In the most recent issue of "Soundboard" Magazine, Vol XXXVI #3, there's a very detailed article/analysis by Townsend Plant (who is not otherwise identified) about the music guitar music of Joaquin Turina. Definite emphasis is made regarding the role of traditional flamenco music on Turina's compositions, particularly the Sonata Op. 61. The author describes the first movement as a highly stylized soleares, the second movement as cante jondo viewed through the lens of French Impressionism (Turina studied in Paris), and the third movement as an equally stylized bulerias. Ample musical examples are offered throughout the article.

I can't adequately condense a 10-page article into 2 paragraphs, but it is very interesting reading.

Hola Davinort
I have heard of this idea in general of course....I mean that composers who write the music can be inspired by the music of the people but I did not know of this particular case.
Do you have some audio examples that we could listen to so that we can hear what is being said?
Do you play the pieces yourself..it would be great to hear them played by a foro member.
Saludos
Tomás

Tomas here is a video of David's playing. It is a classical Brazilian piece to my ears. Nice playing! I am very partial to Brazilian pieces especially Villa Lobos.

Delicious!, sweet, delicate and with a very natural pace..not too fast but not holding back too much either...............brings back memories.............. some time ago when I thought I was the man I was friends with a very beautiful Brazilian girl who played a lot including this piece..everyone likes a little sweet sometimes............by the way I always confuse the names of this piece...maybe David might play Orfeo Negro for us so I don't get confused all the time............for now a milion thanks for this lovely piece.
Tomás

Tomas: there are many recordings on YouTube of the Joaquin Turina guitar sonata, you can pull up several versions and compare them. The flamenco influence is very evident, to my ears anyway. The first person who recorded it on stereo LP, Darryl Denning around 1970, was a flamenco and classical player. He made a very strong case for the flamenco aspects of the sonata.

Sam, thank you for sharing my Bonfa video, I am glad you thought it was worth sharing.

Strange to mention Darryl Denning. I met him in the mid 70's when he did a concert in Eastern Oregon. The concert was half classical and half flamenco. He played on my homemade negra after the concert. He was doing an arts society circuit that year.

I worked with Darryl on the 1990 GFA International Festival, which was held at California Institute of Technology in Pasadena CA where he taught. I knew him "somewhat", but in retrospect wish I had been less egocentric and been willing to take lessons from him. I still very much enjoy listening to his 3 LPs from the early 70s.

Darryl did an annual concert at Occidental College in LA, where he also taught. Generally 1/3 flamenco, 1/3 solo classical, and 1/3 classical chamber music (often a Vivaldi concerto, or a set of Impressionist flute duos). I still have four of the program booklets. I doubt any performer nowadays would get away with these sort of onesie-twosie "excerpted movement" programs, but back then it was pretty standard fare.