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    Discografia per chitarra

    Johann Kaspar Mertz Gitarrenduos, Duo Ghiribizzo

    E' uscito per l'etichetta MAP il nuovo CD del Duo Ghiribizzo - Paola Minussi e Joachim Geissler, chitarre dell'800.
    Il CD contiene tutti i sedici brani originali e completi per due chitarre, suonati su strumenti d'epoca.
    Johann Kaspar Mertz (1806-1856) - gitarrenduos
    01.    Der Ball 02.    Ständchen 03.    Unruhe 04.    Vespergang 05.    Impromptu Nänien: 06.    No. 1 Am Grabe der Geliebten 07.    No. 2 Ich denke Dein 08.    No. 3 Trauermarsch 09.    Première Grande Fantaisie concertante «La Rage» 10.    Erinnerung an Ungarn, Band 1 11.    Erinnerung an Ungarn „Nationalmelodien“, Band 2 12.    Deutsche Weise 13.    Tarantelle 14.    Wasserfahrt am Traunsee 15.    Barcarole 16.    Mazurka J.K. Mertz è da sempre uno dei nostri compositori preferiti, fin da quando nel 1998 abbiamo fondato il Duo Ghiribizzo e abbiamo deciso di dedicarci al repertorio dell?Ottocento e agli strumenti originali dell?epoca romantica. Mertz occupa un posto speciale nel nostro repertorio e nei nostri cuori, perchè le sue composizioni per duo di chitarra rivelano un artista pi? attento alla poesia e all'introspezione intimistica che a un virtuosismo strumentale fine a se stesso. 
    In occasione del nostro decimo anniversario di attività abbiamo deciso di regalarci questa incisione e di realizzare un desiderio che avevamo in serbo da lungo tempo. Nasce cos? questa registrazione, nella quale abbiamo scelto di interpretare 16 composizioni per duo tra le 21 fino a oggi conosciute, rivolgendo la nostra attenzione solo alle opere originali e complete.
    J.K. Mertz ? una personalit? di spicco per la chitarra romantica e proprio per questo stupiscono la variet? e la discrepanza di alcune notizie fondamentali riguardanti la sua persona e la sua biografia, a partire dal suo stesso nome. Gi? le iniziali ?J.? e ?K.?, con le quali il compositore firmava le proprie opere, danno origine a numerosi e differenti interpretazioni: spesso troviamo Johann Kaspar, ma compaiono anche Johann Kasper, Jan Kaspar, Caspar Joseph, Joseph Kaspar, J?nos G?sp?r ecc. Noi abbiamo scelto di riportare le due iniziali cos? come sono da lui apposte alle proprie composizioni. 
    Anche la nazionalit? di Mertz varia dall?una all?altra fonte: chi lo ritiene austriaco, chi ungherese, chi slovacco o tedesco; certo ? che nacque nel 1806 a Pressburg (oggi Bratislava, Slovacchia), citt? che a quel tempo faceva parte del regno ungherese. 
    All?epoca l?Ungheria era un Paese multiculturale, che accoglieva popolazioni di diverse etnie: in particolare Pressburg ? citt? di confine, a 65 chilometri da Vienna ? era abitata per il 75 per cento da una popolazione di etnia tedesca e nel centro della citt?, dove viveva la famiglia del compositore, tale percentuale saliva addirittura al 100 per cento.
    Nel 1840 Mertz si trasferisce a Vienna, deciso a imprimere una svolta alla propria carriera. Qui ottiene il successo desiderato e inaugura una serie di tourn?e che lo portano in Prussia, Boemia, Moravia e Russia. 
    Nel 1842 si trova a Dresda e incontra Josephine Plantin, pianista concertista. I due si sposano a Praga nello stesso anno e proseguono la loro attivit? concertistica anche insieme. Negli anni successivi la loro vita ? segnata dagli alti e bassi dovuti al periodo storico travagliato e alla salute malferma del compositore. Nel 1846 ? diagnosticata a Mertz una neuralgia e gli ? prescritta una cura a base di stricnina. La moglie non ha familiarit? con questo medicinale e gliene somministra una dose eccessiva che quasi lo uccide. Mertz si salva ma la convalescenza che ne segue ? lunga e la sua salute ? compromessa al punto che sar? costretto in diverse occasioni a soggiorni di cura.
    Nel 1848 Mertz riesce a riprendere la propria attivit? di concertista e insegnante, ma questa volta sono i rivolgimenti politici ad assestare un altro duro colpo alla sua carriera. J.K. Mertz prosegue comunque la propria attivit? fino al 1856, anno in cui muore a Vienna.

    Ferndinand Rebay Oboe and Guitar, Sanchez, Pilar- Noque

    La major discografica Naxos ha recentemente pubblicato un CD che raccoglie le opere per oboe e chitarra di Ferdinand Rebay
     
    Tracklist completa:
    Oboe Sonata in E minor
    Sanchez, Maria Pilar, oboe
    Noque, Gonzalo, guitar
    1. I. Lebhaft bewegt, doch nicht zu schnell 00:08:21
    2. II. Menuett - Trio 00:04:12
    3. III. Sehr ruhig, doch nicht schleppend 00:03:44
    4. IV. Rondo: Frisch bewegt 00:07:07
     
    Oboe Sonata in C major
    Sanchez, Maria Pilar, oboe
    Noque, Gonzalo, guitar
    5. I. Allegro moderato 00:09:07
    6. II. Langsam und ausdrucksvoll 00:04:00
    7. III. Scherzo: Presto - Trio 00:03:22
    8. IV. Finale: Rondo: Allegretto grazioso 00:06:22
     
    Bach, Johann Sebastian
    Rebay, Ferdinand, arranger(s)
    [show Details] Concerto in the Italian Style in F major, BWV 971, "Italian Concerto": II. Andante (arr. F. Rebay for oboe and guitar)
    Sanchez, Maria Pilar, oboe
    Noque, Gonzalo, guitar
    9. Concerto in the Italian Style in F major, BWV 971, "Italian Concerto": II. Andante (arr. F. Rebay for oboe and guitar) 00:06:07
     
    Dal sito dell'editore:
    After his death in 1953, the figure of Austrian composer Ferdinand Rebay faded into obscurity, his name associated only with the numerous piano reductions he produced for the publisher Schott. This only changed in recent years when Johann Gaitzsch, his interest in Rebay piqued after guitarist and publisher Simon Wynberg introduced him to the Sonata in E minor for oboe and guitar, published two articles¹ which shed new light on a prolific and talented composer, whose music for and with guitar occupies a unique and outstanding place in that instrument’s repertoire, in terms of both quality and quantity. (Most of the biographical information in these notes is drawn from Gaitzsch’s articles.)
    Born in Vienna on 11 June 1880, Rebay studied both the violin and the piano (the latter with his mother, Therese Rebay, who had herself been taught by Anton Bruckner). His father, another Ferdinand Rebay, owned a music shop and was also a partner in the publishing firm Rebay & Robitschek. In 1890, at the age of ten, the young Ferdinand became a chorister at Heiligenkreuz Abbey, where over the next five years he received a thorough musical education and became a solo alto. By the time he joined Joseph Hofmann’s piano class at the Vienna Conservatory (today’s Universität für Musik und darstellende Kunst) in 1901, Rebay had already begun to make a name for himself as a composer of Lieder and choral works. He went on to study composition at the Conservatory with Robert Fuchs (1847–1927), one of the few composers praised by Brahms and who also counted Mahler, Sibelius, Richard Strauss and Korngold among his star pupils. During this period of study with Fuchs, Rebay was awarded a number of prizes, including the Brahms Prize and the Gesellschaft der Musikfreunde’s silver medal.
    In 1904 he concluded his studies in triumph with his final academic work, Erlkönig, for large orchestra, which Fuchs labelled the finest work to have been produced in his 29 years at the Conservatory. In the same year Rebay became chorus master of the Wiener Chorverein. Some years later, in 1915, he took on the same rôle with the Wiener Schubertbund, remaining in the post until 1920 when he was appointed to teach the piano at the Vienna Music Academy.
    Following the Nazi Anschluss of Austria in 1938, Rebay lost his job (he was reinstated in 1945) along with his pension, probably because he was thought to have had Jewish origins. He died in Vienna, on 6 December 1953, penniless and unknown.
    Most of Rebay’s vast production survives in manuscript versions held by the Austrian National Library and the library of Heiligenkreuz Abbey. Though he also wrote choral works, symphonies, an operetta, works for piano and piano four hands, and chamber works for various combinations of instruments, it is noteworthy just how many pieces he wrote for the guitar, probably encouraged by his niece, the guitarist Gertha Hammerschmied (1906–85). There are works for solo guitar (including seven sonatas), Lieder and choral works with guitar, and chamber works for two to seven players featuring the instrument. All in all, a veritable treasure trove which has lain undiscovered for years and is only now being brought back into the public domain, thanks to the efforts of Philomele Editions.
    Rebay’s style would definitely be classed as conservative, bearing in mind the musical revolutions that took place in the first half of the twentieth century. Brahms’s influence is very clear and, employing Classical and even Baroque forms such as the suite, his compositions frequently incorporate elements borrowed from German and Austrian folklore, with occasional touches of Impressionism as well. His guitar music, with its Brahmsian roots (virtually unique in the repertoire) combined with a sophisticated compositional technique, has therefore forged its own highly significant place in the history of the instrument.
    The works included here constitute Rebay’s entire output for the unusual instrumental combination of oboe and guitar. In addition to their intrinsic high quality, they are particularly notable for their quasi-pianistic treatment of the guitar, taking it far beyond its more usual function as an accompanist. As a result, these pieces are full of dialogue and enlivened by an admirable variety of textures.
    The E minor Sonata, composed in 1925 and dedicated to Alexander Wunderer, then principal oboist with the Vienna Philharmonic, was first performed on 31 March of the same year in Vienna by its dedicatee and guitarist Hans Schlagradl. Cast in the traditional four movements, it opens with a movement in sonata form (Lebhaft bewegt, doch nicht zu schnell) and of profoundly Germanic character, containing a delightful second subject and a concise development section defined by tonal instability. This is followed by a traditional Menuet and Trio, with some remarkably virtuosic writing for the guitar, full of complex passages in thirds and sixths. The slow movement, headed Sehr ruhig, doch nicht schleppend, is an emotional, cantabile piece in B minor, with a central section whose immobility emphasises the moving lyricism of the recapitulation that brings the movement to a close. The sonata ends with a Rondo in E major. A strong contrast to its martial symbolism (reminiscent of that of Wagner’s Ride of the Valkyries) is provided by a short central section in A flat in which folk-inspired elements prevail.
    There is a long gap between the E minor Sonata and the Sonata in C major (dated 17 January 1942), and the latter work consequently reflects a more open attitude towards other musical styles on the part of the composer. This sonata includes a number of Impressionistic elements, for example, which bring it a certain contemplative and nostalgic air, as can be heard in the opening movement, an Allegro moderato whose lyrical nature is very different from the martial tone that introduces its counterpart in the E minor Sonata. The slow movement, Langsam und ausdrucksvoll, is placed second here; a delicate piece with a Mediterranean feel, it recalls at times the writing of the Italian composer Mario Castelnuovo-Tedesco, while its central section is pure Brahms. The following Scherzo brings a return to the Germanic features of the earlier sonata, with some brilliant imitative play between the two instruments leading to a trio which, if not explicitly indicated so, nevertheless takes us into the world of the Ländler. To end, Rebay brings us back to the thoughtful nature of the first movement by means of a Rondo whose frequent changes of tempo and character, as well as its unexpected modulations, give it a fragmented aspect not often found in finales.
    The recording ends with an arrangement for oboe and guitar of the slow movement from Bach’s Italian Concerto. In this insightful adaptation, the pairing call to mind the quintessentially Baroque sonorites of sonatas for oboe and continuo.
    -Gonzalo Noqué

    Federico Moreno Torroba, Mikko Ikäheimo

    Nuovo CD dedicato alla musica di Federico Moreno-Torroba del chitarrista-liutaio Mikko Ikäheimo edito da Pilfinks Records
    Tracklist:
    Tres Nocturnos
    1. Hogueras 8,56 2. Sombras 5,07 3. Brujas 8,45   Castillos de España
    4. Montemayor - Romance los Pinos 2,08 5. Manzanares del Real - A la Moca Fermosa 1,16 6. Calatrava - Festiva 2,58 7. Simancas - Juglaresca 2,11 8. Sigüenza - La Infanta Duerme 2,07 9. Turégano - Serranilla 2,55 10. Zafra - Fantasmas 2,22 11. Rebada 1,49 12. Alcázar de Segovia - Llamada 3,06 13. Alba de Tormes - Trova 1,47 14. Alcañiz - Festiva 1,44 15. Javier - Evocación 4,48 16. Olite 2,20 17. Torija - Elegía 2,37 Mikko Ikäheimo, guitarra
    Rody van Gemert, guitarra (1-3)
    Aholansaari sinfonietta, director Jyri Nissilä (1-3)
    Anteprima:
     
     

    Entre Senderos, Hector Murrieta

    L'etichetta discografica  Naoise Room pubblica Entre Senderos di Hector Murrieta
    Tracklist:
    Manuel de Falla (1876-1946)
    - Homenaje a Debussy
    Written in 1920 in memory of the composer’s friend, C. Debussy.
    Frank Martin (1890-1974)
    - Quatre Pieces Breves
    I.- Prelude
    II.- Air
    III.- Plainte
    IV.- Gigue
    Written in 1933, the music mixes twelve tone techniques without completely abandoning tonality.
    Ernst Krenek (1900-1991)
    - Suite for Guitar Op. 164
    I.- Allegro Moderato
    II.- Andante
    III.- Larghetto
    IV.- Allegretto
    V.- Allegro
    His only work for guitar, written in 1957, a time when the composer started to experiment with serialism.
    Francis Poulenc (1899-1963)
    - Sarabande
    Written in 1960 in a modal style, 3 years before the composer’s death.
    Toru Takemitsu (1930-1996)
    - In the Woods
    I.- Wainscot Pond
    II.- Rosedale
    III.- Muir Woods
    Written in 1995, this work turned out to be the last one he wrote for guitar before losing his battle against cancer, .
     
    William Walton (1902-1983)
    -5 Bagatelles
    I.- Allegro
    II.- Lento
    III.- Alla Cubana
    IV.- Untitled
    V.- Con Slancio
    Written for Julian Bream and dedicated to the composer’s close friend Malcom Arnold, the 5 Bagatelles show the composers imagination and orchestral thinking within the limits of the guitar. Plenty of jazz harmonies and “world” rhythms abound in this rather magnificent work, showing us the ample harmonic/rhythmic palette Walton had at his disposal.
    Anteprime sul canale SoundCloud dell'interprete:
     
     
     

    Sor - Coste guitar duos complete works, Maccari-Pugliese

    L'etichetta discografica Brilliant Classics pubblica il nuovo CD del duo Claudio Maccari e Paolo Pugliese dedicato alle composizioni originali per duo di Napoléon Coste e Fernando Sor.
    Tracklist:

    Dal sito dell'editore:
    Fernando Sor (1778 - 1839) was, along with the Italian Mauro Giuliani, the greatest composer for the guitar at the turn of the 19th century, and his method remains one of the most remarkable publications on guitar technique. Unlike Giuliani, however, Sor wrote little for orchestra (with the exception of his revolutionary chorus Corone la victoria, written when he was in the army resisting the Napoleonic onslaught into Spain, and four ballets), preferring solo or duet genres to concertos. As a lifelong enthusiast of dance and song, many of his works are based on Catalan traditional themes, but he did turn to orchestral works by fashionable composers of the day including Mozart and Daniel Steibelt, arranging dances by them for guitar. The Op.39 set is an example of these transcriptions. Sor travelled widely throughout Europe, including spells in the UK and Russia, and accepted a post in the French administration (like many Spanish intellectuals) after the defeat of Spain. Napoleon Coste (1805–1883) was the son of a French soldier and in 1830 he studied with Sor in Paris where he established a name for himself adapting the newly published (in France) songs of Schubert for guitar and voice. As in the music of his teacher, the spirit of the dance is never far away in Costa’s music, as can be heard in the Scherzo and Pastorale Op.10. The Grand Duo, however, is a late work on a large scale, and is more complex, presenting considerable challenges to the players. 
    Other information: 
    - Of interest to all classical guitar aficionados. 
    - "They are indeed first-rate virtuosi with a wonderful sense of style and musicianship" (Soundboard magazine).
     

    Trascendentia, Cristiano Porqueddu

    Sono lieto di annunciare che il cofanetto Trascendentia (5 CD Set contenente la registrazione integrale dei 60 Studi di Virtuosità e di Trascendenza di Angelo Gilardino) è già negli stock dei rivenditori Brilliant Classics.
    Il cofanetto composto da 5 volume racchiude la prima registrazione assoluta dei 60 Studi di Virtuosità e di Trascendenza di Angelo Gilardino (1941)
    La tracklist completa:
    CD1 (Studi nn.1-12)
    01. Capriccio sopra la lontananza 02. La luna y la muerte 03. Già la pioggia è con noi  04. Elegia di Marzo 05. Omaggio a Béla Bartók 06. Soledad 07. Alborada 08. Omaggio a Alban Berg 09. Fantasia 10. Ophélie 11. Omaggio a Heitor Villa-Lobos 12. Omaggio a Sergej Prokof’ev CD2 (Studi nn.13-24)
    01. Canción triste 02. Mediterranea 03. Canto di Primavera 04. Sacrificio 05. Alleluia 06. El Rosario 07. Jondo 08. Berceuse 09. Leyenda 10. Omaggio a Alexandr Skrijabin 11. Noche oscura      Tombeau de Maurice Ravel 12. Prelude 13. Forlane 14. Chanson 15. Toccata CD3 (Studi nn.25-36)
    01. Ricercare (sui mosaici di Ravenna) 02. Trenodia 03. Elogio di un albatro 04. Maschere 05. Passacaglia 06. Variations nobles et sentimentales 07. Tema con variazioni 08. Embarquement pour Cythère 09. Canción del olvido 10. Saudade 11. Omaggio a Manuel Ponce 12. Italiana CD4 (Studi nn.37-48)
    01. La fleur sur l'eau  02. Meridiana   03. Niebla  04. Sabià  05. Trajes de luces  06. Paesaggio lombardo  07. Regenstimmung  08. Les jardins mysteryeux  09. Les jardins enchantés  10. Les jardins féeriques  11. Le rose sulla neve  12. Mattino di sole  CD5 (Studi nn.49-60)
    01. Paesaggio ligure 02. Vele 03. Le case sull’acqua 04. Chanson rêvée pour le roi des fleurs 05. Les arbres rouges 06. Plany 07. Paesaggio lucano 08. Sera d’autunno 09. Sole di Novembre 10. Lied 11. Grigio lombardo 12. Aubade Anteprima di alcune tracce:
     
    Dal sito dell'editore:
    The composer Angelo Gilardino was born in 1941 and enjoyed a long career as a concert guitarist from 1958–81. As well as composing, he premiered hundreds of new works for the guitar. To date he has written several concertos for his instrument, and many chamber works and sonatas – all featuring one or multiple guitars.
    His impetus to compose came from the composer Castelnuovo-Tedesco, who said that composition would be better for him – he’d discover more about himself – than he would from a life of concert and recital-giving and editing other composers’ works.
    The 60 studies for solo guitar show the rich range of musical, literary and spiritual influences upon Gilardino: Lorca, Rimbaud, Bartók, Ravel, Berg, Gerhard, Villa- Lobos, Prokofiev and Albéniz to name a few.
    A major addition to the catalogue of guitar music on record, this release will be eagerly awaited by students and guitar enthusiasts alike.
    Other information:
    – Premiere release.
    – The guitar remains one of the most popular instruments, and the guitar world is well served by specialist shops and magazines.
    – Includes comprehensive booklet notes on every study.
    • ‘A world-class player.’ SoundBoard magazine, January 2008 on Cristiano Porqueddu
    • Reviews in the major guitar press.

    Mario Castelnuovo Tedesco 24 Caprichos de Goya, Zoran Dukic

    Segnalo questa pregevole incisione dei "Caprichos" di Mario Castelnuovo-Tedesco
    Per quanto mi riguarda mi pare la più convincente fra quelle apparse finora sul mercato.
    Tracklist:
    Disc 1
    Castelnuovo-Tedesco, Mario
    24 Caprichos de Goya, Op. 195
    1.          No. 1. Francisco Goya y Lucientes, Pintor (Francisco Goya y Lucientes, Painter) 00:03:50 2.          No. 2. Tal para qual (Two of a kind) 00:03:57 3.          No. 3. Nadie se conoce (Nobody knows oneself) 00:02:02 4.          No. 4. Ni asi la distingue (Even so he cannot make her out) 00:01:54 5.          No. 5. Muchachos al avio (The boys getting ready) 00:02:37 6.          No. 6. El amor y la muerte (Love and death) 00:03:57 7.          No. 7. Estan calientes (They are hot) 00:02:04 8.          No. 8. Dios la perdone: Y era su madre (God forgive her: and it was her mother) 00:03:40 9.          No. 9. Bien tirada esta (It is nicely stretched) 00:02:59 10.          No. 10. Al Conde Palatino (To the Count Palatine) 00:02:51 11.          No. 11. Y se le quema la casa (And he's burning down the house) 00:02:45 12.          No. 12. No hubo remedio (Nothing could be done about it) 00:06:28 Disc 2
    Castelnuovo-Tedesco, Mario
    24 Caprichos de Goya, Op. 195
    1.          No. 13. Quien mas rendido (Which of them is more overwhelmed) 00:02:34 2.          No. 14. Porque fue sensible (Because she was sensitive) 00:04:12 3.          No. 15. Si sabra mas el discipulo (Perhaps the pupil knows better) 00:03:42 4.          No. 16. Brabisimo! (Bravissimo!) 00:02:50 5.          No. 17. De que mal morira (Of what ill will he die) 00:04:56 6.          No. 18. El sueno de la razon produce monstruos (The sleep of reason produces monsters) 00:05:15 7.          No. 19. Hilan delgado (They spin finely) 00:03:24 8.          No. 20. Obsequio a el maestro (Gift to the master) 00:03:43 9.          No. 21. Que pico de oro! (What a golden beak!) 00:02:31 10.          No. 22. Volaverunt (Off they flew) 00:01:47 11.          No. 23. Linda maestra! (Pretty teacher!) 00:03:03 12.          No. 24. Sueno de la mentira y inconstancia (Dream of lying and inconstancy) 00:05:27

    Isaac Albéniz - la guitarra soñada, Javier Riba

    Le Tritó Ediciones pubblicano il nuovo CD del chitarrista spagnolo Javier Riba.
    Tracklist:
    Iberia   1. Evocación   2. El Puerto   3. Almería España   4. Capricho Catalán Suite Española   5. Cuba   6. Granada Pavana   7. Pavana (Capricho) Suite Española   8. Serenata Española España   9. Preludio   10. Tango
    Dal sito dell'editore:
    Although we don’t know for sure whether Albéniz composed music for guitar, the transcriptions of his music for this instrument have had enormous impact. Tárrega’s transcriptions as performed by guitarists like Segovia have helped to divulge Albeniz’s piano works. This record includes some of these arrangements and other by the guitarist Javier Riba who provides us with an elegant performance on this album .

    Rossiniane, Pot-Pourri (complete), Maccari-Pugliese

    Rossiniane, Pot-Pourri (complete): il cofanetto di 3 CD è stato pubblicato da Brilliant Classics. Contiene le sei Rossiniane e i sei Pot Pourri, la Grand Ouverture e la Gran Sonata Eroica di Mauro Giuliani. Per l'occasione abbiamo suonato da soli e non in duo (come suppongo abbiate arguito).

    Anteprime:
    https://itunes.apple.com/it/album/giuliani-rossiniane-pot-pourri/id792649583
     
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