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  • Discografia

    Discografia per chitarra

    Andrés Segovia and Friends

    Un cofanetto con 10 cd del più grande chitarrista del Novecento

    In un unico cofanetto tutte le più importanti interpretazioni del virtuoso spagnolo. Ben 9 ore di musica con i capolavori di Bach, Weiss, Milan, Dowland, De Visée, Sanz, Paganini, Sor, Tárrega, Harris, Ponce, Villa-Lobos, Moreno-Torroba, Castelnuovo-Tedesco, Tansman, Turina e le celebri trascrizioni da Rameau, Frescobaldi, Scarlatti, Haydn, Purcell, Mendelssohn, Granados, Albéniz. Bonus track con il duo Klaus e Rainer Feldmann (Granados, Rodrigo e Albéniz) e dello Spanish Guitar Quartet (Serrano, Albéniz, Chapi, Tarrega, Turina, Monasterio).

    Gubaidulina Guitar Works, David Tanenbaum

    Gubaidulina Guitar Works è il disco del chitarrista americano David Tanenbaum dedicato alla musica per chitarra di Sofia Gubaidulina (1931) pubblicato da Naxos.
    La tracklist:

    Dalle note di copertina:
    One of the most surprising things about working with great composers is that they can find completely new sounds from an instrument to which you have dedicated your life. When I was called to perform the premiere of Repentance during Sofia Gubaidulina’s residency with the San Francisco Symphony in 2009, I had to come up with what the score called a “friction beater”, which was “a small ball of rubber or elastic plastic… fastened onto a springy, resilient steel string (e.g. a piano string)”. That prompted quite a few trips to different stores, and a lot of puzzling over how exactly one can fasten a piano string onto a small ball. But this was Sofia Gubaidulina. She hadn’t written for the guitar since she produced the two early, short pieces heard here, but in the interim she had become celebrated as the great and fearless composer that she is. The rest of the score had fantastic and unusual sounds, and it all made sense, so I figured that she must have a very specific idea here that I just didn’t get. I experimented with this ‘friction beater’ sound, and remained baffled. I finally showed up to the first rehearsal with a variety of options, which she found curious. But then she pulled out her own version, which she had brought all the way from Germany. It made a sound unlike any of mine, and in fact unlike the many devices I had hit strings with in the past. When she heard it, she smiled.
    Sofia Gubaidulina has spent much time in the last ten years writing and revising the two big pieces heard here that use multiple guitars. She has clearly found in the guitar a kind of soulfulness and freedom that has spoken to her, and in each case she combines the guitars with the lower strings she frequently favours. Of the Sotto Voce instrumental combination, the composer writes: ‘It fascinated me on account of its dark colour and its potential for contrast between a muted, almost whispered sotto voce sound and that particular sort of expressivity that low-pitched instruments possess’. She has written prolifically for bass in her career, and the bass parts in both of these pieces are virtuosic and multi-dimensional. The cello in Repentance and the viola in Sotto Voce play a kind of lead, with the most searching melodic material, but one comes away with the sense that each instrument has been fully developed as an individual and a society member.
    The guitar writing in both pieces is multi-dimensional as well. She writes: ‘The constant endeavour to penetrate the mysterious consonance in the guitars’ chords of harmonics is forever proving itself to be fruitless. And thus we always have to return to the darker shades.’ The guitars act often as a mega instrument in these pieces; there are chordal chorales, hard driving rhythmic sections and longer, free passages where the wheels come off. Guitar 1 has long improvisations in both pieces—in Repentance it is a lightly guided exploration of a ninth fret barré chord, played normally, plucked behind the chord, or done as harmonics on that fret; in Sotto Voce it is with a slide—and in both cases what you hear are my single take and unprepared improvs, complete with a few production noises.
    Repentance (2008) for three guitars, cello and bass, was commissioned by the San Francisco Symphony and was premiered in San Francisco on February 22, 2009. It is the latest and seemingly final version of a piece written a year earlier, Ravvedimento (2007) for cello and guitar quartet. Later in 2007 she created the version called Pentimento for bass and three guitars, dedicated to the bass player Alexander Suslin. Ravvedimento and Repentance are dedicated to the cellist Ivan Monighetti. Although Gubaidulina is deeply religious, and all three titles refer to repenting, this repentance is secular: at long last it is the delivery of a promised piece to a cellist who was an early and long time champion of her music.
    The Serenade and Toccata were included in a 1971 edition of guitar works of Soviet composers by the publisher Muzyka. The Serenade, which was republished by Matanya Ophee in his Editions Orphée series, was meant to be relatively easy to play, and has been described by the composer as ‘music for pleasure’. It has a searching, improvisatory character, and it explores the full range of the instrument, from its bottom note to the top. It has gone on to be played and recorded many times. By contrast, the Toccata, recorded here for the first time and almost unknown, is more virtuosic; it has a driving momentum that hardly stops. As in the Serenade, it explores the full range of the guitar.
    Sotto Voce for viola, double bass and two guitars was written in 2010 and then revised in 2013. It was also written at the request of Alexander Suslin. Gubaidulina writes: ‘A constantly repeated motif is played on the three lowest (wound) guitar strings. It contains the mystery of a purely acoustic phenomenon: if you move the soft fingertips along the strings, pianissimo, the result is sonorities that are very quiet, muted, dark and totally irrational in pitch. But if you press harder on the strings or run a plectrum across them, then behind the note that remains steady on one pitch, a space opens up for glissando; this can be exploited to achieve the greatest possible expressivity. Behind the steady note-pitch the string possesses an entirely different dimension! During the course of the piece, this motif is repeated countless times, encouraging each of the other instruments to develop its own possibilities of musical expression, as if responding to the urge to reply to the acoustic mystery that the motif constitutes.’
    The Sotto Voce score calls for each guitarist to have a round drinking glass—‘as slim as possible and at least 10.5 cm high’—to be used on the guitar strings. As with the Repentance ball, they produce a glissando sound unlike any slide or other device. In over forty years of playing new music, with many a drinking glass at my side, I had never before taken a drinking glass to the strings.

    Mauro Giuliani Masterpieces, Antonio Rugolo

    La weblabel dotGuitar pubblica il nuovo CD di Antonio Rugolo dedicato alla musica di Mauro Giuliani.
    La tracklist include:
    Variations sur un thème de G. F. Handel, Op. 107 Sonate brillante, Op. 15:  I. Allegro con spirito II. Adagio con grande espressione III. Finale. Allegro vivace Six variations sur l'air favori de la Molinara, Op. 4b Grande ouverture, Op. 61 Six variations sur Folies d'Espagne, Op. 45 Gran sonata eroica, Op. 150 Rossiniane No. 5, Op. 123

    Radamés Gnattali - Concertinos for Guitar and Orchestra, Marco Salcito

    Brilliant Classics pubblica una nuova release dedicata al repertorio per chitarra. Si tratta di Radamés Gnattali - Concertinos for Guitar and Orchestra
    La tracklist include:
    Concertino No. 1 for guitar and orchestra (1951) Concertino No. 2 for guitar and orchestra (1952)  Concertino No. 3 Concerto da Copacabana for guitar, flute, timpani and string orchestra (1956) Concerto No. 4 Concerto a Brasileira for guitar and strings (1967) Qui nel dettaglio:

    La recensione su MusicWeb International è raggiungibile da questo link.

    Hivern Florit - Ariel Elijovich

    "Hivern Florit" - ARIEL ELIJOVICH - guitarra
    This CD gathers pieces i have worked with during my roundtrip Buenos Aires / Vercelli / Buenos Aires. They are meaningful to me and - i'm sure - to the guitar repertoire.  
    Joaquin Turina, Sonata op. 61 
    1. Lento-Allegro-Alegretto traquilo.
    2. Andante.
    3. Allegro Vivo.
    Reginald Smith Brindle, El Polifemo de Oro
    4. Ben adagio.
    5. Allegretto.
    6. Largo.
    7. Ritmico e vivo.
    Heitor Villa-Lobos, della Suite Populaire Bréselienne
    8. Mazurka-Chôro.
    9. Schottish-Chôro.
    10. Valsa-Chôro.
    11. Gavotta-Chôro.
    Benjamin Britten, “Nocturnal” after John Dowland, op.70
    12. Musingly / Cavilante.
    13. Very Agitated / Muy agitado.
    14. Restless / Inquieto.
    15. Uneasy / Ansioso. 
    16. March-like / Como una marcha.
    17. Dreaming / Soñante.
    18. Gently Rocking / Meciendose.
    19. Passacaglia.
    20. Slow and Quiet / Lento y Traquilo.
    Angelo Gilardino, Sonata n°2 “Hivern Florit”
    21. Alegretto semplice-Andantino grazioso.
    22. Andante molto traquillo, quasi adagio.
    23. Allegro vivo e brillante.
    Manuel de Falla, 
    24. “Homenaje” pour le tombeau de Debussy.
      Recorded in Estudio.Ar between 2014 y 2015
    Cover: L. Moholy-Nagy Q 1 Suprematistic, 1923
    Edited by Fernando Lerman
    Sound Engineer Ariel Gato
    Produced by Ariel Elijovich

    Fernando Sor: Les Deux Amis, Duo Camitz-Hesselberg

    L'etichetta discografica Gateway Music pubblica il nuovo CD dedicato alla musica per chitarra intitolato "Fernando Sor: Les Deux Amis – Selected Works for Two Guitars"
    La tracklist include opere selezionate del compositore spagnolo per due chitarre: L’Encouragement, Op. 34; Divertissement, Op. 38; Six Valses Composée Pour l’Orcehstre Par differés Auteurs arrangées pour deux Guitares, Op. 39 (Nos. 6, 4, 1); Les Duex Amis, Op. 41; Le  premier pas vers moi, Op. 53; Divertissement, Op. 62; Souvenir de Russie, Op. 63
    Sito internet di Maria Camitz:
    Sito internet di Leif Hesselberg:
    Una esecuzione dal vivo del duo:

    Gilardino First recording, VirtuosoDuo

     L'etichetta discografica dotGuitar pubblica il CD dedicato alle prime registrazioni assolute del Concerto del Sepeithos e Riviera di Chiaia di Angelo Gilardino (1941)
    La tracklist completa:
    Concerto del sepeithos: 1. allegro impetuoso Concerto del Sepeithos: 2. Adagio Sostenuto Concerto del sepeithos: 3. allegretto Concerto del Sepeithos: 4. Andante Molto Calmo Concerto del Sepeithos: 5. Allegro Capriccioso Riviera di chiaia: 1. allegro scapigliato Riviera di chiaia: 2. (pioggia) adagio Riviera di chiaia: 3. allegro con fuoco ℗ 2017 Dotguitar Srl

    A Guitar for Segovia, Javier Somoza

    Il chitarrista spagnolo Javier Somoza pubblica con Brilliant Classics il suo nuovo CD dal titolo A Guitar for Segovia
    La tracklist:
    1.    Tres libros de musica en cifras: Pavana by Alonso de Mudarra  2.    Tres libros de musica en cifras: Tiento by Alonso de Mudarra  3.    Tres libros de musica en cifras: Fantasia que contrahaze la harpa en la manera de Ludovico by Alonso de Mudarra  4.    Saldivar Codex no 4: Folias italianas by Santiago de Murcia  5.    Saldivar Codex no 4: Folias españolas by Santiago de Murcia  6.    Tiento by Maurice Ohana  7.    Variazioni attraverso i secoli, Op. 71 by Mario Castelnuovo-Tedesco  8.    Pièces brèves (4) for Guitar by Frank Martin 

    Dal sito dell'editore:
    There are two themes to this recording: the time-honoured genre of the folía, and an instrument made for and played by the greatest guitarist of the 20th century, Andres Segovia. With his determination to expand the repertoire of guitar music and extend the instrument beyond its associations with his native Spain, Segovia commissioned three works played here by Javier Somoza: the Variations à travers les siècles by Mario Castelnuovo-Tedesco, Variaciones y Fuga sobre la Folía de España by Ponce and a set of Four Short Pieces by Frank Martin. Segovia eventually decided that Martin’s idiom was too dissonant for his taste and so never played them, but the pieces have since become classics of the mid-20th-century repertoire alongside works by Britten and Henze. 
    As their titles suggest, however, the other two works have a conscious relationship with the history of the guitar and its repertoire, developed from the lute and vihuela of previous centuries. Ponce only partially fulfilled Segovia’s request for ‘a series of brilliant variations on the Folías de España theme […] in the Classical Italian style of the 18th century.’ What resulted was a monumental, thoroughly eclectic work definitely not in 18th-century style. Segovia, again, decided to adapt the piece for his own ends but Somoza has returned to the original. Meanwhile Castelnuovo-Tedesco, in his first work for the guitar, also consciously embraced eclecticism in a series of different idioms: a stylized chaconne reminiscent of early music; a free variation, a waltz, and a foxtrot. 
    There is one more modern work on the album – the dazzling Tiento by Maurice Ohana that also looks back to 18th-century Spanish idiom – which functions as a pivot between the ages. Two examples of the folía theme-and-variation form by Santiago de Murcia date from roughly 1730; and to open, Somoza travels back in time to the tientos of 16th-century Spain with three brief works by Alonso Mudarra. ‘A Guitar for Segovia’ is both an absorbing journey through the history of guitar music and an important record of a Segovia instrument: a significant addition to the expansive library of guitar music on Brilliant Classics. 
    The concept of this CD is inspired by two sources: the works are based on the harmonic pattern of “La Follia”, a characteristic Spanish Dance, and, secondly, the guitar that belonged to Andrés Segovia and was built in 1924 by the famous luthier Santos Hernández, and donated by the maestro to the Victor Espinos Music Library in Madrid. Segovia is known to have played the instrument extensively, on several world tours. 
    The music on this CD spans 4 centuries, and features works by Alonso Mudarra, Santiago de Murcia, Maurice Ohana, Mario Castelnuovo-Tedesco, Manuel Ponce and Frank Martin, a kaleidoscopic repertoire fully exploring the rich possibilities of this magnificent instrument. 
    Javier Somoza is one of the foremost guitarist of Spain. After winning several international guitar competitions he embarked on a brilliant solo career. Next to that he is Professor at the Real Conservatorio Superior de Musica in Madrid and Honorary member of the Segovia Guitar Academy.

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