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    Classical Guitar Discography

    Untuned Guitar, Giulia Ballarè

    Il secondo CD della chitarrista italiana Giulia Ballarè è da pochi giorni disponibile per l'acquisto sul sito dell'editore JSM Records. 
    L'album si intitola Untuned Guitar ed è incentrato sulla musica per chitarra del Novecento e contemporanea.
    La tracklist è la seguente:
    Leo Brouwer (1939) 
    01. La Gran Sarabanda
    02. Hika
    Tōru Takemitsu (1930-1996)
    03. Equinox
    Marek Pasieczny (1980)
    04. Phosphenes
    Lilith Guégamian(1971)
    05. La ronde des sorcières et la naissance des déesses
    Roberto Gerhard (1896-1970)
    06. Fantasia
    Maurice Ohana (1913-1992) 
    07. Tiento
    Nicolas Kahn (1979)
    08. Les Arcanes

    Leo Brouwer (*1939) is a Cuban composer, conductor, and classical guitarist.   In his early compositions, Brouwer remained close to the rhythms of Cuban music, while later he was drawn to aleatoric music.He has written for guitar, piano, and percussion, and has composed orchestral works, ballet, and music for more than one hundred movies. La gran Sarabanda was commissioned by Guitar Foundation of America for the 2018 th International Concert Artist Competition. It’s a theme a variations on “folias de España”. Hika was written “in memoriam Toru Takemitzu” for Shin-ichi Fukuda. "Hika" is a lament in Japanese musical tradition and it was written in memory of Brouwer's good friend, Toru Takemitsu, is really a sort of mournful elegy in his memory. could be helpful to listen to Takemitsu's "Rain Tree Sketch II" in memoriam of Olivier Messiaen. Open tuning: 2nd string in Bb and 5th string in G.
    Tōru Takemitsu (武満 徹 1930 - 1996) was a Japanese composer and writer on aesthetics and music theory. Largely self-taught, Takemitsu possessed consummate skill in the subtle manipulation of instrumental and orchestral timbre. He is famed for combining elements of oriental and occidental philosophy to create a sound uniquely his own, and for fusing opposites together such as sound with silence and tradition with innovation. Equinox was composed in 1994 in Tokyo, to be played in the recital of commemoration of the 25th anniversary of guitarist Kiyoshi Shomura’s debut, on April 04, 1994. The piece belongs to what is considered Takemitsu’s mature period (in fact, it was one of his very last compositions), and this isclear in his use of harmonic language as well as his rendering of musical form. The connection with nature is also present in the title, and relates directly to the real time of the year in which the composer was writing (the piece was probably finished in March, and premiered in April, spring time in Tokyo). Open tuning: 2nd string in Bb and 6th string in Eb.
    Marek Pasieczny (*1980) is a polish composer. Great interest on the part of both guitarists and other instrumentalists is testament to his compositional talent. In 2002 he collaborated with Pat Metheny - one of the greatest guitarists in the history of jazz and with the Polish jazz singer, Anna Maria Jopek. Phosphenes was commissioned by the International Guitar Festival ‘Guitar Master 2016’ dedicated to the city of Wroclaw (Poland). Open tuning: 5th string in G and 6th string in C.
    Lilith Guégamian (*1971) is an Armenian composer (former USSR). Arriving in France, in the Paris region, at the age of 4 years, her early interest in the guitar and began to learn to play by herself. Open tuning: 1st string in Eb 2nd string in Bb and 6th string in C.
    Robert Gerhard (1896 - 1970) was a Spanish Catalan composer and musical scholar and writer. He studied piano with Enrique Granados and composition with the great scholar-composer Felip Pedrell, teacher of Isaac Albéniz, Granados and Manuel de Falla. For twenty years Gerhard cultivated, and enormously enriched, a modern tonal idiom with a pronounced Spanish-folkloric orientation that descended on the one hand from Pedrell and Falla, and on the other from such contemporary masters as Bartók and Stravinsky. Gerhard often said that he stood by the sound of his music: 'in music the sense is in the sound'. Yet dazzling as their scoring is, his last works are in no sense a mere succession of sonic events. Their forms are meticulously organized and several make use of his special development of serialism where a twelve-tone pitch series, governing intervallic relations, interacts with a twelvefold time series governing the music's duration and proportions.
    Maurice Ohana (1913 - 1992) was a French composer. He originally studied architecture, but abandoned this in favour of a musical career, initially as a pianist. While not having direct Spanish roots, Ohana is inspired by the Andalusian culture, the cante jonde and the African rhythms. He wrote haunting, unique works for the guitar. Although Ohana is perhaps best known for his Tiento (1957) and his guitar concerto Tres Graphicos (1950-57). The Tiento originally consists of a usually organistic composition, of imitative style, analogous to the Italian “ricercare”, as it takes place in the style of the “mottetto”, that is, in a subsequent series of exhibitions in fugue style on different themes in vogue in Spain since the sec. XVI to the XVIII. Precisely because akin to the Italian “ricercare” it gives a brief excursus of its origins. It appears since the early years of the XVI century to designate an instrumental composition in free form that develops in imitation, generally in canon. Etymologically it indicates the "research" of the timbre-phonic possibilities of the instrument, (similarly for the "Tiento" in the meaning of "trying", "experiment") and the study of the counterpoint possibilities of a musical idea: on the one hand the research- touched, with improvisational character and prelude function; on the other the search-motet, articulated in points of imitation, connected however not by the logic of a text, but by the close relations of the material used.
    Nicolas Kahn (*1979) is a french composer. The vast influences of his musical language are rooted in contemporary scholarly music, urban music, world music or American minimalist music. Les Arcanes was the winning work of the 1st “EuroStrings Composition Competition” 2019. Described by Sérgio Assad, who was on the jury, as appealing “directly to our subconsciousness as classical guitarists. This set of miniatures echoes sounds that are embedded in our memories.”

    Mediterranean Guitar Sonatas, Andrea Corongiu

    Le edizioni Da Vinci Publishing avviano la distribuzione del CD Mediterranean Guitar Sonatas of the 20th and 21st centuries VOL.1 del chitarrista italiano Andrea Corongiu.
    1. Antonio José Martinez Palacios (1902–1936)     
       Sonata para guitarra (1936)       
       a Regino Sainz de la Maza
       I. Allegro Moderato           
       II. Minueto             
       III. Pavana triste    
       IV. Final             
    2. Joan Manén (1883-1971) 
       Fantasia Sonata Op. a=22   
       Por y para mi amigo Andrés Segovia
    3. Manuel Castillo (1930-2005)
       Sonata para guitarra (1986)
       Homage a Pedro Aguilera 
       I. Adagio-Allegro           
       II. Adagio             
       III. Presto             
    4. Angelo Gilardino (1941)  
       Sonata del Guadalquivir            
       a Gianvito Pulzone
       I. Memorias               
       II. Leyendas               
       III. Lejanías                
    Registrazione: 8 Agosto 2018 - 15 Dicembre 2018, Clab Studios, Angelo De Cosimo, Foggia (FG), Italy www.clabstudios.it
    Chitarra: Santos Hernandez 1924 copia, John Ray
    Preview dal canale YouTube di Da Vinci Publishing:
     
     

    Salut d'amour - Grondona e Ciccolini

    Interpreti:
    GRONDONA STEFANO (chitarra)
    CICCOLINI ALDO (piano,cembalo)
      Titolo: Prélude (1925) per chitarra
    Autore: PONCE Manuel - (1882-1948) MESSICO
    Anno di registrazione: 2018
    Tipo di registrazione: D
    Titolo: Prélude para guitarra y clavecin (1926)
    Autore: PONCE Manuel - (1882-1948) MESSICO
    Anno di registrazione: 2018
    Tipo di registrazione: D
    Titolo: Sonata para guitarra y clavecin (1930)
    Autore: PONCE Manuel - (1882-1948) MESSICO
    Anno di registrazione: 2018
    Tipo di registrazione: D
    Titolo: Tonadilla op 170 n.5 (1954) On the name of Segovia
    Autore: CASTELNUOVO TEDESCO Mario - (1895-1968) - Firenze - ITALIA
    Anno di registrazione: 2018
    Tipo di registrazione: D
    Titolo: Fantasia op 145 (1950) chitarra e piano
    Autore: CASTELNUOVO TEDESCO Mario - (1895-1968) - Firenze - ITALIA
    Anno di registrazione: 2018
    Tipo di registrazione: D
    Titolo: Alba (1954) per chitarra
    Autore: HAUG Hans - (1900-1967)
    Anno di registrazione: 2018
    Tipo di registrazione: D
    Titolo: Fantasia (1957) pour guitare et piano
    Autore: HAUG Hans - (1900-1967)
    Anno di registrazione: 2018
    Tipo di registrazione: D
    Titolo: Salut d'amour op 12 (1888) (arr. S. Grondona)
    Autore: ELGAR Edward - (1857-1934) - Broadheath - INGHILTERRA
    Anno di registrazione: 2018
    Tipo di registrazione: D

     

    Gebeth, Romatic music for guitar

    Interpreti:
    SUSANI GIACOMO (chitarra)
     
    Titolo: An Marvina
    Autore: MERTZ Johann Kaspar - (1806-1856) - GERMANIA
    Anno di registrazione: 2017
    Tipo di registrazione: D
    Titolo: Studio per chitarra (più allegro)
    Autore: MERTZ Johann Kaspar - (1806-1856) - GERMANIA
    Anno di registrazione: 2017
    Tipo di registrazione: D
    Titolo: Unruhe
    Autore: MERTZ Johann Kaspar - (1806-1856) - GERMANIA
    Anno di registrazione: 2017
    Tipo di registrazione: D
    Titolo: An die Entfernte
    Autore: MERTZ Johann Kaspar - (1806-1856) - GERMANIA
    Anno di registrazione: 2017
    Tipo di registrazione: D
    Titolo: Capriccio per chitarra
    Autore: MERTZ Johann Kaspar - (1806-1856) - GERMANIA
    Anno di registrazione: 2017
    Tipo di registrazione: D
    Titolo: Gebeth
    Autore: MERTZ Johann Kaspar - (1806-1856) - GERMANIA
    Anno di registrazione: 2017
    Tipo di registrazione: D
    Titolo: Lied ohne Worte
    Autore: MERTZ Johann Kaspar - (1806-1856) - GERMANIA
    Anno di registrazione: 2017
    Tipo di registrazione: D
    Titolo: Elegie
    Autore: MERTZ Johann Kaspar - (1806-1856) - GERMANIA
    Anno di registrazione: 2017
    Tipo di registrazione: D
    Titolo: Studio n.1 in DO per chitarra
    Autore: REGONDI Giulio - (1822-1872) - ITALIA
    Anno di registrazione: 2017
    Tipo di registrazione: D
    Titolo: Studio n.4 in MI per chitarra
    Autore: REGONDI Giulio - (1822-1872) - ITALIA
    Anno di registrazione: 2017
    Tipo di registrazione: D
    Titolo: Studio n.6 in re per chitarra
    Autore: REGONDI Giulio - (1822-1872) - ITALIA
    Anno di registrazione: 2017
    Tipo di registrazione: D
    Titolo: Reverie (notturno per chitarra op 19)
    Autore: REGONDI Giulio - (1822-1872) - ITALIA
    Anno di registrazione: 2017
    Tipo di registrazione: D

    Ceras ambiguas - Fascinaciòn para guitara, Domenico Scaminante

    Ceras Ambiguas, fascinatiòn para guitara
    (C) 2019 – AEC
    Anno di pubblicazione: 2019
    Etichetta discografica: AEC
    Chitarra: Antonino Scandurra
    Ceras Ambiguas, fascinatiòn para guitara realizza la nuova produzione AEC che si aggiunge alle mie precedenti release discografiche, dedicate alle opere per chitarra sola del compositore Carlo Francesco Defranceschi.
    Maggiori informazioni: http://www.pilesmusic.com/
                                                https://music.apple.com/us/album/ceras-ambiguas-fascinaciòn-para-guitara-deluxe-single/1469820511?ign-mpt=uo%3D4
     
     

    Torroba - Sonata Fantasia and the early guitar works, Pietro Locatto

    L'etichetta discografica Stradivarius pubblica l'esordio discografico del chitarrista italiano Pietro Locatto.
    Il CD contiene le seguenti composizioni per chitarra del compositore madrileno Federico Moreno Torroba (1891-1982). Più nello specifico questa è la tracklist:
     
    Suite castellana (1920) Sonatina per chitarra (1923) Preludio per chitarra (1928) Notturno (1926) per chitarra Serenata burlesca (1928) Madronos para guitarra (1929) Pièces caractéristiques (1931) Sonata fantasia (1953) Burgalesa (1928) Numero di catalogo: STR 37127

    Novecento Guitar Sonatinas, Cristiano Porqueddu

    Novecento Guitar Sonatinas
    (C) 2019 – Brilliant Classics
    Anno di pubblicazione: 2019
    Etichetta discografica: Brilliant Classics
    Periodo: 21 Settembre 2016 - 18 Settembre 2018
    Sede: Chiesa della Solitudine (NU)
    Chitarra: Giuseppe Guaglardo 
    Corde: Augustine Imperials
    Novecento Guitar Sonatinas è un cofanetto di 4 CD contenente una selezione di diciassette sonatine per chitarra sola di autori del XX e del XXI secolo. Si tratta del terzo tassello del progetto discografico decennale Novecento Guitar. La release è distribuita da Brilliant Classics.  La tracklist completa è disponibile da questo link. 

    Novecento Guitar Sonatinas è il terzo tassello della serie di pubblicazioni discografiche "Novecento Guitar". La serie prevede le seguenti uscite:
    Novecento Guitar Preludes (2012) Novecento Guitar Sonatas (2014)  Novecento Guitar Sonatinas (2019) Novecento Guitar Variations (2022)
     
    Dal sito dell'editore:
    This survey is the sequel to comparably comprehensive Brilliant Classics collections of 20th-century guitar preludes (BC9292) and sonatas (BC9455). The sonatinas included take their place as part of a long process of study conducted by Cristiano Porqueddu over the past few years. The high percentage of world premiere recordings - more than half of the entire tracklist - should give a good idea of how the research was conducted: as with the two previous releases, space has been given to those works that rarely appear either in concert or on record, in order to give voice to a considerable amount of excellent music almost completely ignored. Porqueddu made a longlist of over 60 sonatinas by 20th-century and by living composers, before narrowing down the final choice to the 17 performed here. 

    Before Porqueddu, of course, there was the pioneer of modern guitar performance a century ago, Andres Segovia, who commissioned and inspired countless composers to write for him. One of those was the English composer Cyril Scott, and while Segovia expressed some misgivings about the result – ‘I’m not head over heels about it’, he wrote to his friend Manuel Ponce – the three-movement Sonatina makes a fine test of any guitarist’s musicianship and effectively inhabits the Spanish guitar tradition with its mysterious slow introduction and hypnotic central, Flamenco-style slow movement. 

    The sonatinas by Mark Delpriora, Carlos Surinach and Albert Harris that follow on CD1 are no less compressed in expression, using the sonatina form to pack ideas into ten minutes that would occupy half an hour in the hands of lesser composers. The seven works of Angelo Gilardino that occupy CDs 2 and 3 are more expansive, though full of character, testifying to the unique relationship between composer and performer: Porqueddu himself. On CD4, the pieces by Alfredo Franco and Franco Cavallone were also composed with Porqueddu in mind, while the Sonatina Lirica by Segovia’s English pupil Chris Duarte is a hidden gem. 

    ‘a most compelling collection from five composers, none of whom were guitarists… coruscating variety, fine recorded sound and lovingly shaped playing.’ MusicWeb International (Preludes). 

    ‘Porqueddu’s work is once more of excellent quality and shows how he is able to create individual interpretations of contemporary repertoire.’ Seicorde (Sonatas). 

    Another unique concept, compiled and performed by Cristiano Porqueddu: 20th Century Guitar Sonatinas. 
    Presented on 4 CDs are Sonatinas by Cyril Scott, Mark Delpriora, Carlos Surinach, Virgilio Mortari, Albert Harris, Angelo Gilardino, Alfredo Franco, John Duarte, Vitaly Kharisov and Franco Cavallone. 
    Although very different in style these sonatinas present, in their concise format, all the vibrant energy and inventiveness of the 20th century. 
    Played with supreme command over style and technique by master guitarist Cristiano Porqueddu. 
    Earlier successful issues by Porqueddu are “20th century Guitar Preludes”, “20th century Guitar Sonatas” and Easy Studies for Guitar. 
    A great opportunity to collect original guitar repertoire by a great diversity of composers in one set!

    Gilardino: Music for Guitar Quartet, Quartetto Santorsola

    La casa discografica Brilliant Classics pubblica il CD Gilardino: Music for Guitar Quartet contenente opere per quartetto di chitarre del compositore contemporaneo @Angelo Gilardino
    La tracklist:

    Dal sito dell'editore:
    Premiere recordings of original music and transcriptions, all imbued with the Mediterranean colour and flamboyance of the guitar quartet genre and played with polish by a renowned Italian ensemble. 
    Born in 1941, Angelo Gilardino enjoys an extensive discography on Brilliant Classics, which has won international acclaim both for the beauty of the music and the authority and sensitivity of the performances. 'Listen with confidence,’ said the online-jazz.net journal of a trio of guitar concertos (BC94747): ‘Here is transparent art, which does not feel the need to raise its voice: art masterfully built, but in which vitality springs forth. His prime expressive vehicle is the guitar, and he is an absolute master of all its secrets. The album may be enjoyed with uninterrupted pleasure. It represents a perfect introduction to the world of this remarkable composer, who has enriched the Italian tradition with music of real inspiration and high craftsmanship.’ 
    In 2008 Gilardino arranged a set of his solo studies based on the music of Mauro Giuliani and dedicated them to the ensemble on this album, the Quartetto Santórsola. They comprise seven brief pieces, with a dashing tarantella at their heart. The year previously, he had written a three-movement Sinfonietta expressly for guitar quartet, in which each movement pays tribute to an inspirational figure in the history of the instrument from the early part of the last century: Ferenc Farkas, Alexander Tansman and finally Teresa de Rogatis, evoking their musical personalities and playing styles within a fast-slow-fast design that makes for a substantial work in its own right. 
    Gilardino’s own work is complemented here by his transcription of ‘Andalucia’, a piano cycle by the Cuban composer Ernesto Lecuona. As Gilardino himself observes in a booklet essay, the cycle belongs to the Spanish heritage of Albéniz and Granados. ‘It seemed appropriate to make this version for four guitars that, while not competing with the dynamic range of the piano original, nonetheless lives up to the colour and brilliance of Lecuona’s inspiration.’ 
    Angelo Gilardino is one of the most important guitar composers of the last half century. His unique style is a blend of the old and new, folk art and contemporary music, from Mozart to Messiaen, all his works are illuminated by a warm and mediterranean glow, a feeling of humanity and love for life. 
    This new recording presents works for 4 guitars: the Sinfonietta, containing musical portraits of Ferenc Farkas, Alexandre Tansman and Teresa de Rogatis; the Sonetti Giuliani, inspired by the Studies by Mauro Giuliani, and Gilardino’s transcription for 4 guitars of the cycle Andalucia by Ernesto Lecuona, atmospheric evocations of the Alhambra, Cordoba and others. 
    Excellent performances by the Quartetto Santórsola, consisting of 4 young Italian guitar virtuosos.

    Mario Castelnuovo-Tedesco, Angelo Marchese

    La casa discografica Da Vinci Publishing pubblica il nuovo CD del chitarrista italiano @Angelo Marchese interamente dedicato alla musica di Mario Castelnuovo-Tedesco.
    La tracklist completa:

    Dalle note introduttive
    This cd program is dedicated to the solo guitar music composed by Mario Castelnuovo-Tedesco, who devoted great part of his work to the six strings instrument. The performer here undertakes those compositions that didn’t have a place – or they only had a little one- into the repertoire of their famous inspirer – Andrés Segovia. They didn’t actually have the same celebrity of other works by the Florentine master, such as Sonata (Omaggio a Boccherini), Capriccio Diabolico (Omaggio a Paganini), Tarantella, Concerto n. 1 in Re per chitarra e orchestra, Quintetto per chitarra e archi and Platero y yo. That doesn’t mean that the other Castelnuovo-Tedesco’s compositions were less valiant and worthy. Andrés Segovia himself , while praising their beauty and formal perfection, regretted he couldn’t include them into his programs since – travelling a lot for his work- he didn’t have the necessary time to renew his repertoire. Castelnuovo-Tedesco and Segovia met in Florence between 1928 and 931, in the house of Passigli, a patron. Anyway, it was only in 1932, when they met in Venice on the occasion of the contemporary music festival, that the great guitarist asked the already famous author for a piece. Segovia didn’t directly talk to Castelnuovo-Tedesco, but to his wife, Clara, praising her to be his ambassador. The composer was really glad to accept his proposal and, one month later, Segovia, who was at that time living in Geneva, already had the manuscript of the Variazioni attraverso i secoli. With a great ease, Castelnuovo-Tedesco, by the reading of Variazioni su un tema di Mozart by Fernando Sor and Variazioni e Fuga sulla Follia di Spagna by Manuel M. Ponce- just published- had been able to take possess of the guitar writing and he so imagined his idiomatic coordinates to astonish Segovia, who immediately honoured Castelnuovo-Tedesco’s new work. Segovia really felt at ease with the initial Ciaccona – recalling the Italian Baroque_- with the Schubertian Preludio, with the Walzer full of Viennese moods. But maybe he, who deeply wanted his understimated instrument to gain an ancient and regal dignity- felt a little embarrassed with the final Fox Trot that seemed to have been conceived for a jazz orchestra. And so, between 1934 and 1939, Segovia asked to Castelnuovo-Tedesco those compositions (we have already mentioned before ) that would have accompained him all along his glorious career. And he obviously put aside those Variations ( that he really liked ), because of their impertinent conclusion (that he didn’t like at all) . Emigrated into the United States in 1939, and settled in Beverly Hills in 1940, Castelnuovo-Tedesco got back in touch with his guitarist friend (who in the meanwhile had moved to Montevideo). So he started again to compose pieces for him and in 1943 he wrote the beautiful Serenata per chitarra o orchestra da camera, which is unfortunately still neglected. His muse and the Segovian rigid control, moved hin to compose many pages for solo guitar, among which those ones we can listen in this programme.
    The magnific Rondò was born in 1946. Since the compositions of the previous decade it was just clear that Castelnuovo-Tedesco, in treating an instrument with so restricted polyphonic features, wasn’t willing to renounce to any details of his artistic profile. But it wasn’t enough for him. It was actually writing this piece for Segovia that he reached his apex into the construction of a rondo-form, elevated to the highest degree of architectonic knowledge, with precious marquetries between refrains and strophes. He himself called it his “rondo’ model” that to the perfection of the design joined the fascination of themes and melodic digressions.
    On the background we can glimpse the shadow of one of the favourite masters of Castelnuovo-Tedesco, Felix Mendelssohn. And the performers are here right in their soft acting, with a barcarolle allure also in the rapid figurations , without any form of inappropriate virtuosity.
    In 1955, the Florentine master composed two works full of fancy and colours: Tre Preludi Mediterranei and Suite of Spanish Dances from the XVI Century (after Cervantes) entitled Escarraman. These three pieces weren’t commissioned to him by Segovia but by the musical publishing. The Preludi Mediterranei were actually dedicated to Renato Bellenghi, owner of Edizioni Musicali Forlivesi; Escarraman was instead commissioned by the New York’s branch of the Ricordi publisher. The Preludi Mediterranei can be defined – with metaphorical license – as “paintings”, and Escarraman is instead a sort of dance arose from literature.
    Really sensitive to the suggestions coming from other forms of art, in his Preludi the composer evoked the myths of the Italian sea. His willing is especially clear in Nenia, the tender aulodia in which is not difficult to recognize some reminiscences of the wonder lyric by his master Ildebrando Pizzetti entitled I pastori (on the text by D’Annunzio), and in the tumultuous dance of the third Preludio, recalling memories of pagan feasts. The
    poetical origins of Escarraman is instead a little more cryptic. The composer was moved by his dear friend Arturo Loria, a writer, to read the Miguel de Cervantes’ intermezzo, El rufián viudo, in which the great Spanish dealt with the picaresque genre. During a banquet, in which a mournful widower finds his new consort among the approval of less than reputable tablemates, Escarraman suddenly appears. He seems to be able to express is controversial nature of brigand, escaped convict and, at the same time, devoted peregrine marching toward a faraway sanctuary , mainly through his dance skill rather than through the autobiographical description (“This is the tale of my strange history/worthy of being treasured in my memory”). Accompanied by two guitarists he throws himself into the feats of the baile, raising the general wonder. Castelnuovo-Tedesco images the music for this dance, in which popular rhythms and courtly style merge, recalling the splendors of the Spain of the Siglo de oro.
    In 1956, Segovia asked to his friend to compose a Passacaglia. He was really sad about the ugliness of another Passacaglia written for him by a famous Spanish composer. So he tried to find consolation in Castelnuovo-Tedesco, who helped him with the Omaggio a Roncalli. This title is full of cultural references: Roncalli, Bergamasque guitarist and composer of the end of the XVII Century, was the author of that Passacaglia of which Ottorino Respighi had made a splendid version for strings into the first of his three suites intitled Antiche Arie e Danze per liuto. A story that isn’t Spanish at all but rather mostly Italian….
    - Angelo Gilardino
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    • ciao a tutti come mi si vede anche nella foto profilo, non suono la chitarra classica ma un appalachian dulcimer dal 2014, che poi non e' piu' nemmeno quello perche' circa un anno fa ho fatto e fatto fare una serie di modifiche piuttosto importanti. tecnicamente, ora e' uno strumento a cantini e bordoni, come la ghironda (che e' il mio altro strumento) e la cornamusa, appartenente alla famiglia di epinette des voges, hummel, scheitholt, langspiel eccetera: invece di avere corde su diverse intonazioni per fare accordi (come sul dulcimer degli appalachi in origine) ci sono uno o piu' cantini, che vengono suonati premendo la corda con un bastoncino di legno, e un numero variabile di bordoni su accordature varie. le corde vengono suonate tutte assieme con un plettro oggigiorno o con una piuma nel passato. cio' premesso, che puo' essere piu' o meno interessante :D, sono qua per un consiglio su che corde utilizzare sul mio strumento nello specifico. il mio dulcimer ha 2 cantini in re4 in metallo e 4 bordoni (sol3 in metallo, do3 in nylon, re3 e sol2 nylon rivestite), ci suono musica folk da ballo, per cui con ritmi e strumming piuttosto intensi e sostenuti prima tutte le corde erano in metallo, ho voluto provare a montare dei bordoni in nylon e mi sono state consigliate corde da chitarra classica con risultati ottimi, i cantini e i bordoni ora sono bilanciati anche in acustico il negozio locale di strumenti musicali per i due bordoni bassi mi ha consigliato la quarta e la quinta per chitarra classica della augustine, busta rossa: funzionavano molto bene ma sono entrambe gia' saltate, e non capisco se perche' non sono adatte al diapason del dulcimer (657mm (26"7/8) quindi, se non sbaglio, analogo a quello di una chitarra classica) o per l'uso improprio... che corde potrei montare per un uso "intensivo" e quotidiano e, oserei dire, non troppo dispendiose? grazie! (per far capire la tecnica noter/drone ecco un mio esempio:     
    • A cura della KORDIUK GUITAR PLATFORM, l'intervista ad @Angelo Gilardino. I contenuti: 00:30 La prima esperienza con la musica 05:39 Le attività di Angelo Gilardino 07:55 Andrés Segovia  10:29 Citazione di Mario Castelnuovo-Tedesco 13:16 Mario Castelnuovo-Tedesco 15:03 Sullo stile compositivo 20:50 Il processo dello scrivere 26:02 Atteggiamento verso i suoi lavori 27:49 Gli “Studi di virtuosità e di trascendenza” 33:04 Perché scrivemusica 34:34 Angelo Gilardino legge poesie 36:25 Alexander Tansman 40:54 Pubblicazioni e ricerca sul repertorio per chitarra 42:13 Aneddoti 44:09 Lavori in veste di editor 49:04 Sui conservatori 50:25 L'interpretazione della sua musica 53:12 Sull'interpretazione 55:34 Le epoche dei chitarristi-compositori 58:30 Blitz-section  01:00:46 Il CD omaggio e una domanda da Gilardino 01:02:18 Le fonti di ispirazione di Angelo Gilardino  
    • Angelo Gilardino (1941) - SARDEGNA - Suite per Chitarra Sola  È con grande piacere che pubblico la prima registrazione assoluta di "SARDEGNA - Suite per Chitarra Sola", composizione di Angelo Gilardino di cui sono il dedicatario. L'opera è parte integrante di un importante progetto di respiro internazionale di cui renderò noti i dettagli a breve. La suite si articola in cinque movimenti: I. Mari II. Nuraghe III. S'Ardia IV. Su soli est calau V. Ciamma Chi desidera altre informazioni può trovarle qui.
    • Non so se è ancora aperta questa discussione ma la vedo solo ora. Da tempo mi sto misurando con questo argomento. Condivido quanto sostiene il maestro Gilardino per quanto riguarda la poca,o quasi nulla, possibilità di sviluppo che può dare l'uso delle sole corde vuote. D'altra parte anche lo stesso compositore vi ha dedicato i primi due  dei suoi studi facili a fini didattici , sapientemente trattate musicalmente e simbolicamente, inoltre  le ha usate in brani molto importanti straordinariamente per urgenze compositive. Forse in alcune musiche di tradizioni etniche che usano le scale pentatoniche  e gli ostinati potrebbero anche dare luogo a brani di ampio respiro. Non per autoreferenzialita' ma vorrei evidenziare un mio lavoro editoriale dal titolo "Imparo la chitarra nel Paese delle Corde Vuote"dove ci sono dei brani e degli spunti per inventare musiche con le sole corde vuote sullo sfondo integratore di una fiaba.Non un metodo quindi, ma una occasione per riflettere sul tema con il decisivo intervento di un insegnante curioso e preparato.Saluti Francesco Stumpo.
    • Il chitarrista italiano Giovanni Martinelli interpreta Scala dei Turchi il primo movimento  della suite per chitarra "Trittico Siciliano" di  Kevin Swierkosz-Lenart (1989)      
    • Inusitato ensemble, colto repertorio, ricercata interpretazione! Bravi Fabio ed Angelo!
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