulars. He shied away from writ-ing it so as not to clash with composer MarioCastelnuovo-Tedesco, his neighbor in BeverlyHills.

In 1972, while I was busily inviting composerswho esteemed the guitar to write new piecesfor the instrument, I happened to also thinkabout a certain famous film composer thatwas sought after by Hollywood cinema pro-ducers.

Beyond his soundtracks that I knew since Iwas a child: Miklós Rózsa had put music tocolossal epics like IVANHOE, QUOVADIS?, EL CID, BEN HUR, KING OFKINGS and others. I had the occasion toread the score of his concerto for violin, writ-ten for Jascha Heifetz, recognizing the handof a master that could stand up next to thegreats of the century. Miklós Rózsa, Hungar-ian-born in 1907, could seem from his Holly-wood villa an unapproachable figure to theeyes of a young Italian guitarist, but the oc-casion came about to send him a messagethrough a common Italian-American ac-quaintance that lived in Beverly Hills.

I wrote him, therefore, without fear, askinghim to compose a piece for guitar. The re-sponse arrived on time, concise and courte-ous: “Dear friend”, he said, “I would reallylike to accept your proposal, but I just don’tfeel ready to write music for an instrument ofwhich I am not familiar with the techniqueand that I don’t have time to study.”

About 15 years later I had the pleasure to re-ceive the recently published edition of SonataFor Guitar by Miklós Rózsa, published by As-sociated Music Publishers, linked withSchirmer. Dedicated to and accurately fin-gered by the Californian guitarist GreggNestor, it appeared right away to me as oneof the best compositions for guitar that I hadever read: of classic form and extremely solidstructure. It confirmed my initial responsewhile reading the score for the violin con-certo: Rózsa was a master that had perfectlyassimilated the lesson of the classics and ofhis first, illustrious teachers, namely Bartókand Kodály. Beyond his admirable job as au-thor of movie soundtracks, he knew how tocreate a strong and well defined poetic world.His famous Hollywood starkness had ob-

scured his art as symphonic and chambermusic composer, but it hadn’t impeded himto continually write good music: the Sonata forGuitar was an extremely valid example.

Recently, in an Internet discussion dedicatedto the guitar, Gregg Nestor told the story ofthe composition: he had the occasion to getcloser to Miklós Rózsa thanks to the favor ofcircumstance; and when as I had done beforehe asked him to write nothing less than aSonata for Guitar, he felt himself opposed witha courteous refusal. But Nestor persisted and,making him listen to some pieces transcribedfor guitar, managed to convince him.

I don’t know how much Nestor had to workon the original Rózsa Sonata, to make itsmooth, full and sonorous like it appears inthe edition, but I have the impression that theHungarian master had hit the target of thesolution of the guitar-problem not less hap-pily than his colleague Mario Castelnuovo-Tedesco. It’s not necessary to institutecomparisons – the style and the poetics of thetwo authors are incomparable – but it’s cer-tain that, from the reading of Rózsa’s work,one leaves with the sensation of having en-tered in an authentic musical world, austere,delicate and clean.

Praise should go to Gregg Nestor for his mis-sion accomplished and also for the albumrecording of the Sonata; I heard it in preview,and it’s worthy of the dedication with whichthe composer honored him.

Angelo GilardinoSei Corde (Suonare News)

- June 2007

Translated from Italian by Stephen R. Figoni

Few things encourage artistic rediscov-ery so much as a change in perspective.The music of Miklós Rózsa represented

on this release has endured in the memory ofboth filmgoers and music lovers, its popularityconfirmed by time; but in adapting thesepieces for two guitars, in arrangements basedfaithfully on the composer’s original scores,guitarist and arranger Gregg Nestor encour-ages us to both renew and rethink some oldacquaintances.

“Andrés Segovia used to say that one is ableto capture all the different fragrances of theorchestra on guitar, but viewed in a bottle, inminiaturized form,” observes Nestor. “A gui-tarist can produce tone-color changes on thestrings; he can imitate qualities of a particularinstrument. The challenge of these arrange-ments was to bring forward the most impor-tant elements from their orchestral guise. Theguitar, being a plucked instrument, can ex-pose individual voices, voices you might not

have heard before, and make them very clearand distinct. It focuses the basic substanceand can highlight the structure of the music.”

According to Gregg Nestor, the music ofHungarian-born composer Miklós Rózsa(1907 - 1995) is especially suited for guitaradaptation, “because you hear someone whois always thinking orchestrally. His musicallines are not static; the canonic imitation andcontrapuntal voices lie very well for guitar.”

The six beautiful miniature cameos ofKALEIDOSCOPE, Op. 19c (1946) werewritten for the composer’s two small children.

The first piece, March, is an almostTchaikovskian miniature with military over-tones, while the unmistakable Hungariancharacter of the Zingara is clearly in evidence(instructions for the guitar to play “like a cim-balom”); and in the Musette which cleverly im-itates the bagpipe and also re-appears in thepastoral sequences in the score for the filmTHE RED HOUSE, composed at much thesame time. The Berceuse is an exquisite lullabywith a gently modal melody over a lyricalpentatonic and rocking ostinato. The ChineseCarillon allows the use of delicate harmonicsunder a hypnotic melody reminiscent of In-donesian or Asian influence while the finale,Burlesque, highlights a rollocking and rhythmi-cally engaging play between the two instru-ments. (It was originally written as the FirstSailor’s Dance for Jerome Robbins’ balletFANCY FREE, but Robbins decided eventu-ally on a jazz-oriented score and the commis-

sion was passed to Leonard Bernstein.)

The EL CID Overture (1961) was its com-poser’s third “epic” score in a row, after theequally majestic BEN-HUR and KING OFKINGS. Although the music of EL CID isunmistakably its composer’s own, it wasshaped by Rózsa’s careful study of musicfrom the film’s period, eleventh centurySpain. The opening fanfare, with its polytonalchords spread between the two players, setsthe excitement of the scene. With the appear-ance of the EL CID theme, a castanet effectis created by one guitarist strumming the ac-companiment on the lower strings, while hisfingernails add a percussive rhythm.

EL CID’s Love Theme (presented here foroboe, violin and two guitars) is also a seamlessblend of ancient Phrygian harmonies andRózsa’s more opulent style, with its trademarksequential motifs and echoing voices; yet thissensual Moorish theme, as Nestor observes,“sounds as if it has existed forever.”

THAT HAMILTON WOMAN (1941) wasa typically lavish Alexander Korda produc-tion chronicling the love affair of EmmaHamilton and Admiral Horatio Nelson. Itwas the favorite film of Winston Churchill,who never failed to weep during Nelson’sdeath scene; with all due respect to stars Lau-rence Olivier and Vivien Leigh, we may guessthat Rózsa’s tender love music was no less acatalyst to the emotions. The theme’s middlesection, with its fragile, delicate harmonics,seems especially suited to the guitar.

Throughout his film career, particularly dur-ing his years at MGM (1949 to 1962) Rózsacontributed distinguishing scores to a varietyof “costume” films. Two charming examples– the droll The King’s Diary and Finances fromYOUNG BESS (1953), and the lovely LePassepied de Vaubiessard from MADAME BO-VARY (1949), both based on seventeenthcentury dance forms – demonstrate Rózsa’sgift for conveying a sense of period withoutsacrificing his own dramatic voice.

In feature films source music (in this casemusic written for underscoring to provide at-mosphere in a nightclub or restaurant scene)are often treated as second class citizens. ButMiklós Rózsa always gives them the same de-tailed care and attention that he devotes tothe main body of the scores, turning themfrom potentially mundane items intosparkling gems.

For this release, which is essentially a bouquetin honor of the composer, Gregg Nestorchose to arrange three waltzes from Rózsafilm scores used as source music: “The BoatHouse Waltz” is from the 1948 drama AWOMAN’S VENGEANCE starringCharles Boyer and Ann Blyth, with a scriptbased on an Aldous Huxley novel; “Valse Crè-pusculaire” (“Twilight Waltz”) is from the scoreRózsa wrote in France for the 1977 AlainResnais film PROVIDENCE. Rózsa de-scribed this haunting waltz as “espressing notonly the nostalgic feeling of the film but myown memories of Paris in my youth.” The“Tokyo Tea Room Waltz” (subtitled “Waltz forCagney”) comes from the 1945 James Cagneymelodrama BLOOD ON THE SUN set inpre-World War Two Japan. Three additionalfilm themes have also been arranged for sologuitar - the theme from GREEN FIRE(1954), a Bourrée from MOONFLEET (1955)and “The Happy Idiot Waltz” from TIP ON ADEAD JOCKEY (1957).

Rózsa has also composed several of thescreen’s most sophisticated and enchantingwaltzes (not to mention cinema’s most bril-liantly relentless one, the “neurotic” waltz ofMADAME BOVARY). Perhaps his most ro-mantic one is found in LYDIA (1941), an-other Alexander Korda production featuringthe producer’s then-wife Merle Oberon as anaging benefactress who recalls the four greatloves of her life. This arrangement, which in-cludes the score’s playful Harlequin sequence,is adapted from Rózsa’s own 1977 suite.

Concluding this Rózsa mini-concert is a suitefrom CRISIS (1950), a political thriller thatmarked writer Richard Brooks’ directorialdebut. Cary Grant stars as a surgeon heldcaptive by an ailing South American dictator(José Ferrer); Rózsa establishes tension and asense of menace immediately in the severemarch (Viva La Revolución) that opens the film,followed here by a delightfully capriciousdance (Paso Doble) heard in a nightclub scene.This score is also noteworthy for being almostfully composed for two guitars, both originallyplayed by Vicente Gomez – one of the fewHollywood scores conceived in this manner.

Steven C. SmithSteven C. Smith is the author of A Heart At Fire’sCenter: The Life And Music Of Bernard Herrmann(University Of California Press, 1991) and FilmComposers (Lone Eagle Press, 1990).

GREGG NESTOR, guitarInternationally acclaimed guitaristGregg Nestor has built a strong fol-lowing for his abilities as soloist, ac-companist and arranger. Finalist inthe 1981 New York Concert GuildCompetition held at Carnegie Hall,Gregg has recorded and broadcastin Holland, Belgium, Spain and forthe BBC in London. In his Londondebut, The Times critic commentedon his being “uncommonly communica-tive, a real artist in timing and shading, instylish fluency and tact besides wholeheartedcommunication with his composers.”Many works arranged by GreggNestor for solo/duo guitars or withvarious ensemble have been pub-lished. For this recording he was al-lowed access to Miklós Rózsa’spersonal archives. The results arearrangements as concise and accu-rate as possible to the composer’soriginal intentions.For this release, in duet withWilliam Kanengiser and RaymondBurley, Mr. Nestor’s guitar is heardon the left channel.

WILLIAM KANENGISER, guitarKnown worldwide for his talents assoloist and chamber musician,William Kanengiser was awardedFirst Prize at the 1987 ConcertArtists Guild International NewYork Competition. He received hisBachelor’s and Master’s Degreesfrom the University of SouthernCalifornia and was twice named theOutstanding Graduate of the USCSchool of Music where he served asan Adjunct Professor of Guitar.Also known for his expertise as anarranger, Mr. Kanengiser has tran-scribed extensively for the Los An-geles Guitar Quartet. His solo guitararrangements of Mozart and Han-del keyboard works are published byGuitar Solo Publications.For this release, in duet with GreggNestor, Mr. Kanengiser’s guitar isheard on the right channel.

RAYMOND BURLEY, guitarRaymond Burley is one of Britain's

most experienced guitarists havingperformed solo concerts, concertos,on film scores, radio, and televisionand in virtually every possible guitarensemble combination.As a soloist he has toured exten-sively throughout the UK, Europe,the USA, South America, Canadaand the Far East, and has appearedmany times at London’s WigmoreHall, the South Bank Centre’s Pur-cell Room, and Birmingham's Sym-phony Hall. Raymond has beenfeatured on BBC Radio, and workedwith many of England’s foremostorchestras including the BBC Sym-phony, the Philharmonia, the Eng-lish Chamber Orchestra and theRoyal Philharmonic.For this release, in duet with GreggNestor on KALEIDOSCOPE, Ray-mond Burley is heard on the rightchannel.

FRANCISCO CASTILLO, oboeFrancisco earned his Masters inMusic from the University of South-ern California and in oboe,compo-

sition and conducting from the Uni-versity of Costa Rica. Francisco has served as principaloboe for the Redlands Symphony,the Pasadena Pops Orchestra, andAssociate Professor of Oboe at theUniversity of Redlands as well as theIdyllwild School of Music and theArts.

CAROLE KLEISTER-CASTILLO, violinCarole began her violin studies atthe age of fourteen, and later con-tinued her musical training withManuel Compinsky - earning herBachelor of Music degree from Cal-ifornia State University, Northridge.She is a member of the distin-guished Los Angeles Chamber Or-chestra, Pasadena and Long BeachSymphonies and performs regularlywith the Los Angeles Opera Orches-tra. Carole is an active studio musi-cian and devoted teacher.

Executive Album Producers for BSX Records:Ford A. Thaxton and Mark Banning

Album Produced by Gregg Nestor

Guitar Arrangements by Gregg Nestor

Recorded at Penguin Recording, Eagle Rock, CA

Engineer: John Strother

Digitally Edited and Mastered byJames Nelson at Digital Outland

Album Art Direction: Mark Banning

Mr. Nestor’s Guitars by Martin Fleeson, 1981 & José Ramirez, 1984

Mr. Kanengiser’s Guitar by Miguel Rodriguez, 1977

Special Thanks to the Miklós Rózsa estatefor access to the original scores for this project.

BSX Records wishes to thank Gregg Nestor,The Miklós Rózsa Society, Jon Burlingame

and Mike Joffe

� � 2008 Gregg Nestor. All Rights Reserved. Released by BSX Records, a division of Buysoundtrax.com2828 Cochran Street #287, Simi Valley, California 93065Visit the The Miklós Rózsa Society at: www.miklosrozsa.org

KALEIDOSCOPE, Op. 19c (1946): 1. March (1:17) 2. Zingara (1:47) 3. Musette (2:12) 4. Berceuse (1:56) 5. Chinese Carillon (1:07) 6. Burlesque (1:38)

SONATA FOR GUITAR, Op. 42 (1986): 7. Moderato (5:52) 8. Molto Moderato, quasi Canzone (5:59) 9. Allegro Frenètico (4:35)

EL CID (1961): 10. Overture (3:23) 11. Love Theme (5:18)

12. THAT HAMILTON WOMAN (1941): Lady Hamilton - Love Theme (4:08)

13. YOUNG BESS (1953): The King’s Diary and Finances (2:51)

14. MADAME BOVARY (1949): Le Passepied de Vaubiessard (3:09)

15. A WOMAN’S VENGEANCE (1948): The Boat House Waltz (2:11)

16. PROVIDENCE (1977): Valse Crèpusculaire (3:58)

17. BLOOD ON THE SUN (1945): The Tokyo Tea Room Waltz (1:52)

18. GREEN FIRE (1954): Theme (2:03)

19. MOONFLEET (1955): Bourrée (2:27)

20. TIP ON A DEAD JOCKEY (1957): The Happy Idiot Waltz (2:06)

21. LYDIA (1941): Suite (4:48)

22. CRISIS (1950): Suite (2:24)

Total Time: 67:05

Tracks 1-6 with Raymond Burley, Gregg Nestor - guitars

Tracks 10-14, 21, 22 with William Kanengiser, Gregg Nestor - guitars

Track 11 with Francisco Castillo - oboe, Carole Kleister-Castillo - violin

Tracks 7-9 (written for Gregg Nestor) with Gregg Nestor - guitar

Tracks 15-20 with Gregg Nestor - guitar