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  • Discografia

    Discografia per chitarra

    Sauguet: Complete Music for Guitar, Alfonso Baschiera

    Nuova release della casa discografica Brilliant Classics dedicata al repertorio originale per chitarra del Novecento.
    Si tratta del CD singolo dedicato alla musica di Henri Sauguet (1901 - 1989)
    Alfonso Baschiera, chitarra
    Federica Lotti, flauto
    Nicola Boscaro, violoncello
    Henri Sauguet composed for many solo instruments, but writing for the guitar was where his passion lay, describing the instrument as ‘very noble’ and ‘one of the great instruments that belong to all ages’. An eclectic, prolific and original composer, Sauguet’s great gift lay in his ability to construct with just a few notes sound sketches that transcend genres, taking inspiration from a wide pool of trends. Sauguet began composing music for the guitar in 1958 with Soliloque, a vibrant, emotionally charged piece in which tonality and modality intermingle with chromaticism, and continued with the elegant harmonic solutions of Trois Préludes in 1970 and the subtle and expressive neo-modality of Musiques pour Claudel in 1973. These two suites, written to celebrate the French writer Paul Claudel, were followed by Six Pièces faciles in 1975, which was more frivolous in nature but nevertheless evocative, with memorable melodic themes. The crowning note in his guitar music writing career came with Révérence à Johann Sebastian Bach, written in 1985 to celebrate the 300th anniversary of the great German composer’s birth, and Cadence, his final piece for the solo guitar written at the age of 84 and published posthumously in 1990, containing two distinct sections that intertwine, the first part mechanical and regular, the second contemplative and lyrical.
    Sauguet  was a favourite pupil of Erik Satie and Charles Koechlin. Later he became closely related to the famous Groupe des Six, the composers around Poulenc, Auric and Milhaud. His fame spread, and he was commissioned to write ballets for Diaghilev’s Les Ballets Russes and Ida Rubinstein.
    Sauguet’s style is a reflection of the pluriform development of 20-th century music: impressionism, expressionism, Darmstadt School, all had their influence on him. His “native’ language however is one of expressive lyricism, and that warmth of feeling shines through all his works.
    This new recording presents Sauguet’s complete output for guitar: small scale works written in cycles, miniatures of great beauty, originality and strong contrasting feelings.
    La tracklist:
    Info sul sito di Brilliant Classics  >

    Francisco Tárrega Guitar Edition, Giulio Tampalini

    Francisco Tárrega Guitar Edition, Giulio Tampalini
    © 2015 Brilliant Classics
    CD 1-2 Opere originali
    CD 3-4 Trascrizioni
    Compact Disc 1
    1 Capricho árabe 4’36
    2 La alborada 1’49
    3 Marieta (Mazurka) 1’54
    4 Pavana 1’43
    5 María 1’17
    6 Isabel (Waltz) 1’14
    7 La Cartagenera 4’45
    8 ¡Adelita! (Mazurka) 1’29
    9 Rosita (Polka) 1’45
    10 El columpio 2’19
    11 Danza mora 1’57
    12 Gran vals 2’35
    13 Malagueña fácil 2’45
    14 Recuerdos de la Alhambra 5’28
    15 Mazurka in G 2’28
    16 Las dos hermanas (Waltz) 3’31
    17 Minueto 1’25
    18 Paquito (Waltz) 1’56
    19 Pepita (Polka) 1’17
    20 Danza odalisca 2’38
    21 Sueño (Mazurka) 1’26
    22 Vals in D 2’00
    23 Variaciones sobre El Carnaval de Venecia de Paganini 8’04
    Compact Disc 2
    1 Prelude No.1 in D minor 1’10
    2 Prelude No.2 in A minor 1’28
    3 Prelude No.3 in G 0’38
    4 Prelude No.4 in E 0’45
    5 Prelude No.5 in E 1’18
    6 Prelude No.6 in B minor 0’53
    7 Prelude No.7 in A 0’44
    8 Prelude No.8 in A 0’21
    9 Prelude No.9 in A 0’21
    10 Prelude No.10 in D 0’18
    11 Prelude in D 0’26
    12 Prelude in A minor 0’25
    13 Prelude in D 0’36
    14 Lágrima 1’30
    15 Prelude in G 0’41
    16 Prelude in C 0’40
    17 Endecha 0’50
    18 Oremus (transcription of Robert Schumann’s Phantasietanz Op.124 No.5) 0’55
    19 Prelude in A minor 0’22
    20 Prelude in D 0’28
    21 Prelude in A 0’20
    22 Estudio en forma de minueto 1’35
    23 Estudio sobre un estudio de Cramer 1’23
    24 Sueño (Trémolo) 6’22
    25 Estudio sobre una sonatina de Alard 2’14
    26 Estudio de velocidad 1’29
    27 Estudio sobre un tema de La traviata de Verdi 0’58
    28 La mariposa 1’09
    29 Estudio sobre ‘Andante en etude’ de Émile Prudent 2’04
    30 Estudio sobre un fragmento de Schumann 0’52
    31 Fantasía sobre motivos de La traviata de Verdi 6’01
    32 Gran jota de concierto 9’21
    Compact Disc 3
    Transcriptions by Francisco Tárrega
    Frédéric Chopin 1810–1849
    1 Nocturne in E flat Op.9 No.2 4’24
    2 Mazurka in G sharp minor Op.33 No.1 1’23
    3 Mazurka in B minor Op.33 No.4 5’12
    4 Mazurka in A minor Op.67 No.4 3’05
    5 Waltz in A minor Op.34 No.2 4’52
    6 Prelude in E minor Op.28 No.4 1’43
    7 Prelude in B minor Op.28 No.6 1’31
    8 Prelude in A Op.28 No.7 0’36
    9 Prelude in D flat Op.28 No.15 3’56
    10 Prelude in C minor Op.28 No.20 1’06
    Robert Schumann 1810–1856
    11 Fantasiestücke Op.12 No.1 ‘Des Abends’ 2’58
    12 Albumblätter Op.124 No.16 ‘Schlummerlied’ 3’32
    13 Bunte Blätter Op.99 Albumblätter 1’21
    14 Bunte Blätter Op.99 No.1 ‘Nicht schnell, mit Innigkeit’ 1’53
    15 Album für die Jugend Op.68 No.12 ‘Knecht Ruprecht’ 1’25
    16 Novelletten Op.21 No.1 ‘Romanza’ [Tárrega’s title] 1’23
    17 Kinderszenen Op.15 No.7 ‘Träumerei’ 2’03
    Ludwig van Beethoven 1770–1827
    18 Minuet WoO10 No.3 2’04
    19 Piano Sonata No.8 ‘Pathétique’ Op.13 – II. Adagio cantabile 4’00
    20 Symphony No.7 Op.92 – II. Allegretto (fragment) 1’37
    21 Sonata Op.2 No.2 – III. Scherzo 3’40
    22 Sonata No.4 Op.7 – II. Largo 4’48
    23 Septet Op.20 – IV. Andante (1st Variation) 0’58
    24 Sonata No.14 ‘Moonlight’ Op.27 No.2 – I. Adagio 4’17
    25 Franz Schubert Sonata No.18 D894 – Minuet 4’12
    26 Hector Berlioz La damnation de Faust – Ballet des Sylphes 2’09
    Edvard Grieg 1843–1907
    27 Lyric Pieces Op.43 No.2 ‘Solitary traveller’ 0’52
    28 Norwegian Folk Songs Op.66 No.13 ‘A little grey man’ 1’26
    29 Peer Gynt Op.23 – The Death of Åse 3’14
    30 August Heinrich von Weyrauch Nach Osten 1’41
    Compact Disc 4
    Transcriptions by Francisco Tárrega
    Johann Sebastian Bach 1685–1750
    1 Sonata No.1 for Solo Violin BWV1001 – II. Fugue 4’06
    2 Suite No.3 for Solo Cello BWV1009 – V. Bourrée I – VI. Bourée II 3’00
    3 Partita No.1 for Solo Violin BWV1002 – VII. Tempo di bourrée 3’10
    Wolfgang Amadeus Mozart 1756–1791
    4 String Quintet No.5 K593 – III. Minuet 4’28
    5 String Quartet No.15 K421 – III. Minuet 3’37
    Joseph Haydn 1732–1809
    6 String Quartet Hob.III:74 – II. Largo assai 3’10
    7 Keyboard Sonata Hob.XVI:33 – III. Tempo di minuetto 1’22
    8 Baryton Trio Hob.XI:87 – III. Minuet 1’54
    9 ‘Ox Minuet’ Hob.IX:27 2’38
    George Frideric Handel 1685–1759
    10 Chorale 2’22
    11 Samson HWV57– Minuet 1’43
    12 Georges Bizet L’Arlésienne – No.19 Mélodrame: Adagio 1’40
    13 Richard Wagner Tannhäuser – March 4’14
    14 Arrigo Boito Mefistofele 6’04
    15 Giacomo Meyerbeer L’Africaine – Morceau d’ensemble et Finale 3’52
    Felix Mendelssohn 1809–1847
    16 Lieder ohne Worte Op.30 No.6 Venetianisches Gondellied 2’41
    17 Lieder ohne Worte Op.19b No.6 Venetianisches Gondellied 2’07
    18 Adolf Henselt Estudio (Suspiro de amor) 1’32
    19 Giovanni Bolzoni String Quartet in B flat – Minuet 3’07
    20 Rafael Calleja Gómez El ratón (Tango) 1’32
    21 Eduardo Di Capua O sole mio 1’27
    22 Quinito Valverde El pobre Valbuena (Polka) 2’34
    23 Carlos García Tolsa Tango 1’58
    24 Sebastian de Iradier La Paloma (Habanera) 2’09
    25 Isaac Albéniz Suite española Op.47 – No.5 Sevilla 4’11
    (C)2015 Brilliant CLassics
    CD 1-2 Original Works
    CD 3-4 Transcriptions
    Bartok Studio Bernareggio Italy
    Sound Engineer: Raffaele Cacciola
    Guitar Philip Woodfield 2010
    Strings: Aquila Perla
    Booklet notes: Angelo Gilardino

    Gilardino Sonatas for Guitar, Alberto Mesirca


    DotGuitar pubblica la ristampa del CD di Alberto Mesirca dal titolo "Gilardino Sonatas for Guitar" originariamente pubblicato da Bèrben.
    1) Sonata n. 2 “Hivern florit” - 1. Allegretto semplice
    2) Sonata n. 2 “Hivern florit” - 2. Andante molto tranquillo
    3) Sonata n. 2 “Hivern florit” - 3. Allegro vivo e brillante
    4) Sonata mediterranea - 1. Cipressi
    5) Sonata mediterranea - 2. Ninna nanna
    6) Sonata mediterranea - 3. Pini sul mare
    7) Sonata del Guadalquivir - 1. Memorias
    8) Sonata del Guadalquivir - 2. Leyendas
    9) Sonata del Guadalquivir - 3. Lejanias
    10) Cantico di Gubbio - 1. Andantino un poco mosso, semplice
    11) Cantico di Gubbio - 2. Aria ('Lo giorno se n'andava ... ")
    12) Cantico di Gubbio - 3. Apoteosi

    Angelo Gilardino, Luigi Biscaldi e Quartetto di Asti


    DotGuitar ristampa il CD "Angelo Gilardino - Concerto d'Estate - Concerto de Cordoba" originariamente distribuito da Bèrben.
    Interpreti: Luigi Biscaldi e il Quartetto d'Asti
    La tracklist:
    CONCERTO D'ESTATE per chitarra sola e quartetto di chitarre (1992) 1) I) Tema e preludio (6 '30’’) 2) II) Aria notturna (9 '27”) 3) III) Finale (6 '50”) CONCIERTO DE CORDOBA para guitarra solista y cuarteto de guitarras (1993) 4) I) Coplas (8 '00”) 5) II) Elegia de Medina Azahara (8’10”) 6) III) Toques (5 ' 19”)  

    Pavane pour une chevelure rousse, Domenico Scaminante


    Valle Giovanni Musical Editions pubblica il CD "Pavane pour une chevelure rousse - œuvres pour guitare"
    Domenico Scaminante suona la musica di Carlo Francesco Defranceschi
    1.  Pavane pour une chevelure rousse 2.  Suite “Rayures” – Larmes en perspective 3.  Suite “Rayures” – Etincellement de la façade 4.  Suite “Rayures” - Tournesols en dèlire 5.  Profondeur suggérée 6.  Silhouette violacée 7.  Suite “Affiches sans moralisme” -  Chromatisme délicat 8.  Suite “Affiches sans moralisme” – La femme au boa noir 9.   Suite “Affiches sans moralisme” - Peinte sur carton 10. Suite “Affiches sans moralisme” – Sous les feux de la rampe 11. Rongé d’ombres atemporelles, petite rapsodie orinique 12. Suite “Sublime Rien’(s)” – Ennuì sans cause 13. Suite “Sublime Rien’(s)” – La verve du trait 14. Suite “Sublime Rien’(s)” – Confettì de femme 15. Suite “Sublime Rien’(s)”- Le trapèze volant  

    Gilardino complete music for solo guitar 1965-2013, Cristiano Porqueddu

    L'etichetta discografica Brilliant Classics pubblica il cofanetto di 14 CD dedicato alla musica per chitarra sola scritta dal compositore piemontese Angelo Gilardino dal 1965 al 2013. 

    Periodo di registrazione: June 13, 2012 – March 30, 2015
    Sede: Chiesa della Solitudine (NU)
    Chitarra: Giuseppe Guagliardo
    La tracklist:

    Acquisto su Amazon:
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    Anteprime su SoundCloud

    Masters of the Guitar vol 1 - Spain, AAVV

    Masters of the Guitar vol 1 - Spain
    1. Anonimous: El testament de Amelia (Miguel Llobet), Recording: 1925
    2. Anonimous: El Mestre (Miguel Llobet ), Recording: 1925
    3. Isaac Albéniz. Evocación (No.1, from Iberia Suite, Book 1) M. Llobet e Luisa Anido, Recording: 1929
    4. Manuel de Falla. El sombrero de tres picos. Emilio Pujol – Matilde Cuervas, Recording: 1936
    5. Manuel de Falla. La vida breve. Danza. E. Pujol- M. Cuervas, Recording: 1936
    6. Manuel de Falla. Homenaje (Tombeau de Claude Debussy). Angel Iglesias, Recording: 1953
    7. Francisco Tarrega. Gran Jota. Angel Iglesias, Recording: 1943
    8. Guillermo Gomez. Tremolo. Guillermo Gomez , Recording: 1928
    9. Enrique Granados. La Huerfana (Arr. G. Gomez). Guillermo Gomez, Recording: 1943
    10. Aleksandr Borodin. Serenata. Alfonso Sorrosal, Recording: 1941
    11. Fernando Sor. Minuetto op. 11 N.6. Alfonso Sorrosal, Recording: 1941
    Manuel Palau (1893-1967). Sonata en La (Mare nostrum), Narciso Yepes, Recording: 1950
    12. I. Como un Tocata
    13. II. Intermezzo
    14. III. En modo popular
    15. M. Palau. Fantasía. Narciso Yepes, Recording: 1950
    16. Dionisio Aguado. Studio de Concierto. Vicente Gomez, Recording: 1939
    17. Federico Moreno-Torroba. Fandanguillo dalla Suite Castellana. Vicente Gomez, Recording: 1939
    18. Francisco Tarrega. Recuerdos de la Alahambra. Regino Sainz de la Maza. Recording: 1948
    19. Francisco Tarrega. Mazurka. Regino Sainz de la Maza. Recording: 1948
    20. Federico Moreno-Torroba. Quien te puso / Petenera, Renata Tarragò. Recording: 1959
    21. Federico Moreno-Torroba. Cancioncilla. Renata Tarragò. Recording: 1959
    22. Napoleon Coste. Etude n° 20. Alberto Ponce. Recording: 1963
    23. Fernando Sor. Andantino en Ré min. Alberto Ponce. Recording: 1963
    24. Chotis (Anonyme arr. Emilio Pujol). Alberto Ponce. Recording: 1963
    25. Manuel Diaz Cano. Preludio en el estilo de los viejos maestros. Recording: 1963
    T.T. 73’25
    IDIS 6699
    Italian/English Introduction by M. Bazzotti

    Colloquio con Andrés Segovia, Andrea De Vitis

    DotGuitar pubblica il mio cd di debutto "Colloquio con Andrés Segovia".
    It is all but common to find a present-day, young guitar concert performer who would elect an icon like Andrés Segovia as the ideal mentor for an imaginary conversation spanning across time. As the utmost representative of the guitar’s rebirth in the twentieth century, Segovia, well after his death in 1987, continued to embody a sort of myth which concert goers – and, as a matter of fact, even those who do not attend concert halls – identified with the guitar. It is a pairing which has only another match in the history of music, and that is the one between Paganini and the violin. However, whereas two generations of guitarists after the Spanish maestro’s departure fostered and submitted to the charismatic sway of his personality, the youngest adepts appear to have sidelined Segovia’s art, pursuing newer, sundry paths. In his CD Andrea De Vitis reinstates Segovia as the centrepiece of his research. It is a move one must construe as a poetical choice, a yearning to take up anew a way of conceiving the art of guitar playing. One has to listen just a few moments to realize he is not yet another of Segovia’s pathetic imitators who, to no avail, went on for over half a century cloning the maestro’s style, and then giving themselves off as his heirs. This is instead a performer standing on his legs, striving to work out a well defined style of his own. He re-approaches Segovia because he chooses to do so, and can afford it, without getting lost imitating his model.
    (Testo tratto dalle note di copertina di Angelo Gilardino; traduzione di Sergio Gilardino)

    Angelo Gilardino - 60 Studi, CD di Angelo Marchese

    I sessanta studi di Gilardino rappresentano senza dubbio il più importante passo avanti nello sviluppo della tecnica chitarristica, sia nella sua accezione letterale e “meccanica”, sia nell’intenzione di dare agli studi un connotato musicale e formale rigoroso: una concezione dello “studio” che intende forgiare una tecnicità in grado di rendersi trasparente di fronte al contenuto del brano.
    È in questa direzione che si colloca il lavoro di Angelo Marchese: il chitarrista siciliano propone la sua interpretazione di questo imponente corpus focalizzando la sua attenzione sulla minuziosa geometria architettonica che caratterizza ognuno degli studi e il loro ciclo complessivo. Non si tratta, dunque, di un mero lavoro di lettura, bensì di profonda analisi – prima – e di attenta scelta coloristica – poi. Ed è proprio questa scelta di colori che rende sbalorditiva l’interpretazione di Marchese: fin dall’esordio con il diabolico Capriccio sopra la lontananza, ci si rende conto di essere di fronte a un lavoro di cesellatura che evidenzia con precisione ogni elemento di articolazione; un lavoro che rievoca, senza farne rimpiangere l’assenza, i timbri di un’intera compagine orchestrale.
    Non c’è fallo nella condotta virtuosistica dell’interprete che mantiene un costante e solido controllo della situazione sia nell’ampia cantabilità dei momenti più lirici e meditativi, sia nel fantasmagorico funambolismo dei passaggi più impervi.
    Di fronte a un lavoro tanto prezioso, è doveroso levare un elogio a Angelo Marchese: la trasposizione sonora del testo è stata resa con una musicalità magistrale, alla quale la personalità del chitarrista, pur senza offuscarne la sostanza, aggiunge un elemento di ammirevole originalità. Un lavoro imperdibile.

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