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Found 76 results

  1. La casa discografica Brilliant Classics pubblica il terzo ed ultimo volume della trilogia Easy Studies for Guitar. Il terzo volume è un doppio CD che include musica originale per chitarra di autori del XX e XXI secolo scritta con scopi prettamente formativi dei seguenti autori: @Oscar Bellomo (1980) Gilbert Biberian (1944), @Franco Cavallone (1957) Olivier Chassain (1957) @Alfredo Franco (1967) Franco Margola (1908 – 1992) Iván Patachich (1922 – 1993) Ferdinand Rebay (1880 – 1953) Anton Stingl(1908 – 2000) La tracklist include una Bonus Track (una Suite scritta dal chitarrista svedese Ulf Göran Åhslund). Qui nel dettaglio: Le 179 composizioni incluse nelle tre pubblicazioni sono elencate qui: http://bit.ly/easy-studies-for-guitar Sul sito dell'editore: bit.ly/easystudiesforguitar3_BC
  2. La prima registrazione degli otto "Alebrijes de la Ciudad de México" di Eduardo Garrido contenuta nel primo volume della trilogia Easy Studies for Guitar, una collana di pubblicazioni discografiche interamente dedicata a composizioni di autori del Novecento e contemporanei con scopi prettamente formativi e didattici. La musica è disponibile pubblicata dalle Edizioni Bérben/Curci. Link:
  3. 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!
  4. 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.
  5. Musicare è lieta di presentare la nuova collana di CD Musicare Artists Selection, dedicata al repertorio originale per chitarra del XX e del XXI secolo. Il progetto, realizzato in collaborazione con la major discografica internazionale Brilliant Classics, i Clab Studios di Foggia ed il Forum Italiano di Chitarra Classica mira alla valorizzazione del repertorio di qualità e alla promozione di composizioni registrate per la prima volta. A partire dal 2019, Musicare finanzierà annualmente la registrazione e la produzione di una release discografica che sarà distribuita in oltre quaranta paesi dalla casa discografica Brilliant Classics. Informazioni e dettagli sul sito di Musicare.
  6. Nuova release discografica di Brilliant Classics dedicata al repertorio per flauto e chitarra. Il CD singolo contiene musica di George Rochberg, Terry Riley, Osvaldo Golijov, Marc Ribot, Charles Wuorinen, Mark Delpriora and Ruth Crawford Seeger. Daniele Ruggieri, flauto Alberto Mesirca, chitarra La tracklist: Dal sito dell'editore: A brief history of 20th-century American music and a valuable, offbeat addition to the comprehensive Brilliant Classics library of guitar music. Among the most extensive works here is the cycle of Cantos Desiertos (1996) composed for flute and guitar by Terry Riley. The cycle was later incorporated within The Book of Abbeyzoud, an album with a character suspended between the Biblical, the mystical and the exotic. Francesco en Paraiso is a tender memorial to the countertenor Frank Royon Le Mée (1952-1993). The cycle continues with an Indian melody, and a melancholy lament before ending with a sultry Tango Ladeado (Tango Off-Centre). Hardly less substantial is Muse of Fire (1990) by George Rochberg, written in the shadow of the Gulf War: hence the sudden stops and starts, the military evocations, the funeral marches, the moments of dream-like lyricism and the rhapsodic soliloquies. Ora pro nobis (1991) is based on the slow movement of Bach’s Italian Concerto: a plea for release at a deeply troubled time. Bateau is a song from the 2003 album Ceramic Dog by Marco Ribot, who works mostly with jazz and post-rock musicians: this is the work’s first performance on classical guitar, and Alberto Mesirca brings out the delicate textures that evoke light shimmering on water. Of similar aquatic origins, Fish Tale is a ‘watercolour for flute and guitar’ by Osvaldo Golijov: ‘I wanted everything to be beautiful,’ said the composer, ‘even at the expense of some sense.’ This unique compilation concludes with shorter solo pieces alternating between flute and guitar, taking in the satisfyingly intricate textures of Crawford Seeger and Wuorinen at each end of American modernism, as well as a touching elegy by Mark Delpriora in memory of a student of his, Basil Keiser. This is the third solo album on Brilliant Classics by the guitarist Alberto Mesirca after his collections of music by Regondi (BC94841) and Sanz (BC95396). This fascinating program presents original works for flute and guitar written in 20th century America, as diverse and complex as the country itself, making the distinction between “classical”, “popular” and “folk” meaningless. Featured are works by George Rochberg, Terry Riley (the minimal music pioneer), Marc Ribot, Osvaldo Golijov, Charles Wuorinen, Ruth Crawford Seeger and Mark Delpriora: a kaleidoscope of highly original, provoking and diverting music! Played with passion, understanding and consummate skill by flutist Daniele Ruggieri and guitarist Alberto Mesirca. Excellent and extensive liner notes by Giovanni Cestino.
  7. Brilliant Classics avvia la distribuzione del nuovo CD dedicato alla musica di Leo Brouwer (1939) nell'interpretazione di Frédéric Zigante. La tracklist: Dal sito dell'editore: This recording presents some of the most significant early pieces by the Cuban composer Leo Brouwer (b.1939); it also includes other works, such as Hika from 1994 and the third and fourth series of his Estudios sencillos (1981), which show clear similarities with the composer's early style. First to be composed of the works here is a Danza caracteristica from 1956. A popular song melody forms the basis for an Afro-Cuban flavoured fantasy. The Fugue No.1 dates from the following year, when Brouwer was still a teenager: having outlined a theme of Baroque proportions he takes a fairly free attitude to its contrapuntal elaboration, anticipating the concise play of fantasy in the Tres Apuntes of 1959. Having soon after moved to the US, Brouwer composed the first two books of the Estudios sencillos out of financial necessity, but they have proved among his most enduring and successful works, drawing energy not only from his Cuban heritage but the didactic economy of the Mikrokosmos by Bartók. Almost all of the third and fourth books from the series date from 1981; although Brouwer had both moved back to Cuba by then as well as moved on in his own style towards a more neo-romantic language, he rediscovered the lively economy of thought which runs through the earlier studies, combining it with both neoclassical harmonies and even chance procedures to produce among the most significant collections of guitar studies from the second half of the last century. ‘These short pieces reflect all of Brouwer’s creative genius,’ says Frédéric Zigante, ‘and I have always been fond of them, first as a young student of guitar and later as a guitar teacher. To me, they are an ideal method for weaning young guitarists from the didactic repertory of the 19th century.’ The French-born guitarist bases his career in northern Italy, but he has performed and recorded worldwide, as well as editing more than 40 volumes of guitar music for publishers such as Ricordi and Max Eschig. Leo Brouwer (1939) is by far Cuba’s best known composer. A composer, guitarist, percussionist, conductor, teacher and cultural promotor he is one of the most important and influential musical figures of Latin-America. Brouwer’s grandfather was a Franco-Dutch adventurer, while his mother’s uncle was the famous composer Ernesto Lecuona. Brouwer studied at the prestigious Juilliard School in New York with Persichetti and Stefan Wolpe. In 1961 he returned to his native Cuba, to become a professional guitarist and composer. His works have entered the standard repertoire of the modern guitarist, played and enjoyed all over the world. This new recording includes the Hika, a piece written in memoriam Toru Takemitsu, a close friend of his. The other works are from Brouwer’s “early period”: the complete “20 Estudios Sencillos” (a Latin-American answer to Bartók’s Mikrokosmos), a Danza Caracteristca, Elogio de la Danza, and Tres Apuntes, all written in Brouwer’s unique fusion of Folk Music and 20th century Avant-Garde. Excellent performance by master guitarist Frédéric Zigante, who recorded for Brilliant Classics the complete guitar music by Villa-Lobos.
  8. 10 downloads

    Il primo movimento della Sonata for Guitar del compositore russo Edison Denisov (1929-1996). La composizione è parte della tracklist del cofanetto Russian Guitar Music of the 20th and 21st centuries distribuito da Brilliant Classics. Qui un articolo del chitarrista russo Oleg Timofeyev sulla Sonata di Denisov:
  9. Brilliant Classics pubblica il CD "Gangi Music for Guitar" dedicato alla musica per chitarra sola di Mario Gangi interpretata dal chitarrista italiano Alessandro Minci. La tracklist include: Jennifer • Blues • Fiaba • Preludio a Eva • Con Tanta Tenerezza • Sonatina in Stile Antico • Berceuse per Sara Ricordo • Incantevole • Ninna Nanna a Pabù • Canzone Breve • Sara • Raccontino • Gavottina • Marianne • Piccola Ballata • Melodietta • La Pianola • Crepuscolo • Panoramica Dal sito dell'editore: Mario Gangi (1923-2010) was among the pre-eminent Italian guitarists of his generation. Born in Rome to a professional jazz-musician father, Gangi graduated from the city’s Accademia della Santa Cecilia and soon followed in his father’s footsteps as both an orchestral bassist (with the local radio orchestra) and a guitarist. This latter career took off in the 50s: Gangi gave several important first performances of concertos by the likes of Petrassi and even Giuliani. A distinguished discography bears testament to a supremely fluent technician whose gifts as a shaper of melody are reflected in these brief songs for guitar on this album. According to the guitarist Alessandro Minci, these songs explore the most intimate and sensitive side of Gangi’s output for the guitar, combining jazz, classical and popular idioms in an entirely personal voice and one which speaks with the eclectic, cosmopolitan spirit of his age. The album thus makes an essential complement to the Brilliant Classics issue of the 22 Studies (BC95204) drawn from the third volume of Gangi’s influential guitar method. Several of them evoke natural landscapes; others cast wistful glances back at childhood, at the Baroque heritage of his instrument, and at past loves and passions.
  10. 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: https://amzn.to/2DBVxRc Acquisto su iTunes: https://itunes.apple.com/album/id1018180698 Anteprime su SoundCloud
  11. L'etichetta discografica Brilliant Classics pubblica il nuovo CD del chitarrista italiano @Alberto Mesirca dedicato alla musica per chitarra sola di Gaspar Sanz (1640 - 1710). La tracklist include i seguenti lavori: Dal sito dell'editore: Composer, theorist and guitarist Gaspar Sanz was born in Calanda in Aragón in 1640, and in 1674, in Zaragoza, he published the first edition of his Instrucción de música sobre la guitarra española (Musical Instruction for the Spanish Guitar), containing numerous compositions. Sanz’s music reveals him to have been a key figure in bridging two different musical traditions – the Spanish and the Italian. We know from his own testimony that music from outside Spain was being performed in Zaragoza in his lifetime, and the cultural influence of Austria, with its leanings for the Italian style, would also have been felt in the city at that time. His book, at once a collection of music and a method, was addressed to both aficionados and beginners, as well as professional musicians. It contains practical and innovative advice on harmony, counterpoint and continuo practice for accompanying soloists and dancers, his vast musical knowledge and creativity demonstrated in numerous original compositions and national and foreign songs. While the origins of the latter lie in the folk tradition, by the time Sanz published the Instrucción de música, these had already long been part of the art music from which Sanz drew his inspiration. Having travelled the continent extensively, much of his musical education took place in Italy, and he would have encountered these songs and dances there in instrumental versions. Italian classical guitarist Alberto Mesirca was hailed as ‘prodigiously talented’ in Classical Guitar Magazine, and Kenneth Keaton of American Record Guide praised his album Scarlatti Sonatas as ‘the best Scarlatti I’ve heard on solo guitar’. He is a two-time winner of the “Golden Guitar” Award: for Best Recording in 2007 and as Best Upcoming Artist of the Year in 2009. With this two-CD set, he has recorded all of Sanz’s punteado (plucked) music for guitar, together with the corresponding rasgueado (strummed) parts or dances. He includes his own arrangements of the dances ‘La tarantela’ and ‘Baile de Mantua’, which Sanz published in strummed versions only. Gaspar Sanz (1640-1710) was born in Calanda, Aragón in Spain. As a young student he went to Italy to learn his craft and art, and studied with the masters in Rome and Naples. His most important publication was published in 1674: “Instrucción de música sobre la guitarra española” (Musical instruction for the Spanish Guitar). This publication contains theoretical information, instructions on technical aspects of the instrument and its way of playing, and a great number of compositions. The publication had far reaching influence on generations of guitar players to come. This new recording presents the compositions from the manuscript, a wide variety of fugues and mainly dances: the Passacalle, Coriente, Zarabanda, Jiga and other popular dances, with roots in the rich folk music of both Spain and Italy. Master guitarist Alberto Mesirca is twice winner of the Golden Guitar, for the best recording of the Year. He recorded the complete guitar music by Regondi and “Voces de Sefarad” , four centuries of Sephardic Songs.
  12. La major discografica Brilliant Classics pubblica il nuovo CD del chitarrista italiano Andrea Dieci dedicato alla musica del compositore giapponese Tōru Takemitsu (1930 - 1996). Dal sito della casa discografica: The idiom of Toru Takemitsu fits the classical guitar like a tailored suit of pure lines where simplicity conceals the thought and art behind their design. The range of sonority is wide yet subtle in the set of three Folios (1974) which became his first work for the instrument, yet their brevity is out of all proportion to the care taken in their construction, and they quickly made their composer renowned, along with Henze, as one of the most refined composers for the instrument in the second half of the last century. Takemitsu’s explanation of the title was characteristically laconic: ‘just two facing pages, short pieces, no more than that.’ Within the third of them is buried a quotation from a chorale used by Bach in the St Matthew Passion, hinting at a grave character that is shared by the more overtly Hispanic figuration of the second movement. From 13 years later, the four movements of All in Twilight are an impressionistic evocation in sound of a painting of the same name by Paul Klee. Takemitsu’s fondness for bell-like sonorities returns in the minute-long tribute to the composer Sylvano Bussotti on his 60th birthday. Landscape and painting stimulated the composer’s imagination in two more guitar pieces: Equinox, he explained, was inspired by the painting of the same name by the Catalan painter, Joan Miro (1967). ‘During the equinox the length of day and night are the same and the title has some relationship to musical proportions and the harmonic pitch interval within the composition, but no literary meaning.’ In the Woods was Takemitsu’s very last composition, completed in November 1995, three months before his death. This three-movement suite opens with Wainscot Pond, after a painting of Cornelia Foss – a tone-painting in his late style which is pared back to harmonic essentials and returns to a diatonic harmony that he never quite forsook at his most avant-garde. Tracklist: Download e ascolto online: https://brilliant-classics.lnk.to/TakemitstuCompleteMusic
  13. Procedono in modo estremamente soddisfacente le (gelide) sessioni di registrazione per il nuovo cofanetto dedicato alla musica originale per chitarra intitolato "Novecento Guitar Sonatinas", il terzo passo della serie di pubblicazioni Novecento Guitar, dopo Preludes e Sonatas (distribuiti da Brilliant Classics rispettivamente nel 2012 e nel 2014). La tracklist di Novecento Guitar Sonatinas è stata già definita e oggi, agli sgoccioli del 2017, ecco un'anteprima dal cofanetto, i tre primi movimenti delle Sonatine di @MarkDelpriora (1959), Albert Harris (1916 – 2005) e @Franco Cavallone (1957). Buon ascolto.
  14. Il nuovo disco del chitarrista italiano Alberto La Rocca è dedicato alla musica originale per chitarra sola scritta da Andrés Segovia (1893 - 1987). Pubblicato dalla casa discografica olandese Brilliant Classics, il CD include i seguenti brani: Da questo video è possibile ascoltare in anteprima alcune tracce: Sito internet del chitarrista: http://albertolarocca.weebly.com
  15. Il CD del chitarrista italiano @Angelo Marchese interamente dedicato alla musica del compositore serbo Dušan Bogdanović (1955). La tracklist del CD è così articolata: Sonatas Nos 1 & 2 Raguette No. 2 Cinque Pezzi di Mare Introduction, Passacaglia and Fugue for the “Golden Flower” Quatre Bagetelles Polyrhythmic and Polymetric Studies Dal sito dell'editore: With sonatas, bagatelles, studies and dances, this disc forms a comprehensive introduction to the classically oriented section of the diverse oeuvre of the guitarist/composer Dusan Bogdanovic. Serbian by origin, long based in the US, Bogdanovic (b.1955) has made artistic collaborations with jazz, classical and ‘world’ musicians throughout his career. His distinguished pedagogical work has resulted in the publication of various method-books for guitarists and is represented here by five of his Polyrhythmic and Polymetric Studies (1990). The two sonatas are more substantially through-composed works. As Bogdanovi himself remarks in a useful booklet note, the first sonata (1978) betrays the influence of Bartok upon his early compositions, while the second, written seven years later, admits a much wider frame of reference, disciplined by the classical sonata model. The resulting work has nothing of the generically Spanish flavour that is evident in so much guitar music, but takes its cue from the composer’s own mastery of the instrument to move between whimsical reflection and punchy, rhythmic momentum with some technical innovations that produce new sounds and tone-colours. The second Raguette pursues these innovations more single-mindedly: a brief introduction to the Indian raga tradition ‘meant for nervous Westerners’, melodically based on a work of John Dowland. There is also a first recording, of a work commissioned by Angelo Marchese, and inspired by the soloist’s native Sicily. In Cinque pezzi di Mare (2013), a romantic spirit of expression grows from material based on modes rather than standard diatonic harmony, enclosing a waltz which consciously evokes the idiom of the jazz pianist Bill Evans. This is an important addition to the extensive Brilliant Classics library of guitar music. Dusan Bogdanovic, born in 1955 in former Yugoslavia, is one of the foremost guitar composers and guitarists of today. A pupil of Alberto Ginastera and winner of the prestigious Geneva Competition he successfully toured the world’s continents as performer and composer. Bogdanovic’s style may be described as a fusion of classical, jazz and ethnic, a unique and personal style of strong expression and feelings. Guitarist Angelo Marchese is “an profound performer of supreme technical mastery” (Guitart magazine). His recording of Gilardino’s guitar concerto for Brilliant Classics (BC94747) was widely praised in the press. The booklet contains extensive and authoritative liner notes written by the composer.
  16. Oggi 5 Dicembre 2017 Brilliant Classics avvia la distribuzione in oltre quaranta paesi del nuovo CD dedicato alla musica originale per chitarra. Si tratta del secondo volume della collana Easy Studies for Guitar, ideata allo scopo di registrare composizioni originali per chitarra del XX e del XXI secolo con scopi prettamente formativi e didattici. Il secondo volume include musica di @Franco Cavallone (1957) Stephen Dodgson (1924 - 2013), Ivan Patachic (1922 - 1993), Manuel Maria Ponce (1882 - 1948), Alexandre Tansman (1897 - 1986). La tracklist dettagliata è la seguente: I "Ten Progressive Studies" di @Franco Cavallone sono inediti. Ne curerò personalmente la pubblicazione nel corso del 2018. Una preview di alcune tracce: Nella sezione Articoli sul Repertorio di questo Forum è possibile trovare articoli dedicati ai brani contenuti in questo CD Info e dettagli: http://www.cristianoporqueddu.com/discography/
  17. Agustín Barrios Mangoré Complete Music for Solo Guitar Anno di pubblicazione: Dicembre 2010 Etichetta discografica: Brilliant Classics Periodo: Febbraio 2009 – Settembre 2010 Sede: Chiesa La Solitudine e San Carlo, Nuoro Chitarra: Giussani 2005, Lorenzatti 2010, Guagliardo 2003 Corde: Augustine Imperials La Brilliant Classics inizia oggi la distribuzione del nuovo CD Set dedicato alla musica originale per chitarra. Composto da 6 CD "Agustin Barrios - Complete Music for Solo Guitar" contiene 6 ore e 25 minuti di musica dedicati alla musica originale per chitarra del compositore paraguayano Augustín Pío Barrios Mangoré (5 maggio 1885 – 7 agosto 1944) La tracklist completa: ------------------------------------------- > CD 1 of 6 < ------------------------------------------- 01. A mi madre 02. Abri la puerta mi china 03. Aconquija 04. Aire de Zamba 05. Aire popular paraguayo 06. Aire Sureno 07. Aires Andaluces 08. Aires Criollos 09. Aires Mudejares (Apuntes) 10. Allegro sinfonico 11. Altair 12. Arabescos 13. Armonias de America 14. Bicho Feo 15. Cancion de la Hilandera 16. Capricho Espanol 17. Choro da saudade ------------------------------------------- Total: 01:06:41 ------------------------------------------- > CD 2 of 6 < ------------------------------------------- 01. Confesion 02. Contemplacion 03. Cordoba 04. Cueca 05. Danza en re menor 06. Danza Guaranì 07. Danza Paraguaya 08. Diana Guaranì 09. Dinora 10. Divagacion en imitacion al violin 11. Divagaciones Criollas 12. Don Perez Freire 13. El sueno de la munequita 14. Escala y preludio 15. Estilo - Chinita 16. Estilo Uruguayo 17. Estudio de concierto 18. Estudio de concierto No.2 ------------------------------------------- Total: 01:04:15 ------------------------------------------- > CD 3 of 6 < ------------------------------------------- 01. Estudio del Ligado (A major) 02. Estudio del Ligado (D minor) 03. Estudio en arpegio 04. Estudio en si menor 05. Estudio en sol menor 06. Estudio inconcluso 07. Estudio No.3 08. Estudio No.6 09. Estudio para ambas manos 10. Estudio Vals 11. Fabiniana 12. Gavota al estilo antiguo 13. Grano de arena 14. Habanera 15. Humoresque 16. Isabel 17. Jha Che Valle 18. Jota 19. Julia Florida 20. Junto a tu corazon 21. La bananita ------------------------------------------- Total: 01:00:29 ------------------------------------------- > CD 4 of 6 < ------------------------------------------- 01. La Catedral 1 - Preludio 02. La Catedral 2 - Andante religioso 03. La Catedral 3 - Allegro solemne 04. La samaritana 05. Las Abejas 06. Leyenda de Espana 07. Leyenda Guaranì 08. London Carapé 09. Luisito 10. Luz Mala 11. Mabelita 12. Madrecita 13. Madrigal Gavota 14. Maxixe 15. Mazurka apassionata 16. Medallon antiguo 17. Milonga 18. Minueto en do 19. Minueto en la No 1 20. Minueto en la No 2 ------------------------------------------- Total: 01:07:34 ------------------------------------------- > CD 5 of 6 < ------------------------------------------- 01. Minueto en mi 02. Minueto en Si Mayor 03. Oracion por todos 04. Oracion 05. Pais de Abanico 06. Pepita 07. Pericon 08. Preludio en Do mayor 09. Preludio en do menor 10. Preludio en la menor 11. Preludio en mi menor 12. Preludio en Mi 13. Preludio en re menor 14. Preludio Op.5 No.1 15. Rancho Quemado 16. Romance de la India Muerta 17. Romanza en imitacion al violoncello 18. Sargento Cabral 19. Sarita 20. Serenata Morisca ------------------------------------------- Total: 01:07:15 ------------------------------------------- > CD 6 of 6 < ------------------------------------------- 01. Tango No.2 02. Tarantella 03. Tua Imagem 04. Un Sueno en la Floresta 05. Una limosna por el amor de Dios 06. Vals di Primavera 07. Vals Op.8 No.3 08. Vals Op.8 No.4 09. Vals Tropical 10. Variaciones sobre el Punto Guanacasteco 11. Variaciones sobre un tema de Tarrega 12. Vidalita 13. Vidalita con variaciones 14. Villancico de Navidad ------------------------------------------- Total: 01:09:45 Alcune anteprime sul canale SoundCloud dedicato alla pubblicazione:
  18. L'etichetta discografica Brilliant Classics pubblica il CD Easy Studies for Guitar Vol.1 Easy Studies for Guitar è una trilogia di release discografiche dedicata a composizioni di autori del XX e del XXI secolo con scopi prettamente didattici. La distribuzione dell'opera prevede: Easy Studies for Guitar Vol.1 (2016) (Garrido, Koshkin, Smith-Brindle, Tansman) Easy Studies for Guitar Vol.2 (2017) (Tansman, Dodgson, Cavallone, Patachich, Ponce) Easy Studies for Guitar Vol.3 (2019) (Cavallone, Bellomo, Jean Absil, Anton Stingl, Chassain, Patachich, Biberian) In questo primo volume sono contenuti 54 studi per chitarra di Eduardo Garrido (1975), Nikita Koshkin (1956), Reginald Smith-Brindle (1917-2003), e Alexandre Tansman (1897-1986) Una delle recensioni: http://www.cristianoporqueddu.com/8019-recensione-su-guitart-per-easy-studies-for-guitar-vol-1/ Dal sito dell'editore: “The growing library of guitar music on Brilliant Classics already encompasses several albums of etudes and miniatures written for students and amateur players. From rare to well-known, there are the studies of Gangi (BC95204), Tansman (BC95221), Castelnuovo-Tedesco (BC95219) and Gilardino (BC9285), among many others. The Gilardino album features the artistry of guitarist and composer Cristiano Porqueddu, who has made several other well-received albums for Brilliant Classics, including collections of rarely encountered composers in ‘Novecento Guitar Preludes’ (BC9292) and ‘Novecento Guitar Sonatas’ (BC9455), both of which include many first recordings. Reviewing the set of Preludes, MusicWeb International praised the ‘coruscating variety, fine recorded sound and lovingly shaped playing… Porqueddu’s playing is miraculously clean and there’s very little fret noise.’ Porqueddu’s appetite for the unusual and sense of adventure is further confirmed by a new set of ‘Easy Studies for Guitar’, containing music that is as satisfying to listen to as it is relatively unchallenging to master for the intermediate-to-advanced student guitarist. Only Tansman has a currency outside guitarists, but the other three, more contemporary figures speak with powerfully individual voices. The Russian composer-guitarist Nikita Koshkin may be a particularly welcome discovery for non-initiates: born in 1956, he counts the music of Shostakovich and Prokofiev as important early influences, but his own music lies within the Spanish guitar tradition, while employing more modern harmonies and building to climaxes of unexpected tension and drama. Born in Granada in 1975, Eduardo Garrido now teaches and composes in Mexico, and in his studies can also be heard a non-native wildness and urgency, for all that they are sympathetically composed with intermediate students in mind. Master guitarist Cristiano Porqueddu embarks on a praiseworthy and ambitious recording project: Easy Studies for Guitar, works written by famous or less well known composers with the special aim to educate, challenge, develop and entertain the aspiring guitar student. The works focus on certain technical issues disguised as it were in the musical content and its emotions. The first CD contains works by Eduardo Garrido, Nikita Koshkin, Alexandre Tansman and Reginald Smith-Brindle. Cristiano Porqueddu, who already recorded more than 40 CD’s, all of them to great critical acclaim, takes his task seriously, always finding the right atmosphere and character of these delightful musical gems, aided by his immaculate technique. Excellent liner notes written by the artist.” INFO: http://www.brilliantclassics.com/articles/e/easy-studies-for-guitar-volume-1/ La tracklist completa: Eduardo Garrido (1975): “Alebrijes de la ciudad de México – 8 estudios breves para guitarra” Nikita Koshkin (1956): “Da Capo” 24 Easy Pieces Reginald Smith-Brindle (1917-2003): Ten simple preludes Alexandre Tansman (1897-1986): Douze Pièces Faciles pour Guitar Anteprime sul mio canale SoundCloud:
  19. L'etichetta discografica olandese Brilliant Classics pubblica il CD Set "Regondi Complete Solo Guitar Music" del chitarrista italiano @Alberto Mesirca. Il cofanetto raccoglie l'integrale delle composizioni per chitarra del compositore italiano Giulio Regondi (1822 - 1872). Nel dettaglio, la tracklist include i seguenti lavori per chitarra sola: CD 1: Feuille d’album. Ad libitum (first recording) Rêverie - Nocturne, Op. 19 (Larghetto – Più mosso) Fête villageoise, Op. 20 (Rondo caprice. Allegretto giusto) Premier Air varié, Op. 21 Deuxième air varié, Op. 22 Introduction et caprice, Op. 23 (Adagio – Allegretto scherzando) CD 2: Air varié de l’opéra de Bellini "I Capuleti e i Montecchi" Solo on Don Giovanni 10 Etudes Tecnico del suono: Andrea De Marchi La recensione della release discografica a cura di Gianluigi Giglio per l'e-magazine dotGuitar: Di Giulio Regondi serbiamo un’immagine serafica: seduto su una seggiola, con i suoi boccoli biondiriversi sulle sue docili spalle, mentre imbraccia una chitarra. Questa è l’icona più emblematica che abbiamo del Regondi bambino, che alla chitarra fu legato nel bene e nel male. Nato a Ginevra nel 1822, poco si conosce della madre; alcuni aneddoti, ci aiutano meglio a conoscere la sua fragile figura, segnata dai soprusi di un padre aguzzino, che sfruttò le sue doti di enfant prodige per trarne bieco profitto, abbandonandolo, dopo averlo lasciato senza un soldo, in quella Londra ottocentesca dei bassifondi, permeata ancora da quell’atmosfera del romanzo Dickensiano “Oliver Twist”, che il regista Roman Polański è riuscito a ricreare efficacemente, nel suo film omonimo. Quando il padre usciva di casa, chiudeva a chiave il figlio per costringerlo a studiare cinque ore al giorno. Il bimbo se ne restava solo, per tutto il tempo, controllato di sottecchi da un vicino di casa; “a seconda di quanto veniva riportato, doveva starsene a fianco del letto del padre per recuperare tutto il tempo che avesse perso durante il giorno” .1 Era stato il dottor George Young, noto medico londinese - in un suo breve soggiorno a Lione, ospite del padre che gli impartiva lezioni di italiano - a consigliargli di portare il fanciullo a Londra, avendolo sentito suonare la chitarra. Così lo descrive: “dotato di una notevole intelligenza, d’aspetto fine e delicato, con mani forti e più sviluppate rispetto al resto. Giulio non ricordava di essere uscito di casa neanche quando era venuto un uomo a prendergli le misure per un abito di velluto con ornamenti dorati e un cappello, anch’esso di velluto, con piume bianche. Al concerto, non appena ebbe finito di suonare, il pubblico si alzò in piedi applaudendo e chiedendo un bis, al che Giulio allarmato fuggì di corsa dal palcoscenico. Ci volle parecchio tempo per riprenderlo e farlo suonare ancora”.2 Se Regondi fosse nato nel ‘900, sarebbe sicuramente ricorso allo psicanalista, per le coercizioni e angherie subite. Invece decise – da un certo momento in poi – di dedicarsi alla concertina, strumento simile al bandoneon, per il quale compose un gran numero di opere, abbandonando la chitarra che, a livello inconscio, era legata ai patimenti e ai tormenti di un’infanzia tradita. Tuttavia, nei concerti che Regondi diede a Parigi, Londra, Liverpool, Darmstadt, Dresda, Lipsia, Vienna, Praga, per le abilità tecniche di cui era dotato, riuscì a sbalordire come pochi altri avevano fatto sino ad allora, ottenendo sempre entusiasmanti recensioni della critica. Le sue composizioni sono di non facile esecuzione, con funambolici passaggi, arpeggi veloci, tremoli e complessità tecniche inaudite per quell’epoca, se si eccettua il virtuosismo di Legnani, Giuliani e Sor. Quest’ultimo conobbe Regondi bambino, e ne apprezzò il talento tanto da dedicargli la Fantasia op. 46 (anche Carcassi gli dedicò le Variations brilliantes sur un thême de la Cenerentola “Non più mesta”- Rossini). Il successo non era più tanto scontato come all’epoca dei grandi chitarristi compositori del primo ottocento. Bisognava fare i conti con il predominio del pianoforte, con tutte le sue potenzialità espressive, che compositori del calibro di Liszt, Schumann, Thalberg, Moscheles e Chopin seppero sfruttare, elevandolo a strumento romantico per antonomasia. I chitarristi dell’epoca inseguirono invano quel modello, poiché la forza espressiva della chitarra non risiedeva nella potenza sonora, ma in quella caleidoscopica amalgama di colori, sfumature ed effetti timbrici che contraddistinguono il suo carattere più intimistico. La chitarra, grazie a Regondi, riesce ad entrare nel panorama di quel romanticismo inquieto che sublima il pittoresco attraverso un nuovo sentimento di intimità spirituale, per cui la musica diviene fonte di gioia interiore. La spontanea effusione melodica di Regondi, che trascende ogni aspetto drammatico, serve a infondere serenità: al suo culmine la melodia è evocazione poetica. Nella Rêverie Nocturne op.19, una sensazione di rasserenante estasi – che ha come momento parossistico la fluida cantabilità del tremolo – ci astrae completamente dal mondo terreno: si è come sospesi in un impalpabile ed etereo spazio siderale. Che ritroviamo anche nella brevità di Feuille d’Album, brano portato alla luce da Andreas Stevens nel 2010, trovato presso una collezione privata a Monaco, e qui inciso per la prima volta. Una breve introduzione nel tono di re minore col basso che si muove, carico di tensione, su un intervallo di seconda minore; si espande poi in una sezione di ampi e arditi arpeggi, come fosse un ponte modulante che risolve in una suadente melodia nella tonalità di mi maggiore. Forse meno ispirato, per la ridondanza di ornamentazioni, Fête Villageoise sembra una scampagnata (ma non proprio per quanto riguarda l’esecuzione) all’insegna del divertimento, motto di quella serenità che qui trapela palesemente, senza alcun pudore, e che null’altro sembra volerci suggerire. Le ornamentazioni, i glissati, estese sequenze di arpeggi, successioni rapide di scale, sono peculiari di tutta la musica di Regondi, retaggio del virtuosismo dei chitarristi compositori di qualche decennio prima. Li ritroviamo pure nell’Air Varié op. 21 e op. 22 dove una mesta introduzione in tonalità minore contrasta con il tema sereno in tono maggiore (quello dell’op. 21 calca un motivo popolare napoletano); le variazioni sono ricche di cromatismi, complesse armonie, e melodie che rimandano, stavolta, all’ormai sorpassato clima salottiero ottocentesco. Più interessante Introduction et Caprice op. 23, ultimo pezzo scritto da Regondi per la chitarra, definito da Gilardino “il miglior brano scritto per chitarra nell’epoca romantica”,3 caratterizzato da un magistrale uso della tessitura armonica nell’introduzione in mi maggiore, da cui si apre poi lo sviluppo vero e proprio (il capriccio in mi minore) nel quale, per chiudere con maestria l’elaborazione motivica di gradevole impronta romantica, egli utilizza l’ampio vocabolario degli elementi idiomatici della chitarra. I Capuleti e i Montecchi - ispirato, forse, al lavoro di Mertz - prende spunto dall’opera di Bellini con le variazioni secondo i canoni consueti. Il risultato è un capolavoro che mette in mostra un copioso ventaglio dei tecnicismi stilistici dell’epoca, ma anche un sapiente uso dell’accompagnamento della melodia, che ci fa apprezzare appieno le qualità polifoniche della chitarra. Esperimento simile è il Solo on Don Giovanni, fedele riproposizione, nota per nota, della medesima trascrizione ad opera di Thalberg, il famoso pianista compositore rivale di Liszt, che Regondi aveva incontrato a Londra nel 1837 e nel 1839, in occasione della loro partecipazione agli stessi concerti.4 Infine i magnifici 10 Etudes da cui si dispiegano accattivanti melodie, sorrette da armonie che aderiscono perfettamente alla fluida cantabilità. Talvolta, come nel difficile studio n. 5, da un semplice disegno melodico, trapela – attraverso articolate progressioni e modulazioni – un’eccellente abilità compositiva. E vale, per tutti, l’efficace intensità degli studi n. 6 e n. 9 per annoverare questi esercizi dell’espressività - miniature di grande valore musicale - tra le più belle composizioni del periodo romantico. Il 6 maggio 1872 Regondi moriva a Londra per un cancro epiteliale, dopo atroci sofferenze durate 20 mesi. Nella sua vita vennero pubblicate solo cinque opere; dopo la sua morte cadde nel dimenticatoio, e fu riscoperto solo di recente: i 10 studi furono scoperti in Russia da Matanya Ophee nel 1987. Alcune sue opere furono incise per la prima volta a partire dal 1981 da Leif Christensen con una chitarra René Lacôte del 1830, e in seguito da David Starobin nel 1993.5 Uno dei più eminenti studiosi di Regondi è Simon Wynberg,6 le cui note sono riportate (in lingua inglese) nel libretto che accompagna questi due CD del valente chitarrista Alberto Mesirca, per l’etichetta Brilliant Classics. Qualche piccola rigidità del fraseggio e rubati, a volte, leggermente affrettati, non inficiano la pregevole interpretazione del talentuoso e giovane chitarrista che, col suo ricercato tocco romantico, nitido e delicato, fa materializzare, nel gorgo dell’immaginazione, quella soave figura “con quei suoi occhi blu pieni di dolcezza e vivacità, dai lunghi capelli biondi e fluenti sulle spalle”,7 concedendoci di godere pienamente di una delle pagine più significative del periodo romantico.______________ 1. Secondo le informazioni date a Madame Fauche da Mr. Binfeld, nel periodico “The musical world”, Vol. I, 1° giugno 1872 pag. 345 2. “The musical world”. Op.cit. 3. Ne “La chitarra” edizioni Curci, 2010 p. 153 4. Notizie tratte dall’articolo di Stefan Hackl ne “Il Fronimo” n. 143, p. 21, Milano Luglio 2008. 5. Ivi p. 14 6. Il medesimo articolo su Regondi, scritto da Simon Wynberg, è stato pubblicato ne “Il Fronimo” n. 42, p. 8-14, Milano 1982 7. Descrizione tratta da una recensione di un concerto di Regondi tenuto a Parigi il 13 aprile del 1830
  20. Il cofanetto distribuito dall'etichetta discografica Brilliant Classics integralmente dedicato alla musica russa per chitarra scritta tra il 1800 e il 1850. Ideatore il chitarrista e musicologo americano di origini russe Oleg Timofeyev. La tracklist include musica per chitarra sola e per chitarra in ensemble. Dal sito dell'editore: This comprehensive release is a celebration of the astonishing presence of the guitar in Russia at the beginning of the 19th century. Just the sheer number of composers featured on this 7CD album exemplifies how popular the instrument was. Though many of these composers have now fallen into obscurity, their works live on – discovered by renowned guitarist Oleg Timofeyev, an expert on the music of this time. Mr Timofeyev is known for reviving the seven-string Russian guitar, and it is on this instrument that he performs these works, many of which have never been recorded before. The release starts with one of the masters of the instrument, Andrey Sychra, whose numerous pupils form many of the composers on this album. Sychra was an accomplished harpist, and several of his works seem to imitate the delicacy of the harp. His fine Études are among the first for Russian guitar, and this style would be elaborated on by many of Sychra’s followers, whether they were meant for study or the concert hall. Sychra was also adept at programmatic music, with his compositions after poems able to depict atmospheric scenes, particularly apparent in his works based on Russian folk songs. Other composers, such as Mikhail Vysotsky, preferred to extemporise on themes by well-known composers; Vysotsky chose Cramer’s Études as a basis for his free-flowing Fantasia, and even arranged the third contrapunctus from J.S. Bach’s Art of Fugue in a remarkably original and novel transcription. The final CD of this album sees the Russian guitar paired with other instruments – unusual, as Russian guitarists, often in the military or part of land-owning nobility, rarely had an opportunity to play alongside other musicians. We have Piotr Naimanowsky’s Variations for guitar and fortepiano, a sympathetic working of the popular French air Que le jour me dure, and a Sonata for violin and guitar by Antoine de L’Hoyer, a Frenchman who spent 10 years in Russia and frequently wrote for the Russian guitar. This innovative release represents an exciting chance to discover the severely neglected world of the Russian guitar during this period. As Oleg Timofeyev and his companions show, there is a wealth of music worthy of attention here, in a variety of genres and styles. The seven-string guitar appeared in Russia in the 1790s and experienced its Golden Age during the first half of the 19th century. This Box Set is a monument to this remarkable era. The 7 CD’s of this set follow chronologically the development of the guitar in Russia: from the very first works by the “Patriarch of the Russian guitar” Andrey Sichra, through the Muscovite School of Aksionov, Vysotsky and Vetrov, the St. Petersburg School with works by Morkov and others, to the Romantics Alexandrov, Zimmerman and Sarenko. Also included are songs accompanied by the guitar and chamber music in which the guitar has a prominent part. A unique project, played by master guitarist Oleg Timofeyev as soloist, seconded by second guitarist John Schneiderman. Timofeyev wrote the extensive and scholarly liner notes himself. With artist biographies and extensive liner notes written by the artist.
  21. Brilliant Classics pubblica un box-set dedicato alla musica del compositore messicano Manuel Maria Ponce (1882-1948) interpretata dal chitarrista francese Gérard Abiton. Nonostante il titolo riporti il complete, il repertorio di Ponce qui presentato è parziale. Si tratta a mio parere di una grave svista dell'interprete su un'opera integrale di così grande importanza. Nonostante ciò trovo ottima la registrazione ed egregio il lavoro svolto sulle pagine della musica di Ponce. La critica di Marco Riboni su Amadeus: Manuel Maria Ponce (1882-1948), assieme a Carlos Chavez (che di Ponce fu allievo) rappresenta la punta più alta della musica colta messicana del Novecento. La sua produzione per chitarra, legata alla fortissima influenza di Andrés Segovia che di lui fu promotore e mentore, è di formidabile importanza. Nel Novecento storico degli anni Venti e Trenta, assieme a Villa-Lobos e Castelnuovo-Tedesco, la sua musica per chitarra costruì pilastri fondamentali per il repertorio delle sei corde, pilastri sui quali i giovani e validi interpreti dovrebbero appoggiarsi anziché barcamenarsi con ammennicoli di uso e consumo commerciale. Ponce è un grande, la sua musica è bellissima. Tanto bravo quando ingenuo: la sua Estrellita, una affascinante canzone diventata celeberrima e cantata nel Ventesimo secolo dai più rinomati interpreti, non gli fruttò neanche un centesimo a causa della sua sprovvedutezza: cedette infatti inconsapevolmente tutti i diritti d'autore all'editore, il quale si guardò bene dall'informarlo su quanto stesse facendo. La lettura di Gérard Abiton di questa imponente messe di opere, fra le quali lo splendido Concierto del Sur per chitarra e orchestra (che da solo meriterebbe un ampio articolo di analisi), è eccellente. Onore al merito nella realizzazione di un progetto discografico così importante e impegnativo, soprattutto di questi tempi nei quali la chitarra sembra diventata lo sfogo esibizionistico di virtuosismi fini a se stessi." (Marco Riboni, Amadeus numero 303 febbraio 2015) Il link sulla pagina dell'editore: http://www.brilliantclassics.com/articles/p/ponce-complete-guitar-music/ La presentazione del disco in lingua inglese: The magic and mystery of Mexico make a welcome return on this recording, as the expert skills of Gérard Abiton explore Manuel Ponce’s complete works for guitar. There is a wealth of treasures to be enjoyed here, as Ponce’s vast career led him to explore a number of different styles. His time in Paris exerted a French influence on his music, heard in the wonderfully lyrical song-without-words motif in the second movement of his Sonata III. The folklike passage that follows it, alongside a daring counter-melody, are brought together in a joyous conclusion in the Sonata’s last movement, cleverly evoking a popular theme. But it is in the Tres Canciones populares mexicanas that the listener is musically transported to Central America, and Ponce’s beloved homeland. The composer’s tender nature is beautifully expressed in these three lyrical works, as, along with the Scherzino mexicano, he strives to create a testament to his Mexican roots. Gérard Abiton, an ‘exceptional and talented’ French guitarist (Guitare Classique), is a magnificent performer of Ponce’s works. His elegant rendition succeeds in convincingly expressing the composer’s tender emotion, paying homage to Ponce’s diverse influences and never straying far from his cherished Mexican origins. Described as ‘one of the best guitarists in the world’ (Liberation) and a ‘leading light in the profession’ (Le pays), Abiton’s understanding of Ponce has led him to be regularly invited to play his works in Mexico. Joined by harpsichordist Beatrice Martin, whose assured touch is the perfect accompaniment to the Concierto del Sur and Sonata for guitar and harpsichord, as well as Jean Thorel’s professional conducting, this CD is sure to delight fans of guitar music looking to relax and unwind.
  22. Brilliant Classics pubblica il CD dedicato alla musica per chitarra sola di Hans Werner Henze (1926 - 2012). Interprete il chitarrista italiano Andrea Dieci. Numero di dischi: 1 Formato: CD, Classica Etichetta: Brilliant Classics ASIN: B01CTMJOC6 La tracklist: Dal sito dell'editore: Henze may have been renowned as one of the most prodigious postwar German modernists, but the important position of the guitar in his output reveals the lyric and rhapsodic side to his nature which runs as an undercurrent throughout his music, flowering most fully in the genre of opera to which he was drawn time and again. His first major work for the instrument is a set of three Tentos – or tientos, the Spanish form of the fantasia or ricercar to be found in English and Italian music of the 15th century onwards – extracted from a collection of chamber music for various combinations. ‘They feature in the repertory of virtually every professional guitarist who considers himself worthy of the name,’ as the composer modestly remarked – but with justice, for their brevity is matched by their songful imagination. The two sonatas are much more ambitious in scale, both inspired by the Shakespearean literature which Henze loved so much, and also by the artistry of Julian Bream, who may be counted a Segovia of the latter half of the last century, thanks to the array of composers who realised through his playing the expressive possibilities of an instrument they might otherwise have regarded as having strictly local or picturesque appeal. Characters are portrayed such as the ridiculous Sir Andrew Aguecheek, but also narratives told, such as Gloucester’s relationship to King Lear. The Italian guitar magazine Seicorde has described Dieci as a ‘fine performer with an enviable technique’. His first recording on Brilliant Classics was of the contemporary guitarist-composer Nicola Jappelli (BC9435); according to Seicorde, ‘the skillful balance of dynamics often extreme and sudden, the adoption of an extremely expressive phrasing and varied even in minimalist areas, meticulous articulation of ethereal melodies broken between items: these are just some of the qualities that deserve recognition in the work of Dieci.’ Dieci’s second album comprised popular guitar works by the Argentinian master of the classical tango, Astor Piazzolla, with a selection of music for violin and guitar capturing the spirit of the era, ‘Café 1930’ (BC94896). This, too, was issued to a very positive reception. Hans Werner Henze was one of the most important composers of the 2nd half of the 20th century, and certainly one of the most prolific. He often wrote for the guitar, exploring the evocative potential of the instrument so that it could express a wide range of different emotions and atmospheres. This CD presents the two Sonatas on Shakespearean Characters, an important cycle portraying characters like Lady Macbeth, Romeo & Juliet and Ariel, finding a new dramatic expression in these personifications of timeless human values. Italian guitarist Andrea Dieci, a winner of several international competitions, is called “A true star of the classical guitar” (Corriere della sera) and “an impressive guitarist” (New York Times Herald). He recorded for Brilliant Classics the complete works by Jappelli (BC9435) and guitar works by Piazzolla (BC 94896). Excellent liner notes by a musicologist, in both English and Italian.
  23. 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: https://www.amazon.it/Gilardino-Complete-Music-Guitar-1965-2013/dp/B0106UFKW6/ Acquisto su iTunes: https://itunes.apple.com/album/id1018180698 Anteprime su SoundCloud Maggiori informazioni: http://www.brilliantclassics.com/articles/g/gilardino-complete-music-for-solo-guitar-1965-2013/ Leggi la scheda di questo/a novità discografica
  24. Il Box Set "The Andrés Segovia Archive: Complete Guitar Music" distribuito dall'etichetta discografica Brilliant Classics contiene la registrazione a cura del chitarrista italiano @Ermanno Brignolo dell'intera omonima collana pubblicata dalle Edizioni Bérben di Ancona. Il contenuto è il seguente: La tracklist dettagliata può essere visionata da questo link. Dal sito dell'editore: Andrés Segovia, born in 1893 in Linares, Spain, was one of the most important musicians of the 20th century; a virtuoso guitarist whose contribution to modern-Romantic repertoire included both commissions and transcriptions of baroque/classical works. Until recently, a significant portion of his music library remained either unknown or consigned to the depths of history: only in 2001, when the Italian composer, guitarist and scholar Angelo Gilardino was given permission to open the crates containing the maestro’s personal collection of music, did the true extent of his vast repertoire come to light. The collection The Andrés Segovia Archive was thus created with the aim of making available to all the works written for Segovia which remained unpublished (and in some cases never performed) during his lifetime, and here it is played by esteemed Italian guitarist Ermanno Brignolo – himself the dedicatee of numerous works by composers such as Ronca and Porqueddu. From Fenerod Peyrot’s Thème et variations to Arregui’s Piezas líricas, the compilation touches on a number of countries, revealing Segovia’s immense international stature at that time. Brignolo presents an engaging tribute to a precious heritage, one whose range of styles has only served to further enrich 20th-century guitar music. Qui la traccia Passacaille di Alexandre Tansman, etratta dallo stesso Box Set:
  25. Il Box Set "The Andrés Segovia Archive: Complete Guitar Music" distribuito dall'etichetta discografica Brilliant Classics contiene la registrazione a cura del chitarrista italiano @Ermanno Brignolo dell'intera omonima collana pubblicata dalle Edizioni Bérben di Ancona. Il contenuto è il seguente: La tracklist dettagliata può essere visionata da questo link. Dal sito dell'editore: Andrés Segovia, born in 1893 in Linares, Spain, was one of the most important musicians of the 20th century; a virtuoso guitarist whose contribution to modern-Romantic repertoire included both commissions and transcriptions of baroque/classical works. Until recently, a significant portion of his music library remained either unknown or consigned to the depths of history: only in 2001, when the Italian composer, guitarist and scholar Angelo Gilardino was given permission to open the crates containing the maestro’s personal collection of music, did the true extent of his vast repertoire come to light. The collection The Andrés Segovia Archive was thus created with the aim of making available to all the works written for Segovia which remained unpublished (and in some cases never performed) during his lifetime, and here it is played by esteemed Italian guitarist Ermanno Brignolo – himself the dedicatee of numerous works by composers such as Ronca and Porqueddu. From Fenerod Peyrot’s Thème et variations to Arregui’s Piezas líricas, the compilation touches on a number of countries, revealing Segovia’s immense international stature at that time. Brignolo presents an engaging tribute to a precious heritage, one whose range of styles has only served to further enrich 20th-century guitar music. Qui la traccia Passacaille di Alexandre Tansman, etratta dallo stesso Box Set: Maggiori informazioni: https://www.amazon.com/dp/B00DMNMIZC/_encoding=UTF8?ref=exp_inf_pl_cristianoporqueddu Leggi la scheda di questo/a novità discografica
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