Coordinates	53°57′56″N19°8′55″N
Name	Francisco Goya
Caption	Vicente López y Portaña Portrait of Francisco Goya, 1826, oil on canvas, 93 × 75 cm (36.61 × 29.53 in), Museo del Prado, Madrid, Spain
Birthname	Francisco José de Goya y Lucientes
Birthdate	March 30, 1746
Birth place	Fuendetodos
Deathdate	April 16, 1828
Deathplace	Bordeaux
Nationality	Spanish
Field	Painting, Printmaking
Works	The Parasol, ca. 1777La maja desnuda, ca. 1800La maja vestida, ca. 1803
Influenced	Édouard Manet, Pablo Picasso, Eduardo Úrculo

Francisco José de Goya y Lucientes (30 March 1746 – 16 April 1828) was a Spanish romantic painter and printmaker regarded both as the last of the Old Masters and as the first of the moderns. Goya was a court painter to the Spanish Crown, and through his works was both a commentator on and chronicler of his era. The subversive and imaginative element in his art, as well as his bold handling of paint, provided a model for the work of later generations of artists, notably Manet and Picasso.

Biography

Youth

Goya was born in Fuendetodos, Aragón, Spain, in 1746 to José Benito de Goya y Franque and Gracia de Lucientes y Salvador. He spent his childhood in Fuendetodos, where his family lived in a house bearing the family crest of his mother. His father earned his living as a gilder. About 1749, the family bought a house in the city of Zaragoza and some years later moved into it. Goya may have attended school at Escuelas Pias, where he formed a close friendship with Martin Zapater. Their correspondence from the 1770s to the 1790s is a valuable source for understanding Goya's early career at the court of Madrid.

At age 14, he entered apprenticeship with the painter José Luzán. He later moved to Madrid where he studied with Anton Raphael Mengs, a painter who was popular with Spanish royalty. He clashed with his master, and his examinations were unsatisfactory. Goya submitted entries for the Royal Academy of Fine Art in 1763 and 1766, but was denied entrance.

He then journeyed to Rome, where in 1771 he won second prize in a painting competition organized by the City of Parma. Later that year, he returned to Zaragoza and painted parts of the cupolas of the Basilica of the Pillar (including Adoration of the Name of God), a cycle of frescoes in the monastic church of the Charterhouse of Aula Dei, and the frescoes of the Sobradiel Palace. He studied with Francisco Bayeu y Subías and his painting began to show signs of the delicate tonalities for which he became famous.

Maturity and success

Goya married Bayeu's sister Josefa (he nicknamed her "Pepa") on 25 July 1773. This marriage, and Francisco Bayeu's membership of the Royal Academy of Fine Art (from the year 1765) helped Goya to procure work as a painter of designs to be woven by Royal Tapestry Factory. There, over the course of five years, he designed some 42 patterns, many of which were used to decorate (and insulate) the bare stone walls of El Escorial and the Palacio Real del Pardo, the newly built residences of the Spanish monarchs near Madrid. This brought his artistic talents to the attention of the Spanish monarchs who later would give him access to the royal court. He also painted a canvas for the altar of the Church of San Francisco El Grande in Madrid, which led to his appointment as a member of the Royal Academy of Fine Art.

Painter of royalty

In 1783, the Count of Floridablanca, a favorite of King Carlos III, commissioned Goya to paint his portrait. He also became friends with Crown Prince Don Luis, and spent two summers with him, painting portraits of both the Infante and his family. During the 1780s, his circle of patrons grew to include the Duke and Duchess of Osuna, whom he painted, the King and other notable people of the kingdom.

In 1786, Goya was given a salaried position as painter to Charles III. After the death of Charles III in 1788 and revolution in France in 1789, during the reign of Charles IV, Goya reached his peak of popularity with royalty.

, 1800. Théophile Gautier described the figures as looking like "the corner baker and his wife after they won the lottery".]]

In 1789 Goya was made court painter to Charles IV and in 1799 he was appointed First Court Painter with a salary of 50,000 reales and 500 ducats for a coach. He painted the King and the Queen, royal family pictures, portraits of the Prince of the Peace and many other nobles. His portraits are notable for their disinclination to flatter, and in the case of Charles IV of Spain and His Family, the lack of visual diplomacy is remarkable. Modern interpreters have seen this portrait as satire; it is thought to reveal the corruption present under Charles IV. Under his reign his wife Louisa was thought to have had the real power, which is why she is placed at the center of the group portrait. From the back left of the painting you can see the artist himself looking out at the viewer, and the painting behind the family depicts Lot and his daughters, thus once again echoing the underlying message of corruption and decay.

Goya received orders from many within the Spanish nobility. Among those from whom he procured portrait commissions were Pedro Téllez-Girón, 9th Duke of Osuna and his wife María Josefa Pimentel, 12th Countess-Duchess of Benavente, María del Pilar de Silva, 13th Duchess of Alba (universally known simply as the "Duchess of Alba"), and her husband José María Álvarez de Toledo, 15th Duke of Medina Sidonia, and María Ana de Pontejos y Sandoval, Marchioness of Pontejos.

Disease and deafness

At some time between late 1792 and early 1793, a serious illness, whose exact nature is not known, left Goya deaf, and he became withdrawn and introspective. During his recuperation, he undertook a series of experimental paintings. His experimental art—that would encompass paintings, drawings as well as a bitter series of aquatinted etchings, published in 1799 under the title Caprichos -- was done in parallel to his more official commissions of portraits and religious paintings. In 1798, he painted luminous and airy scenes for the pendentives and cupula of the Real Ermita (Chapel) of San Antonio de la Florida in Madrid. Many place miracles of Saint Anthony of Padua in the midst of contemporary Madrid.

, 1814. Oil on canvas, 266 х 345 cm. Museo del Prado, Madrid.]] , 1819. The title, like all those given to the Black Paintings, was assigned by others after Goya's death.]]

Later years

French forces invaded Spain in 1808, leading to the Peninsular War (1808–1814). Goya's involvement with the court of the "Intruder king", Joseph I, the brother of Napoleon Bonaparte is not known: he did paint works for French patrons and sympathizers, but upon the restoration of the Spanish king, Ferdinand VII, in 1814, Goya denied any involvement with the intruder.

When his wife Josefa died in 1812, Goya was processing the war by painting The Charge of the Mamelukes and The Third of May 1808, and was preparing the series of prints known as The Disasters of War (Los desastres de la guerra).

King Ferdinand VII returned to Spain in 1814 but relations with Goya were not cordial. He painted portraits of the kings for a variety of organizations, but not for the king himself. In 1814, Goya was living with his housekeeper Doña Leocadia and her illegitimate daughter, Rosario Weiss; the young woman studied painting with Goya, who may have been her father. His works from 1814 to 1819 include commissioned portraits, the altarpiece of Santa Justa and Santa Rufina for the Cathedral of Seville, the print series of "La Tauromaquia" depicting scenes from bullfighting, and probably the etchings of "Los Disparates."

In 1819, with the idea of isolating himself, he bought a country house by the Manzanares river just outside of Madrid. It was known as the Quinta del Sordo (roughly, "House of the Deaf Man", titled after its previous owner and not after Goya himself). There he created the Black Paintings with intense, haunting themes, reflective of the artist's fear of insanity, and his outlook on humanity. Several of these, including Saturn Devouring His Son, were painted directly onto the walls of his dining and sitting rooms.

Goya left Spain in May 1824 for Bordeaux, where he settled, and Paris. He returned to Spain in 1826, but returned to Bordeaux, where he died in 1828 at the age of 82. He was of Catholic faith and was buried in Bordeaux; in 1919 his remains were transferred to the Royal Chapel of St. Anthony of La Florida in Madrid.

Works

:See also List of works by Francisco Goya Goya painted the Spanish royal family, which included Charles IV of Spain and Ferdinand VII. His themes range from merry festivals for tapestry, draft cartoons, to scenes of war and corpses. This evolution reflects the darkening of his temper. Modern physicians suspect that the lead in his pigments poisoned him and caused his deafness since 1792. Near the end of his life, he became reclusive and produced frightening and obscure paintings of insanity, madness, and fantasy. The style of these Black Paintings prefigure the expressionist movement. He often painted himself into the foreground.

The Maja

Two of Goya's best known paintings are The Nude Maja (La maja desnuda) and The Clothed Maja (La maja vestida). They depict the same woman in the same pose, naked and clothed, respectively. Without a pretense to allegorical or mythological meaning, the painting was "the first totally profane life-size female nude in Western art".

The identity of the Majas are uncertain. The most popularly cited subjects are the Duchess of Alba, with whom Goya was sometimes thought to have had an affair, and Pepita Tudó, mistress of Manuel de Godoy; Godoy subsequently owned them. Neither theory has been verified, and it remains as likely that the paintings represent an idealized composite.

The paintings were never publicly exhibited during Goya's lifetime. They were owned by Manuel de Godoy, the Prime Minister of Spain and a favorite of the Queen, María Luisa. In 1808 all Godoy's property was seized by Ferdinand VII after his fall from power and exile, and in 1813 the Inquisition confiscated both works as 'obscene', returning them in 1836 to the Academy of Fine Arts of San Fernando.

Darker realms

, 1794. Oil on tin-plated iron, 43.8 x 32.7cm.]] In a period of convalescence during 1793–1794, Goya completed a set of eleven small pictures painted on tin; the pictures known as Fantasy and Invention mark a significant change in his art. These paintings no longer represent the world of popular carnival, but rather a dark, dramatic realm of fantasy and nightmare. Courtyard with Lunatics is a horrifying and imaginary vision of loneliness, fear and social alienation, a departure from the rather more superficial treatment of mental illness in the works of earlier artists such as Hogarth. In this painting, the ground, sealed by masonry blocks and iron gate, is occupied by patients and a single warden. The patients are variously staring, sitting, posturing, wrestling, grimacing or disciplining themselves. The top of the picture vanishes with sunlight, emphasizing the nightmarish scene below.

This picture can be read as an indictment of the widespread punitive treatment of the insane, who were confined with criminals, put in iron manacles, and subjected to physical punishment. And this intention is to be taken into consideration since one of the essential goals of the enlightenment was to reform the prisons and asylums, a subject common in the writings of Voltaire and others. The condemnation of brutality towards prisoners (whether they were criminals or insane) was the subject of many of Goya’s later paintings.

As he completed this painting, Goya was himself undergoing a physical and mental breakdown. It was a few weeks after the French declaration of war on Spain, and Goya’s illness was developing. A contemporary reported, “the noises in his head and deafness aren’t improving, yet his vision is much better and he is back in control of his balance.” His symptoms may indicate a prolonged viral encephalitis or possibly a series of miniature strokes resulting from high blood pressure and affecting hearing and balance centers in the brain. The triad of tinnitus, episodes of imbalance and progressive deafness is also typical of Ménière's disease. Other postmortem diagnostic assessment points toward paranoid dementia due to unknown brain trauma (perhaps due to the unknown illness which he reported). If this is the case, from here on—we see an insidious assault of his faculties, manifesting as paranoid features in his paintings, culminating in his black paintings and especially Saturn Devouring His Sons.

Caprichos

In 1799 Goya published a series of 80 prints titled Caprichos depicting what he called

The dark visions depicted in these prints are partly explained by his caption, "The sleep of reason produces monsters". Yet these are not solely bleak in nature and demonstrate the artist's sharp satirical wit, particularly evident in etchings such as Hunting for Teeth. Additionally, one can discern a thread of the macabre running through Goya's work, even in his earlier tapestry cartoons.

In The Third of May, 1808: The Execution of the Defenders of Madrid, Goya attempted to "perpetuate by the means of his brush the most notable and heroic actions of our glorious insurrection against the Tyrant of Europe" The painting does not show an incident that Goya witnessed; rather it was meant as more abstract commentary.

Black Paintings and The Disasters of War

In later life Goya bought a house, called Quinta del Sordo ("Deaf Man's House"), and painted many unusual paintings on canvas and on the walls, including references to witchcraft and war. One of these is the famous work Saturn Devouring His Son (known informally in some circles as Devoration or Saturn Eats His Child), which displays a Greco-Roman mythological scene of the god Saturn consuming a child, possibly a reference to Spain's ongoing civil conflicts. Moreover, the painting has been seen as "the most essential to our understanding of the human condition in modern times, just as Michelangelo's Sistine ceiling is essential to understanding the tenor of the 16th century".

, 1812-15.]] This painting is one of 14 in a series known as the Black Paintings. After his death the wall paintings were transferred to canvas and remain some of the best examples of the later period of Goya's life when, deafened and driven half-mad by what was probably an encephalitis of some kind, he decided to free himself from painterly strictures of the time and paint whatever nightmarish visions came to him. Many of these works are in the Prado museum in Madrid.

In the 1810s, Goya created a set of aquatint prints titled The Disasters of War which depict scenes from the Peninsular War. The scenes are singularly disturbing, sometimes macabre in their depiction of battlefield horror, and represent an outraged conscience in the face of death and destruction. The prints were not published until 1863, 35 years after Goya's death.

Questions of authenticity

The findings of research published since 2003 have raised questions regarding the authenticity of some of Goya's late works. One study claims that the Black Paintings were applied to walls that did not exist in Goya's home before he left for France. In 2008 the Prado Museum reverted the traditional attribution of The Colossus, and expressed doubts over the authenticity of three other paintings attributed to Goya as well. On 27 January 2009, the Prado announced they had come to the conclusion that The Colossus was painted by one of Goya's apprentices and even bore the signature of the painter. Doubts over its authenticity began in 1992 when the painting was cleaned and the curators of the museum noticed that the technique was much poorer than Goya's other masterpieces.

Portrayals and inspirations

in Madrid.]] Enrique Granados composed a piano suite (1911) and later an opera (1916), both called Goyescas, inspired by the artist's paintings. Mario CastelNuovo Tedesco wrote 24 classical guitar pieces, opus 195 (1968) inspired from the Caprichos. Gian Carlo Menotti wrote a biographical opera about him titled Goya (1986), commissioned by Plácido Domingo, who created the role; this production has been presented on television.

Several films portray Goya's life. These include a short film, Goya (1948), The Naked Maja (1958), Goya, historia de una soledad (1971), Goya in Bordeaux (1999), Volavérunt (1999), Goya : Awakened in a Dream (1999), and Goya's Ghosts (2006).

See also

Art Gallery of Alberta

Goya Museum, Castres, France

List of works by Francisco Goya

Museo del Prado

Notes

References

John J. Ciofalo, The Self-Portraits of Francisco Goya. Cambridge University Press, 2001

Goya (a biographical novel) by Lion Feuchtwanger ISBN 84-7640-883-8

Goya by Robert Hughes, 2003, ISBN 1-84343-054-1

Janis Tomlinson, Francisco Goya y Lucientes 1746-1828 (Phaidon, 1999, 1994)

External links

General

Eeweems.com, Goya images, biography and resources

Franciscodegoya.net, 164 works by Francisco de Goya

Deafness

Rit.edu, Goya's Deafness in Art History

Biographies

All-art.org, Francisco de Goya

Free-people.net, Biography and Paintings of Francisco Goya

Works

Ricci-art/com, Paintings by Francisco Goya

(PDF in the Arno Schmidt Reference Library)

Caprichos at all-art.org

Caprichos catalogue with all prints in the series and images of various states www.artistarchive.com

(PDF in the Arno Schmidt Reference Library)

Disasters of War at all-art.org

Disasters of War catalogue with all 82 prints and images of various states www.artistarchive.com

Etching series by Goya

Disparates at all-art.org

Tauromaquia at all-art.org

Tauromaquia catalogue with all 33 prints and images of various states www.artistarchive.com

Smithsonian Institution exhibit “Legacy: Spain and the United States in the Age of Independence, 1763-1848”, Sept. 27, 2007–Feb. 10, 2008

Paintings in Wikimedia Commons

Francisco Goya Prints, a Claremont Colleges Digital Library collection from the Pomona College Museum of Art

Articles and essays

Nyu.edu, The Sleep of Reason

The Sleep of Reason - article in World&I; Magazine

Goya's ghouls on the Goya's "Don't forget the happiness of Goya!" exhibition in Berlin

Francisco de Goya's Black paintings

Goya and his work in Aragon

www.artistarchive.com A selected bibiography of Goya articles.

Category:1746 births Category:1828 deaths Category:People from Campo de Belchite Goya, Francisco Category:Spanish people Category:Romantic painters Category:Deaf people Category:Spanish people of Basque descent Category:Spanish painters Category:Spanish Roman Catholics Category:Spanish printmakers Category:Royal Order of Spain members

Coordinates	53°57′56″N19°8′55″N
Name	Francis Goya
Birth name	Francis Weyer
Birth date	May 16, 1946
Birth place	Liege, Belgium
Death date
Nationality
Occupation	guitarist

Francis Goya (born Francis Weyer on 16 May 1946) is a Belgian guitarist born in Liege.

Weyer first played with Patrick Ruymen in the group Les Caraïbes, a Belgian cover group. The two then formed the rock group Liberty Six in 1965, which had a proto-psychedelic stage show and released only one single before disbanding. Weyer then moved on to the J.J. Band and Plus.

In the 1970s, Weyer started using the name Francis Goya and released solo albums of romantic Spanish guitar and mandolin music. His 1975 single "Nostalgia", a tune written by his father and arranged for guitar by Goya, became an international hit, reaching #1 in Belgium, Holland, Germany, Norway, and Brazil. Later albums saw Goya moving more into a Latin American-influenced style, including three albums recorded with Bolivian singer Carmina Cabrera.

Goya has some 40 album releases to his credit.

Discography

Singles

"Nostalgia"/"Nautilus" (1975)

"Concierto d'Aranjuez"/"Lovers melody" (1976)

"Maria Padilha"/"Daddy's bolero" (1976)

"Caf'Conc'"/"Tangoya" (1976)

"Gipsy Wedding" (1977)

"Argentina"/"Natasha" (1978)

"Manolita"/"Natasha" (1978)

"Moscow nights"/"Song of the Dnjepr" (1981)

Albums

Nostalgia (1975)

Souvenirs aus Griechenland (1979)

Summernight Moods (1979)

Romantic Guitar (1985)

This is Francis Goya (1986)

Rendez-vous (1988)

Plays His Favourite Hits Vol.1 (1990)

Bahia Lady (with Carmina Cabrera) (1990)

Noche Latino (with Carmina Cabrera)(1993)

Festival Latino (with Carmina Cabrera)(1994)

The Very Best of (1994)

Together (with Peter Weekers) (1994)

Jacques Brel (1998)

Plays His Favourite Hits Vol. 2 (1998)

Francis Goya in Moscow (1999)

Together (with Richard Clayderman)(2000)

Latin Romance (1999)

Best of Francis Goya (1999)

De Mooiste Sfeermelodieën (2000)

Pleased to meet You, Mr. Valgre (2001)

Hollands Glorie (2002)

Hollands Glorie Kerst (2002)

A tribute to Alexandra Pakhmutova (2002)

Klassieke Droommelodieën (2003)

Rakkaudella (2004)

Intimité (with Jean-Luc Drion)(2004)

Magic Moments (2004)

Gondwana (2004)

Face to Face (2005) (with Richard Clayderman)

Wings for life (2008)

External links

Official website

Francis Goya at the Belgian Pop & Rock Archives

Category:1946 births Category:Living people Category:Belgian rock guitarists

Coordinates	53°57′56″N19°8′55″N
Background	non_vocal_instrumentalist
Instrument	Classical Guitar, Lute, baroque guitar
Name	Julian Bream
Born	1933, London
Genre	Classical music
Label	RCA, EMI, BMG

Julian Bream C.B.E. (born 15 July 1933) is an English classical guitarist and lutenist and is one of the most distinguished classical guitarists of the 20th century. He has also been successful in renewing popular interest in the Renaissance lute.

Early years

Bream was born in London and brought up in a musical environment. His father played jazz guitar and the young Bream was impressed by hearing the playing of Django Reinhardt.

Bream began his life-long association with the guitar by strumming along on a small gut-string Spanish guitar at a very young age to dance music on the radio. The president of the Philharmonic Society of Guitars, Dr Boris Perott, gave Bream lessons, while Bream's father became the society librarian, giving Bream access to a large collection of rare music.

On his 11th birthday, Bream was given a guitar by his father. He became something of a child prodigy, at 12 winning a junior exhibition award for his piano playing, enabling him to study piano and cello at the Royal College of Music. He made his debut guitar recital at Cheltenham in 1947, aged 13.

He left the Royal College of Music in 1952 and was called up into the army for national service. He was originally drafted into the Pay Corps, but managed to sign up for the Royal Artillery Band after six months. This required him to be stationed in Woolwich, which allowed him to moonlight regularly with the guitar in London.

After three and a half years in the army, he took any musical jobs that came his way, including background music for radio plays and films. Commercial film, recording session and work for the BBC were important to Bream throughout the 50s and the early 60s.

In the years after national service, Bream pursued a busy career playing around the world, including annual tours in the U.S. and Europe for several years. He played part of a recital at the Wigmore Hall on the lute in 1952 and since has done much to bring music written for the instrument to light.

1960 saw the formation of the Julian Bream Consort, a period-instrument ensemble with Bream as lutenist. The consort led a great revival of interest in the music of the Elizabethan era.

His first European tours took place in 1954 and 1955, and were followed by extensive touring in North America (beginning in 1958), the Far East, India, Australia, the Pacific Islands and other parts of the world. Bream performed for the Peabody Mason Concert series in Boston, first solo in 1959, and later with the US debut of the Julian Bream Consort.

In addition to master-classes given in Canada and the USA, Bream has also conducted an international summer school in Wiltshire, England.

Recordings

Bream has recorded extensively for RCA and EMI Classics. These recordings have won him several awards, including four Grammy Awards, two for Best Chamber Music Performance and two for Best Classical Performance. RCA also released The Ultimate Guitar Collection, a multi-CD set commemorating his birthday in 1993.

From the beginning of the 1990s Julian Bream continued his recording career with EMI Classics, featuring music by J.S. Bach, a Concerto album (with the City of Birmingham Symphony Orchestra and Sir Simon Rattle), and discs devoted to contemporary works and guitar sonatas.

Despite his importance as a classical guitarist, however, many of his RCA recordings (including the series of 20th century guitar music) are currently out of print.

Later career

A highly successful biographical film, "A Life in the Country", was first shown on BBC TV in 1976. Bream also presented a series of four master-classes guitarists on BBC TV. BBC TV has presented a programme about Julian Bream's life as a concert guitarist. In 1984 he made eight films on location in Spain for Channel 4 exploring historical perspectives of Spanish guitar music.

In 1991, BBC Radio and TV broadcast Bream's BBC Prom performance of Malcolm Arnold's Guitar Concerto. He also participated in a recital and concerto performances of works by Tōru Takemitsu at the Japan Festival in London with the London Symphony Orchestra.

During the 1992-1993 season he performed on two separate occasions at the Wigmore Hall - at their Gala Re-opening Festival, and at a special concert celebrating his 60th birthday. In the same period, he toured the Far East, visiting Hong Kong, Taiwan, Korea and Japan, and performed the premiere of Leo Brouwer's arrangement for guitar and orchestra of Albéniz's Iberia at the Proms. In 1994 he made debuts in both Turkey and Israel to great acclaim, and the following year played for the soundtrack to the Hollywood film Don Juan de Marcos.

In 1997, in celebration if the 50th anniversary of his debut, he performed a recital at Cheltenham Town Hall. A few weeks later the BBC dedicated a special television tribute "This Is Your Life" programme to Julian Bream, filmed after a commemorative concert at the Queen Elizabeth Hall, London.

In recent years, his engagements have included a Gala solo performance at the Philharmonic Hall, Liverpool, a Kosovo Aid concert at St. John's Smith Square, London, with the Academy of St. Martin in the Fields recitals at the Snape Proms, Aldeburgh, and at the Norfolk and Norwich Festival and a tour of UK National Trust properties in summer and autumn 2000.

In November 2001 he gave an anniversary recital at Wigmore Hall, celebrating 50 years since his debut there in 1951.

The 2003 DVD video profile Julian Bream: My Life In Music contains three hours of interview and performance. It has been declared by Graham Wade "the finest film contribution ever to the classic guitar." His series Guitarra! was made for British television and charts a journey across Spain.

Style and influences

Bream's recitals are wide-ranging, including transcriptions from the 17th century, many pieces by Bach arranged for guitar, popular Spanish pieces, and contemporary music, much for which he was the inspiration. He has stated that he has been influenced by the styles of Andrés Segovia and Francisco Tárrega.

Bream's playing can be characterised as virtuosic and highly expressive, with an eye for details, and with strong use of contrasting timbres.

Dedications and collaborations

Many composers have worked with Bream, and among those who dedicated pieces to him are Malcolm Arnold, Richard Rodney Bennett, Benjamin Britten, Leo Brouwer, Peter Racine Fricker, Hans Werner Henze, Humphrey Searle, Tōru Takemitsu, Michael Tippett and William Walton. Britten's Nocturnal is one of the most famous pieces in the classical guitar repertoire and was written with Bream specifically in mind. It is an unusual set of variations on John Dowland's Come Heavy Sleep (which is played in its original form at the close of the piece).

Bream has also taken part in many collaborations, including work with Peter Pears on Elizabethan music for lute and voice, and three records of guitar duets with John Williams.

Honours and awards

Bream was awarded an Officer of the Order of the British Empire (OBE) in 1964 for services to music, and in the Queen's Birthday Honours List of 1985 he was made a Commander of the Order of the British Empire. He has received Honorary Doctorates from the Universities of Surrey (1968), and Leeds (1984). In 1976 he was personally presented with the Villa-Lobos Gold Medal by the composer's widow. He was elected an Honorary Member of the Royal Academy of Music (1966), and has been honoured with Fellowships of the Royal College of Music (1981) and the Royal Northern College of Music (1983). In 1988 he became an Honorary Member of the Royal Philharmonic Society, and was also presented with the Royal Philharmonic Society Instrumentalist's Award in 1996.

Other details

In 1984 Bream’s arm was seriously injured in a car accident. It cost him great effort to regain his previous technical ability.

Bream has stated that even though he had some 'sessions' with Segovia, he never really studied with him — Bream also does not exclusively hold his right-hand fingers at right angles to the strings, but has stated that he uses a less rigid hand position for reasons of tonal variety.

Bream has for over 40 years lived in a Georgian farmhouse at Semley in Wiltshire.

Pieces written for Julian Bream (in chronological order)

Reginald Smith Brindle Nocturne for Guitar Solo (1946)

Reginald Smith Brindle El Polifemo de Oro (1956)

Lennox Berkeley Sonatina, op. 52, no. 1 (1957)

Tristram Cary Sonata (1959)

Malcolm Arnold Concerto for Guitar and Chamber Orchestra, op. 67 (1959)

Benjamin Britten Nocturnal after John Dowland, op. 70 (1963)

Richard Rodney Bennett Impromptus (1968)

Tom Eastwood Ballade-Phantasy (1968)

Peter Racine Fricker Paseo (1969)

Reginald Smith Brindle Variants on two themes of J. S. Bach (1970)

Richard Rodney Bennett Guitar Concerto (1970)

Malcolm Arnold Fantasy, op. 107 (1971)

Alan Rawsthorne Elegy (1971)

William Walton Five Bagatelles (1972)

Humphrey Searle Five (1974)

Lennox Berkeley Guitar Concerto, Op. 88 (1974)

Hans Werner Henze Royal Winter Music (first sonata, 1976)

Giles Swayne Suite (1976)

Peter Maxwell Davies Hill Runes (1981)

Michael Berkeley Sonata in One Movement (1982)

Richard Rodney Bennett Sonata (1983)

Michael Tippett The Blue Guitar (1984)

Leo Brouwer Concerto elegiaco (Guitar Concerto No. 3) (1986)

Tōru Takemitsu All in Twilight (1987)

Leo Brouwer Sonata (1990)

Awards and recognitions (incomplete)

1964: Officer of the Order of the British Empire

1964: Grammy Award for Best Chamber Music Performance at the Grammy Awards of 1964 for Evening of Elizabethan Music performed by the Julian Bream Consort

1966: Honorary Member of the Royal Academy of Music

1967: Grammy Award for Best Classical Performance – Instrumental Soloist or Soloists (with or without orchestra) at the Grammy Awards of 1967 for Baroque Guitar (Works of Bach, Sanz, Weiss, etc.)

1968: Honorary Doctorate from the University of Surrey

1972: Grammy Award for Best Instrumental Soloist(s) Performance (with orchestra) at the Grammy Awards of 1972 for André Previn (conductor), Julian Bream & the London Symphony Orchestra for Villa-Lobos: Concerto for Guitar

1973: Grammy Award for Best Chamber Music Performance at the Grammy Awards of 1973 for Julian Bream & John Williams for Julian and John (Works by Lawes, Carulli, Albéniz, Granados)

1981: Fellowship of the Royal College of Music

1983: Fellowship of the Royal Northern College of Music

1984: Honorary Doctorate from the University of Leeds

1985: Commander of the Order of the British Empire

1988: Honorary Member of the Royal Philharmonic Society

1996: Royal Philharmonic Society Instrumentalist's Award

Partial discography

LP

20th Century Guitar, RCA LSC-2964

70's, RCA ARL 0049

Dedication, RCA ARL 5034

A Bach Recital for the Guitar, Westminster CLP 1929

Baroque Guitar (1966), RCA

''Collection of the Greatest Performances of Julian Bream, Vol. II, Westminster

Concertos for Lute and Orchestra, RCA ARL1-1180

Dances of Dowland, RCA LSC-2987

Elizabethan Lute Songs, RCA LSC-3131

Elizabethan Music by The Julian Bream Consort, RCA LSC-3195

The Golden Age of English Lute Music, RCA LSC-3196

Julian & John, RCA

Julian Breams Greatest Hits, Westminster

Julian Breams Greatest Hits Volume Two, Westminster 9008-8185

Lute Music of John Dowland, RCA ARL1-1491

John Dowland: 14 Lute Pieces, Westminster W-9079

Music for Voice and Guitar with Peter Pears, RCA LSC-2718

Popular Classics for Spanish Guitar, RCA

''Rodrigo: Concerto De Aranjuez, Berkeley Guitar Concerto (1975), RCA

Sonatas for Lute and Harpsichord—Bach, Vivaldi with George Malcolm, RCA LSC-3100

Villa-Lobos, Twelve Etudes for Guitar, Suite populaire bresillienne (1978), RCA

The Woods So Wild, RCA LSC-3331

CD

Fret Works (1990), MCA Guitarra: The Guitar in Spain (1990), RCA Joaquin Rodrigo: Concerto Elegiaco/Fantasia Para Un Gentilhombre (1990), RCA Julian Bream plays Bach (1990), RCA Julian Bream Plays Granados & Albéniz (Music of Spain, Volume Five) (1990), RCA Music of Spain, Vol. 7 (1990), RCA Two Loves with Peggy Ashcroft (1990), RCA Baroque Guitar (1991), RCA La Guitarra Romantica (1991), RCA Rodrigo: Concierto de Aranjuez; Villa-Lobos: Preludes (1991), RCA Romantic Guitar (1991), RCA Baroque Guitar (1993), RCA A Celebration Of Andrés Segovia—Bream (1993), RCA Highlights from the Julian Bream Edition (1993), RCA Rodrigo: Concierto de Aranjuez; Fantasía para un gentilhombre No1-5 (1993), RCA Rodrigo: Concierto de Aranjuez; Takemitsu: To the Edge of Dream with Simon Rattle and the City of Birmingham Symphony Orchestra (1993), Capitol Together/Julian Bream & John Williams (1993), RCA Together Again/ Julian Bream & John Williams (1993), RCA Villa-Lobos: Guitar Concerto; Preludes; Etudes with André Previn and the London Symphony Orchestra (1993), BMG International Bach Guitar Recital (1994), EMI Classics Bach: Lute Suites, Trio Sonatas (1994), RCA Guitar Concertos (1994), RCA Julian Bream Consort, Vol. 6 (1994), RCA Music of Spain (1994), RCA Popular Classics for Spanish Guitar (1994), RCA Romantic Guitar (1994), RCA Sonata (1995), Angel 20th Century Guitar I (1996), RCA The Golden Age of English Lute Music (1996), RCA Music for Voice & Guitar (1996), RCA Music of Spain: Milán, Narváez (1996), RCA Popular Classics for the Spanish Guitar (1997), RCA Julian Bream Edition, Volume 1: The Golden Age of English Lute Music (28 CDs) (1998), RCA The Romantic Hours (1998), RCA Spain—Sor, Vol. 24 (1998), BMG Classics Guitar Concertos (1999), RCA Guitar Music by Albeniz, Vivaldi, Rodrigo & Grandos (2 CDs) (1999), RCA Classics/BMG Woods So Wild (1999), RCA Nocturnal: Martin, Britten, Brouwer, Lutoslavski (2000), EMI The Ultimate Guitar Collection (2 CDs) (2000), RCA Duos de Guitares with John Williams (2001), RCA Spanish Guitar Music (remastered) (2001), Deutsche Grammophon Spanish Guitar Recital (2001), RCA Rodrigo: Concierto de Aranjuez; Fantasía para un gentilhombre; Tres piezas espanolas; invocacion y danza (remastered) (2004), RCA Spanish Guitar Recital (2004), Guitar Recital: Bach, Sor, Turina, Tippet, Schubert (2005), Testament Music of Spain (2005), RCA Elizabethan Lute Songs, Decca Julian Bream & Friends, Musical Heritage Society Lute Music from the Royal Courts of Europe, BMG Classics Music of Spain: The Classical Heritage, RCA

Books about Bream

Julian Bream: A Life on the Road. London: Macdonald, 1982. ISBN 0356078809. Text by Tony Palmer, photographs by Daniel Meadows.

References

External links

Julian Bream's myspace page

Biography (Hazard Chase)

Discography at SonyBMG Masterworks

Some photos of LP covers (Oviatt Library Digital Collections)

Category:1933 births Category:Living people Category:Musicians from London Category:English classical guitarists Category:Academics of the Royal Academy of Music Category:Performers of early music Category:Commanders of the Order of the British Empire Category:Grammy Award winners Category:Honorary Members of the Royal Academy of Music Category:Honorary Members of the Royal Philharmonic Society Category:British lutenists

Coordinates	53°57′56″N19°8′55″N
Name	Jesús Franco
Birthname	Jesús Franco Manera
Birth date	12 May 1930 (age 80)
Birth place	Madrid, Spain
Occupation	Director, screenwriter, cinematographer, actor
Yearsactive	1959 to present

Jesús "Jess" Franco (born 12 May 1930 as Jesús Franco Manera) is a Spanish film director, writer, cinematographer and actor. His career took off in 1961 with his cult classic The Awful Dr. Orloff, which received wide distribution in the United States and England. Though he had some American box office successes with Succubus (1967), his first women-in-prison film 99 Women (1968) and the psychodelic Venus in Furs (1969), he never achieved wide commercial success in th US. Franco moved from Spain to France in 1970 so that he could make more violent and sexual films, and it was at this point that his career began to go downhill commercially, as he turned to low-budget filmmaking with a heavier accent on adult-oriented films. Although he produced a few well-received, low budget horror films in the early 70's (Dracula vs Frankenstein, Vampyros Lesbos), many people in the industry considered him a porn director due to the huge number of X-rated adult films he began churning out. Franco returned to low-budget horror in a brief comeback period from 1980-1983 (Bloody Moon, Mondo Cannibale, Oasis of the Zombies), but after 1983, his career took a second downturn. With the exception of his Faceless (1988) and Killer Barbys (1996), his post-1984 films are almost unwatchable due to the incredibly low budgets he was forced to work with. Franco has nevertheless retained a large cult following through the years with his sexually-charged horror films, some of which are regarded as masterpieces by his avid followers. His fans tend to obsessively collect all of his films (both the good and the execrable) and line up for hours at horror conventions for a chance to meet him in person.

Career

Franco has sometimes worked under various pseudonyms, including David Khune and Frank Hollmann. A big fan of jazz music (and a musician himself), many of his pseudonyms are taken from famous jazz musicians, such as Clifford Brown and James P. Johnson. Franco made a half-dozen films starring the Spanish beauty Soledad Miranda, and when she was killed in a tragic automobile accident in 1970, he took a teenage actress named Lina Romay under his wing and made her his new "star". Since 1971, Romay has been his most often utilized actress, as well as his life companion, soulmate and muse.

Franco's themes often revolved around lesbian vampires, women in prison, surgical horror, sadomasochism, zombies and sexploitation (including several films based on the writings of the Marquis de Sade). Franco also worked in other exploitation film genres, such as cannibal films, spy films, giallo crime films, science fiction, jungle adventure, exorcist films, war movies, historical dramas and nunsploitation. His main claim to fame is that he has managed to write and direct close to 160 motion pictures in his lifetime, encompassing a wide swath of different genres, with practically no financial backing available to him.

His sex movies often contain long, uninterrupted shots of nude women writhing uncontrollably on the floor or in a bed (such as in Lorna The Exorcist and The Bare-Breasted Countess). Most of his hardcore films starred his companion Lina Romay, who has admitted to being an exhibitionist. Franco is also notorious for his use of hand-held camera and zoom shots, which he feels actually lends realism to his films.

He has frequently worked with genre actors Howard Vernon, Antonio Mayans, Paul Müller, Christopher Lee, Soledad Miranda, Maria Rohm, Lina Romay and Klaus Kinski. Kinski was famous for his hatred of directors, but according to Franco, he never had any trouble working with him.

Franco was supposed to direct a film for Eurocine Productions in 1980 called Lake of the Living Dead but he could not do it, so producer Daniel Lesouer hired Jean Rollin to direct it (the film was later retitled Zombie Lake). Lesouer then had Rollin direct some brand new zombie footage to be inserted into Franco's Virgin Among The Living Dead (1971) for its re-release in 1981. (Today the film is released in its former unadulterated form on DVD, as the added Jean Rollin footage doesn't fit the plot and atmosphere of the original film.) Franco was later hired by Lesouer to direct a film for Eurocine called Oasis of the Zombies (1981), which had a plot that was similar to Zombie Lake (also involving revived Nazi zombies).

Filmography

{| border="2" cellpadding="4" cellspacing="0" style="margin: 1em 1em 1em 0; background: #f9f9f9; border:1px #aaa solid; border-collapse:collapse; font-size:95%" ! colspan=4 style="background:LightSteelBlue"| Films |- bgcolor="#CCCCCC" align="center" ! Year ! Title ! Alternative Title(s) ! Notes |- | 1959 | We Are Eighteen || || |- | rowspan=2 | 1960 | Red Lips|| || |- | Queen of the Tabarin|| || |- | rowspan=2 | 1961 | Vampiresses 1930|| || |- | The Awful Dr. Orloff ||Gritos en la Noche · Screams in the Night || |- | rowspan=2 | 1962 | Death Whistles the Blues||La Muerte Silba Un Blues || |- | The Sadistic Baron Von Klaus ||Hand of a Dead Man || |- | rowspan=2 | 1963 | The Jaguar||Sfida Selvaggio|| |- | Rififi in the City|| || |- | 1964 | Dr. Orloff's Monster ||The Secret of Dr. Orloff · The Mistresses of Dr. Jekyll || || |- | 1965 | The Diabolical Dr. Z ||Miss Muerte || |- | rowspan=2 | 1966 | Attack of the Robots ||Cards on the Table · Cards Face Up || |- | Residence for Spies|| || |- | rowspan=2 | 1967 | Lucky the Inscrutable|| || |- | Necronomicon ||Succubus · Necronomicon Dreamt Sin || |- | rowspan=7 | 1968 | Kiss Me Monster ||Besame Monstruo || |- | Two Undercover Angels||Red Lips Sadisterotica || |- | The Blood of Fu Manchu ||Fu Manchu and the Kiss of Death · Kiss and Kill || |- | The Castle of Fu Manchu|| || |- | The Girl from Rio ||Sumuru · City Without Men || |- | 99 Women|| || |- | Marquis de Sade's Justine ||Deadly Sanctuary || |- | rowspan=4 | 1969 | Eugenie, The Story of Her Journey into Perversion ||Les Inassouvies · The Insatiable Ones || |- | Venus in Furs|| Black Angel · Paroxismus || |- | The Bloody Judge ||Throne of Fire · Night of the Blood Monster · The Witch-Killer of Blackmoor || |- | Count Dracula|| || |- | rowspan=9 | 1970 | Sex Charade|| || |- | Eugenie de Sade 2000|| || |- | Nightmares Come at Night ||Eyes of the Night || |- | Vampyros Lesbos ||Las Vampiras || |- | She Killed in Ecstasy||Mrs. Hyde || |- | The Devil Came from Akasava|| || |- | The Death Avenger of Soho ||Death Packs His Suitcase || |- | X-312 Flight to Hell|| || |- | The Revenge of Dr. Mabuse|| The Vengeance of Dr. Mabuse || |- | rowspan=6 | 1971 | Virgin Report||Jungfrauen Report || |- | Robinson and His Wild Slaves ||Sexy Darlings · Three Naked Women on Robinson Island || |- | Dracula vs Frankenstein ||Dracula, Prisoner of Frankenstein · The Screaming Dead || |- | A Virgin Among the Living Dead ||Christina, Princess of Eroticism || |- | Lovers of Devil's Island ||Devil's Island Lovers || |- | Daughter of Dracula|| || |- | rowspan=8 | 1972 | The Erotic Rites of Frankenstein ||The Curse of Frankenstein || |- | The Demons||She-Demons · The Nuns of Clichy || |- | Diary of a Nymphomaniac ||Sinner || |- | Dolls For Sale ||The House of Vice · Vibrating Girls · Les Ebranlees || |- | A Captain of 15 Years|| || |- | Silence of the Grave|| Un Silencio de Tumba || |- | The Sinister Eyes of Dr. Orloff|| The Eyes of Dr. Orloff || |- | Mystery of the Red Castle ||||unfinished |- | rowspan=10 | 1973 | The Other Side of the Mirror ||The Obscene Mirror || |- | How to Seduce a Virgin ||Pleasure for Three · Beyond the Grave || |- | The Bare-Breasted Countess ||Female Vampire · Le Comtesse Noire · The Loves of Irina · Erotikill · The Swallowers · Les Avaleuses || |- | Maciste vs. the Amazon Queen ||Lustful Amazons || |- | The Erotic Exploits of Maciste in Atlantis ||Les Gloutonnes · The Gobblers || |- | Kiss Me Killer ||||unfinished |- | Linda's Hot Nights ||Who Raped Linda? || |- | The Perverse Countess ||Les Croqueuses · La Comtesse Perverse · The Munchers || |- | Tender and Perverse Emanuelle|| || |- | Relax Baby ||||unfinished |- | rowspan=8 | 1974 | Night of the Killers ||Sospiri · Night of the Skull || |- | Celestine, Maid at your Service|| || |- | Sexy a Go-Go|| || |- | The Sexiest Man in the World|| || |- | Exorcism and Black Masses ||Exorcisme || |- | Lorna the Exorcist ||The Devil's Possessed || |- | Les Chatouilleuses ||Nuns in Madness · The Ticklish Ones || |- | Les Emmerdeuses ||The Troublemakers || |- | rowspan=11 | 1975 | Midnight Party ||Lady Porno || |- | Shining Sex || The Girl With the Shining Sex || |- | Razzia sur le Plaisir ||Two Women in a Golden Cage || |- | De Sade's Juliette|| || |- | Barbed Wire Dolls||Frauengefängnis · Caged Women || |- | Women Behind Bars ||Diamonds For Hell || |- | Downtown: The Naked Dolls of the Underworld|| || |- | The Portrait of Doriana Gray|| || |- | The Slaves ||Die Sklavinnen || |- | Mandinga ||||unfinished |- | White Skin, Black Thigh || || |- | rowspan=10 | 1977 | Jack the Ripper|| Erotico Profondo|| |- | Love Camp|| || |- | Love Letters of a Portuguese Nun|| || |- | Sexy Sisters ||Swedish Nympho Slaves || |- | Call of the Blonde Goddess ||Porno Shock || |- | Greta the Mad Butcher ||Ilsa The Wicked Warden · Ilsa Ultimate Power || |- | Wild Lust|| || |- | Women Without Innocence ||Wicked Women || |- | Women in Cellblock 9|| || |- | Blue Rita ||Das Frauenhaus · House of Women || |- | rowspan=5 | 1978 | They Do It All ||Elles Font Tout || |- | I'm Burning Up All Over|| || |- | Cocktail Special|| || |- | Two Female Spies with Flowered Panties ||Opal of Fire || |- | Erotic Symphony|| || |- | rowspan=4 | 1979 | Sadist of Notre Dame ||Demoniac || |- | Mondo Cannibale ||Cannibals · White Cannibal Queen || |- | The Girls of Copacabana|| || |- | Man Hunter ||Sexo Canibal · Devil Hunter · Mandingo Manhunter || |- | rowspan=6 | 1980 | Sex Is Crazy|| || |- | Eugenie: The Story of a Perversion|| || |- | Pick-Up Girls ||The Girl in the Transparent Panties || |- | Sadomania: The Hell of Passion|| Hellhole Women|| |- | The Story of Linda ||Naked Super-Witches of the Rio Amore || |- | Bloody Moon ||Profondo Tenebre · Die Sage des Todes · The Saw of Death || |- | rowspan=6 | 1981 | Cecilia: Sexual Aberrations of a Married Woman|| || |- | Lake of the Virgins|| || |- | Night of the Open Vaginas|| || |- | The Hotel of Love Affairs|| || |- | Oasis of the Zombies||Tomb of the Living Dead · Blood-Sucking Nazi Zombies · Abyss of the Living Dead|| |- | Macumba Sexual|| || |- | rowspan=10 | 1982 | Moans of Pleasure|| Gemidos de Placer|| |- | The Sexual Story of O|| || |- | Black Boots, Leather Whip|| || |- | The Inconfessable Orgies of Emanuelle|| || |- | The Sinister Dr. Orloff ||Macabre Experiments || |- | The House of Lost Women|| || |- | The Night Has a Thousand Sexes|| || |- | The Intimate Confessions of an Exhibitionist|| || |- | A Crack for Two|| || |- | Mansion of the Living Dead|| || |- | rowspan=10 | 1983 | Camino Solitario ||Lonely Road || |- | Blood on My Shoes|| || |- | Alone Against Terror|| || |- | The Blues of Pop Street|| || |- | Fury in the Tropics ||Orgasmo Perverso || |- | Lillian the Perverted Virgin|| || |- | The Tanga Girls|| || |- | Revenge in the House Of Usher ||Neurosis || |- | The Grandfather, the Countess, and Scarlet the Naughty ||Scarlet || |- | Diamonds of Kilimandjaro ||Treasure of the White Goddess || |- | rowspan=8 | 1984 | The Shadow of Judoka vs. Dr. Wong|| || |- | In Search of the Golden Dragon|| || |- | How Much Does a Spy Cost?|| || |- | Dirty Game in Casablanca|| || |- | White Bay|| || |- | Voices of Death|| || |- | Golden Temple Amazons|| || |- | A Penis for Three|| || |- | rowspan=7 | 1985 | The Last of the Filipinas|| || |- | Bangkok: Appointment with Death|| || |- | Travel to Bangkok, Coffin Included|| || |- | The White Slave|| || |- | Lulu's Talking Bunghole|| || |- | Lulu's Pacifier|| || |- | The Game Walks Among Whistles|| || |- | rowspan=8 | 1986 | Slaves of Crime|| || |- | The Girl with the Red Lips|| || |- | Las Chuponas ||The Suckers || |- | For Babies, Warm Milk|| || |- | The Watcher and the Exhibitionist|| || |- | Bragueta Story ||||unfinished |- | AIDS, the 20th Century Plague ||||unfinished |- | Tribulations of a Cross-eyed Buddha ||||unfinished |- | rowspan=3 | 1987 | Phollastia|| || |- | Falo Crest|| || |- | Dark Mission: Operation Cocaine ||Flowers of Evil || |- | 1988 | Faceless||Predators of the Night|| |- | rowspan=2 | 1989 | Esmeralda Bay|| || |- | The Fall of Eagles ||War Song || |- | 1990 | Downtown Heat: Ciudad Baja ||Viper's Point || |- | 1992 | Don Quijote|| || |- | 1994 | Jungle of Fear ||||unfinished |- | 1996 | Killer Barbys|| || |- | rowspan=3| 1998 | Tender Flesh|| || |- | Lust for Frankenstein|| || |- | Mari-Cookie and the Killer Tarantula in 8 Legs to Love You|| || |- | rowspan=4 | 1999 | Vampire Blues|| || |- | Red Silk|| || |- | Dr. Wong's Virtual Hell|| || |- | Broken Dolls|| || |- | rowspan=2 | 2000 | Helter Skelter|| || |- | Blind Target|| || |- | 2001 | Vampire Junction|| || |- | 2002 | Jess Franco's Incubus|| || |- | 2003 | Killer Barbys vs. Dracula|| || |- | rowspan=3 | 2005 | Flowers of Perversion|| || |- | Flowers of Passion|| || |- | Snakewoman|| || |- | 2008 | A Bad Day at the Cemetery ||Crypt of the Cursed Women || |- | 2010 | Paula-Paula: an Audiovisual Experience|| || |- |}

Further reading

Jess Franco, Memorias del tío Jess (2004) (autobiography, in Spanish)

Stéphane du Mesnilot, Jess Franco - Énergies du fantasme (2004, in French)

Alain Petit, Manacoa Files (1994–1999, in French)

Lucas Balbo, Peter Blumenstock, Christian Kessler, Tim Lucas, Obsession - The Films of Jess Franco (1993)

Tim Lucas, How to Read a Franco Film, in Video Watchdog n. 1 (1990) Article

The book (1994) by Cathal Tohill and Pete Tombs dedicates a chapter to him.

Benedikt Eppenberger, Daniel Stapfer Maedchen, Machos und Moneten: Die unglaubliche Geschichte des Schweizer Kinounternehmers Erwin C. Dietrich. Mit einem Vorwort von Jess Franco. Verlag Scharfe Stiefel, Zurich, 2006, ISBN 3-033-00960-3

Robert Monell, Il codice segreto di Jesus Franco, in Nocturno Dossier n. 60, luglio 2007

External links

Category:1930 births Category:Living people Category:Spanish film directors Category:Spanish film producers Category:Spanish cinematographers Category:Horror film directors

Further reading

Jess Franco, Memorias del tío Jess (2004) (autobiography, in Spanish)

Stéphane du Mesnilot, Jess Franco - Énergies du fantasme (2004, in French)

Alain Petit, Manacoa Files (1994–1999, in French)

Lucas Balbo, Peter Blumenstock, Christian Kessler, Tim Lucas, Obsession - The Films of Jess Franco (1993)

Tim Lucas, How to Read a Franco Film, in Video Watchdog n. 1 (1990) Article

The book (1994) by Cathal Tohill and Pete Tombs dedicates a chapter to him.

Benedikt Eppenberger, Daniel Stapfer Maedchen, Machos und Moneten: Die unglaubliche Geschichte des Schweizer Kinounternehmers Erwin C. Dietrich. Mit einem Vorwort von Jess Franco. Verlag Scharfe Stiefel, Zurich, 2006, ISBN 3-033-00960-3

Robert Monell, Il codice segreto di Jesus Franco, in Nocturno Dossier n. 60, luglio 2007

External links

Category:1930 births Category:Living people Category:Spanish film directors Category:Spanish film producers Category:Spanish cinematographers Category:Horror film directors

Coordinates	53°57′56″N19°8′55″N
Name	Enrique Granados
Birth name	Enrique Granados y Campiña
Birth date	July 27, 1867
Birth place	Lleida, Spain
Death date	March 24, 1916
Death place	English Channel, on the way from Folkestone to Dieppe
Death cause	Drowning (After torpedoes struck the ship on which he was traveling.)
Resting place	His body was never found
Residence	Lleida and Santa Cruz de Tenerife; 1874-1916, Barcelona; 1887-1889, Paris
Nationality	Spaniard
Known for	Goyescas, Danzas españolas
Occupation	Composer and pianist
Spouse	Amparo Gal
Children	six: Eduard (musician), Solita, Enric (swimming champion), Víctor, Natàlia, Francesc
Parents	Calixto Granados (army captain), Enriqueta Campiña

Enrique Granados y Campiña (27 July 186724 March 1916) was a Spanish Catalan pianist and composer of classical music. His music is in a uniquely Spanish style and, as such, representative of musical nationalism. Enrique Granados was also a talented painter in the style of Francisco Goya.

Life

He was born in Lleida (in Spanish Lérida), Catalonia (Spain), the son of Calixto Granados, an army captain, and Enriqueta Campiña. As a young man he studied piano in Barcelona, where his teachers included Francisco Jurnet and Joan Baptista Pujol. In 1887 he went to Paris to study. He was unable to become a student at the Paris Conservatoire, but was able to take private lessons with a conservatoire professor, Charles-Wilfrid de Bériot, whose mother, the famed soprano Maria Malibran, was of Spanish ancestry. Bériot insisted on extreme refinement in tone production, which strongly influenced Granados’s own teaching of pedal technique. He also fostered Granados's abilities in improvisation. Just as important were his studies with Felip Pedrell. He returned to Barcelona in 1889. His first successes were at the end of the 1890s, with the zarzuela Maria del Carmen, which earned the attention of King Alfonso XIII.

In 1911 Granados premiered his suite for piano Goyescas, which became his most famous work. It is a set of six pieces based on paintings of Francisco Goya. Such was the success of this work that he was encouraged to expand it; he wrote an opera based on the subject in 1914, but the outbreak of World War I forced the European premiere to be canceled. It was performed for the first time in New York City on 28 January 1916, and was very well received. Shortly afterwards, he was invited to perform a piano recital for President Woodrow Wilson. Prior to leaving New York, Granados also made live-recorded player piano music rolls for the New-York-based Aeolian Company's "Duo-Art" system all of which survive today and can be heard - his very last recordings.

The delay incurred by accepting the recital invitation caused him to miss his boat back to Spain. Instead, he took a ship to England, where he boarded the passenger ferry Sussex for Dieppe, France. On the way across the English Channel, the Sussex was torpedoed by a German U-boat, as part of the German World War I policy of unrestricted submarine warfare. In a failed attempt to save his wife Amparo, whom he saw flailing about in the water some distance away, Granados jumped out of his lifeboat, and drowned. Ironically, he had a morbid fear of water for his entire life, and he was returning from his first-ever series of ocean voyages. Ironically too, the ship broke in two parts and only one sank (along with 80 passengers); the other part of the ship where his cabin was did not sink and was towed to port, with most of the passengers. They left six children: Eduard (a musician), Solita, Enric (a swimming champion), Víctor, Natàlia, and Francesc.

Music and influence

Granados wrote piano music, chamber music (a piano quintet, a piano trio, music for violin and piano), songs, zarzuelas, and an orchestral tone poem based on Dante's Divine Comedy. Many of his piano compositions have been transcribed for the classical guitar: examples include Dedicatoria, Danza No. 5, Goyescas.

Granados was an important influence on at least two other important Spanish composers and musicians, Manuel de Falla and Pablo Casals. He was also the teacher of composer Rosa García Ascot.

Some important works

12 danzas españolas (1890) for piano. The contents of the four volumes are: Vol. 1: Galante (or Minueto), Orientale, Fandango (or Zarabanda); Vol. 2: Villanesca; Andaluza (or Playera); Rondalla aragonesa (or Jota); Vol. 3: Valenciana; Sardana (or Asturiana); Romántica (or Mazurca); Vol. 4: Melancólica (or Danza Triste); Zambra; Arabesca.

María del Carmen (1898), opera

Allegro de concierto (1903)

Escenas románticas (1903) for piano. The individual "scenes" are: Mazurca; Berceuse; Allegretto; Mazurka; Allegro appassionato; Epílogo

Dante (1908), symphonic poem

Tonadillas al estilo antiguo, H136 (1910) for voice and piano, settings of a group of poems by Fernando Periquet. Titles of individual songs in the collection are: 1.Amor y odio; 2.Callejeo; 3.El majo discreto; 4.El majo olvidado; 5.El majo tímido; 6.El mirar de la maja; 7.El tra-la-la y el punteado; 8.La maja de Goya; 9.La maja dolorosa I (Oh muerte cruel!), II (Ay majo de mi vida!), y III (De aquel majo amante); 10.La currutacas modestas (duet).

Canciones españolas for voice and piano. Titles of individual songs in the collection (perhaps in the right order) are: Yo no tengo quien me llore; Cantar I; Por una mirada, un mundo; Si al retiro me llavas...; Canción; Serenata; Canto gitano.

Cançons catalanas for voice and piano. Titles of individual songs in the collection (perhaps in the right order) are: L'ocell profeta; Elegia eterna; Cançó de Gener; Cançó d'amor; Cançoneta; La boira.

Goyescas (1911), suite for piano, subtitled "Los majos enamorados". It consists of 6 pieces in 2 books. Movements are: Book 1: Los requiebros; Coloquio en la reja; El fandango de candil; Quejas ó La maja y el ruiseñor; Book 2: El amor y la muerte; Epilogo (Serenata del espectro). El pelele, although not published as part of the Goyescas, is usually appended to it. In performance it is played as the seventh and last piece. It is based on the music of the opening scene of the opera Goyescas, in which a "pelele" is being tossed in the air by the "majas."

Bocetos (1912) which contains: Despertar del cazador; El hada y el niño; Vals muy lento; La campana de la tarde

Colección de canciones amatorias (1915) for voice and piano. Titles of individual songs in the collection are: Descúbrase el pensamiento de mi secreto cuidado; Mañanica era; Llorad, corazón, que tenéis razón 'Lloraba la niña'; Mira que soy niña; Iban al pinar 'Serranas de Cuenca'; Gracia mía.

Goyescas, opera, 1916

6 Estudios expresivos

6 Piezas sobre cantos populares españoles, which include: Añoranza; Ecos de la parranda; Vascongada; Marcha oriental; Zambra; Zapateado

Madrigal, for cello and piano

8 Valses Poéticos, for Piano, including No 6 Vals Poético

Trio, for piano, violin, and cello.

Media

References and further reading

Enrique Granados, in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd., 1980. ISBN 1-56159-174-2

Enrique Granados; Poet of the Piano. Walter Aaron Clark, Oxford University Press, 2005. ISBN 9780195140668

References

External links

Biography and images

www.kreusch-sheet-music.net - Free Scores by Granados

Recordings by Granados

Goyescas, Part 1, Los Requiebros as recorded by Granados on piano roll, c. 1913, Paris (Info)

L'escola pianística catalana (Enregistraments històrics) (la mà de guido , LMG3060)

Enrique Granados today playing his 1913 interpretations (The Welte Mignon Mystery Vol. I)

Enrique Granados: Composer as Pianist (Pierian Recording Society, PIR0002)

Masters of the Piano Roll: Granados Plays Granados (Dal Segno Records, DSPRCD008)

The Catalan Piano Tradition (VAI Audio, 1001) Rollos de Pianola (Obras de Albéniz, Granados, Turina, Ocón, Chapí, Alonso y Otros) (Almaviva)

Piano Rolls (The Reproducing Piano Roll Foundation)

Category:Catalan composers Category:Spanish composers Category:Romantic composers Category:20th-century classical composers Category:Catalan pianists Category:Spanish classical pianists Category:People from Lleida Category:Spanish people of World War I Category:Civilians killed in World War I Category:Deaths by drowning Category:1916 deaths Category:1867 births

Coordinates	53°57′56″N19°8′55″N
Name	Chantal Goya
Background	solo_singer
Birth name	Chantal Deguerre
Born	June 10, 1942 in Saigon (French Indochina)
Origin	France
Occupation	singer, actress

Chantal Goya (born Chantal Deguerre on June 10, 1942 in Saigon) is a French singer and actress.

Chantal Goya started her career as a yé-yé girl, singing a catchy mid-'60s hybrid of girl-group pop and French chanson. She also enjoyed a career as a French New Wave actress; she had a starring role as Madeleine in the 1966 Jean-Luc Godard film and in Jean-Daniel Pollet's (Love is joy, love is sad).

Since 1975, she has become mostly known as a singer for children. Together with her husband, songwriter and composer Jean-Jacques Debout, and with a talented team of designers and costume people, she does shows for and with children. The main themes are dreams and traveling. Her usual character is Marie-Rose, a mix between a maid and an older sister (reminiscent of Julie Andrews in both The Sound of Music and Mary Poppins).

Selected filmography

(1966) (1967) (1969) (1969) (1971) (1974) (1975) (2001)

Selected discography

Albums

(1977) (1978) (1979) (1980) (1981) (1982) (1983) (1984) (1985) (1986) (1987) (1988) (1989) (1990) (1993) (1995) (1997) (2002)

Singles

(1964) (1965) (1966) (1966) (1966) (1967) (1972) ''"

Compilations

(1998)

Songs

"" "" "" "" ""

"Davy Crockett"

"Let's sing along with Mickey Mouse"

"" ""

"Sorrow"

"Pandi-Panda, a lovely Chinese bear"

"Snoopy"

""

"Bravo Popeye"

""

External links

Category:1942 births Category:Living people Category:French film actors Category:French actors Category:French female singers Category:French-language singers Category:Children's musicians

Carlos Saura Atarés (born 4 January 1932, Huesca) is a Spanish film director and photographer.

Early life

Born into a family of artists (his mother was a pianist and his brother, Antonio Saura, a painter), he developed his artistic sense in childhood by doing photography. He obtained his directing diploma in Madrid in 1957 at the Institute of Cinema Research and Studies. He taught there until 1963.

Career

In 1957-1958, Saura created his first film (Cuenca). In 1966, he was honored at the 16th Berlin International Film Festival, where he received the Silver Bear for Best Director for his film La caza. In 1967, his film Peppermint Frappé also received the Silver Bear for Best Director at the 18th Berlin International Film Festival. He won the Golden Bear in 1981 at the 31st Berlin International Film Festival for his film Deprisa, Deprisa.

The movies La prima Angélica (Cousin Angélica) of 1973 and Cría cuervos (Raising Ravens [from the Spanish phrase: cria cuervos y te sacaran los ojos (raise ravens and they will peck out your eyes)]) of 1975 received the special prize of the jury at the Cannes Film Festival. His movie "Mama cumple 100 años" (Mom is celebrating her 100 years) was nominated at the Oscar Awards for the best foreign film in 1979.

Saura has become known for making movies centered around traditional Latin dance. His Flamenco Trilogy of the 1980s includes Bodas de Sangre (Blood Wedding), Carmen, and El amor brujo. He later made the movies Flamenco (1995), Tango (1998), and Fados (2007).

Saura considers his film on surrealist master Luis Buñuel to be his best cinematic work. In an interview to an online film magazine, DearCinema.com, he says about Buñuel y la mesa del rey Salomón (Buñuel and the table of King Solomon -2001): “That’s the greatest film I’ve ever made. I like the film but nobody else seems to like it. I’m sure Buñuel would have loved this film. But perhaps only he would have loved it. Everything you see in the film is actually based on conversations I had with him.”

In 1990, he received the Goya Award for the best director and best script for ¡Ay, Carmela!. He was chosen as director for the official film of the 1992 Olympic Games of Barcelona, Marathon (1993).

In 2008, Carlos Saura was honoured with a Global Life Time Achievement Award at the 10 Mumbai International Film Festival, organized by the Mumbai Academy of the Moving Image (MAMI)

Personal life

Carlos Saura was married twice, in Barcelona in 1957 to Adela Medrano, and on 27 December 1982 to Mercedes Pérez. By his first marriage he had two sons, Carlos (b. 1958) and Antonio (b. 1960). By his second marriage he had three sons, Manuel (b. 1980), Adrián (b. 1984) and Diego (b. 1987).

Between marriages he had at least one known son, Shane (b. 1974) by actress Geraldine Chaplin. His relationship history lead some to believe he may have fathered more children. After his second marriage, he was also the father of a daughter named Ana (b. December 1994) by Eulalia Ramón.

Filmography

1955 : Flamenco short film

1956 : El Pequeño río Manzanares short film

1957 : La Tarde del domingo short film

1958 : Cuenca

1959 : Los golfos

1964 : Llanto por un bandido

1966 : ''La caza

1967 : Peppermint Frappé

1968 : Stress es tres tres

1969 : La madriguera

1970 : El jardín de las delicias

1973 : Ana y los lobos

1973 : La prima Angélica

1975 : Cría cuervos

1977 : Elisa, vida mía

1978 : Los ojos vendados

1979 : Mamá cumple cien años

1980 : Deprisa, Deprisa

1981 : Bodas de Sangre

1982 : Sweet Hours

1982 : Antonieta

1983 : Carmen

1984 : Los Zancos

1986 : El amor brujo

1988 : El Dorado

1989 : La Noche oscura

1990 : Ay Carmela

1992 :

1992 : Marathon

1992 : Sevillanas

1993 : ¡Dispara!

1995 : Flamenco

1997 : Taxi

1997 : Pajarico

1998 : Tango

1999 : Goya en Burdeos

2001 : Buñuel y la mesa del rey Salomón

2002 : Salomé

2004 : El séptimo día

2005 : Iberia

2007 : Fados

2008 : Sinfonía de Aragón short film

2009 : Io, Don Giovanni

2010 : Flamenco, Flamenco

References

External links

IMDb profile (IMDb)

Official Webpage in Spanish

Carlos Saura biography and flamenco-related films

Interview: Camera is My Memory: Carlos Saura

Carlos Saura, cineasta - Escritos de José Antonio Bielsa / Carlos Saura - El poder de la palabra (Spanish)

Category:1932 births Category:Living people Category:European Film Awards winners (people) Category:People from Huesca Category:Spanish film directors Category:Spanish screenwriters Category:Spanish photographers Category:Best Director Goya Award winners Category:Silver Bear for Best Director recipients