DOCSLIB.ORG

A Comprehensive Guitar Series

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Comprehensive Guitar Series Bridges TM A Comprehensive Guitar Series “This new edition, in my opinion, is very close to being THE definitive word on classical guitar instruction – period.” Patrick Kearney, international concert artist and professor of classical guitar at Vanier College and Concordia University Bridges TM Introduction Bridges™ is the fourth edition of the renowned Guitar Series, originally published in 1989 to international acclaim. This edition aims to provide students with a clear, well-paced route for their musical development; to nurture the technique necessary to successfully meet those developmental challenges; and to expose students to the full range of the instrument’s repertoire. The chosen repertoire and studies at any given level fall within a carefully sequenced range of technical and musical difficulty. From the late elementary to early advanced levels students can be assured that their learning path will be well rounded and complete. Some of the most notable features of Bridges™ are: the inclusion of guitar masterpieces by such beloved guitar composers as Agustín Barrios, Heitor Villa-Lobos, and Leo Brouwer minimal fingering suggestions, leaving teachers more flexibility and a clearer score from which to work a balance of style choices for repertoire and studies in all levels The well-rounded guitarist will have an understanding of the instrument’s history as well as practical experience with a wide range of repertoire from all historical periods and styles. Guided by this principle, the series editors have drawn on more than 500 years’ worth of guitar and lute music. Each book features compositions from the Renaissance to the present day; by learning music from each style period, students will gain a comprehensive overview of the evolution of musical styles. The studies have been chosen for building technique and musicality specifically relevant to the repertoire of each level. Technical and conceptual challenges are progressively introduced from one book to the next to ensure the steady development of musical skills. Guide to Levels and Components for Bridges™: A Comprehensive Guitar Series Title Level Range Preparatory Guitar Repertoire and Studies Late Elementary Guitar Repertoire and Studies 1 Late Elementary Guitar Repertoire and Studies 2 Early Intermediate Guitar Repertoire and Studies 3 Early Intermediate Guitar Repertoire and Studies 4 Intermediate Guitar Repertoire and Studies 5 Late Intermediate Guitar Repertoire and Studies 6 Late Intermediate Guitar Repertoire and Studies 7 Early Advanced Guitar Repertoire and Studies 8 Early Advanced Guitar Technique Late Elementary to Early Advanced Preparatory Level Level 1 28 16 Study no. 6 Lyrical Study No. 14 Amusement Richard Miles Jackman op. 18, no. 10 (b. 1950) Felix Horetzky = 92 – 104 (1796–1870) q a = 58 – 66 m m a m a i m i m i m m q. m m i 4 1 1 2 4 4 3 j 1 j 3 # œ œ œ œ j j œ œ œœœ œ . Œ j 3 œ œ œ œ œ 6 2 œ œ œ œ œ œ œ œ œ œ œ & 4 œ œ œ œ œ œ œ œ œ &8œ œ œ œ œ œ œ œ ‰ J œ. Œ. œ ‰ p p p J . J a . i m m 1., 3. 5 i a m i Fine 4 j j œ j œ Œ 4 œ œ œ œ œ œ. œ 3 œ œ œ œ. & œ œ œ œ œ œ œ œ œ 3 œ . 4 œ œ œ œ 3 œ p J œ œ œ J œ. m a p # œ œ œ 8 2. i . œ œ m & œ 3 œ œ œ œ œ œ œ œ 4 4 3 œ j œ j 1 œ œ . œ. ‰ œ œ œœœ œœ. œ œ œœœ & œ œ œ3 œ œœ œœ. œ œ. œ. œ2 œ œœ œœ. œ œ œ œ ‰ J . œ. œ. J . 12 D.C. al Fine a 7 m m j œ œ œ. œ œ œ j Œ # 2 œ. œ œ œ œ. œ œ œ œ. œ œ œ . œ œ œ & œœœ. œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ# p œ p œ œn œ œ . œ œ œ œ . J J J œ. œ Andante op. 241, no. 5 Ferdinando Carulli a a (1770–1841) = 88 – 96 m i a a m 10 m m q m i m 4 4 2 4 j # œ œ # œ œ œ œ œ œ œ œ œ œ . 2 œ œ œ œ œ œ œ 1 œ ‰ œ œ & 4 œ œ œ œ 2 œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ 3 ‰ œ œ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ p J J m m i m 5 i m i i m P F m i i 4 4 Amusement, op. 18, no. 10 œ 2 4 2 4 Felix Horetzky 13 1. # œ œ œ ≈ œ œ œ j & œ œ œ œ œ œ œ œ œ œ œ# œ ‰ . ≈ œ œ œ ‰ ≈ œ œ œ ‰ œ 3 œ œ # œ œ œ œ R R œ œ œ J œ œ œ 2 œ œ & œ œ œ œ œ œ i m i m i m i ‰ 4 1 9 i i . œ œ# œ# P F m m 3 4 4 . J 3 4 3 4 Level 11 # œ œ ≈ œ œ œ œ œ ≈ œ œ œ & . œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œœ œ 2. p p p a i m a œ œ œ œ 16 m i i 22 i m 13 F i a i m p a m i m i m i a m i j j 3 Andaluza4 # 4 œ 3 œ 4 4 . 1 1 & œ œ œ œ œ œ . œ œ œ œ œ # œ œ œ œ œ œ Claudio Camisassa œ œ#œ œ = 92 – 108 œ œ œ œ œ œ œ (b.‰ 1957). & œq œ m œ j œ a m a aœ. œ œ. œ œ œ œ œ. œ œ. œ œ m a œ sim. p p p i i œp œ Source: Lyrical Studies > > > > > p j4 j J 4 © Copyright 2006 Richard Miles Jackman. Reprinted by permission of the composer. Source: MéthodeP complète‰ pourœ parvenirœ àœ pincer de laœ guitare, op. 241‰ œ œ œ œ œ ‰ ‰ œ &c œ œ œ œ œ œ œ œ œ w w p p Lyrical Study No. 14 Richard Miles Jackman 4 i m i > > 4 j 3 2 ‰ 3 ‰ Œ . ‰ œ œ œ 2 œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ Level 2 p w 8 m a j> > > i m i > m i m 9 ‰ œ œ œ œ Œ ‰ ‰ œ ‰ ‰ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Bourrée II i ‰ ‰ Johann Sebastian Bach w m p (1685–1750) 33 arr. J. Andrew Creaghan 12 = 52 – 60 >a i m i >a i m i a h Calmo 4 > > m i i i m Fine m i 2 — Jaime Zenamon œ 3 3 w w 0 1 Andaluza œ œ œ œ œ ww Claudiogp w Camisassa # # 1 1 1 1 3 (b. 1953) & œ œ œ œ œ œ w g#ww = 58 – 69 2 4 2 ‰ ‰ ‰ ‰ g # C 3 0 œ a œ œ œ 3 œ 0 a œ œ . & h. œm œi iœ m œ m œ i œ i m œ œ . œ 3 pJ w œ œ p Œ4 0 œ 0 4 3 Œ Œ 3 5 œ# œ œ# œ# œ œ# œ# 2 œ œ œ œ 1 œ &4#p . #. m i n. Fleur de Lotus Roque Carbajo 2 3 4 1 2 a tempo 3 a 0 (b. 1951) # # 2 F 3 œ œ 4 1 2 1 6 # . œ œ œ œ œ œ œ 1 œ œ œ œ œ 4 Delicato = 96 – 104 2 m i œ 3 3 Technical elements introduced in . œ 3 œ œ a m i & œ œ i q m i m i m i Ó . Ó . œ œ œ œ œ# Œ œ# œ œ# # Œ 0 4 œ œ œ œ œ œ Preparatory 0 – Level 2: 1 0 1 0 & Œ œ œ œ # 0 3 2 1 . Œ Œ 3 2 œ œ 9 rall. œ œ œ œ 3 œ œ œ œ œ D.C. al Fine & 4 p œ œ œ œ œ œ n. œ œ . œ 12 . #1 # 1 1 syncopationP # . œ œ œ œ œ œ œ 3 . a m i m i m & œ #. œ œ. œ œ ∑ œ #.. 5 . . œ . œ 1 œ œ œ œ 4 4 & œ œ œ œ Œ œ . œ 0 3 Source: SuiteŒ for Solo Cello No. Œ4, BWV 1010 Œ Œ 3 2 Œ œ 0 1 Original key: E flat Major #. n. finger# independence œn œ œ 0 a m œ œ Arrangement © copyright 2003 J.a Andrew Creaghan.a Reprinted by permission. œ œ œ œ œ œ œ œ œ œ œ Bourrée19 II Johann Sebastian Bach, arr. J. Andrew Creaghan & œ œ œ œ œ œ n.œ œ . œ 4 m i i m i 0 . 4 . œ 4 .
Load more

Recommended publications
  • Sept 28 to Oct 4.Txt
    CLASSIC CHOICES PLAYLIST Sept. 28 - Oct. 4, 2020 PLAY DATE: Mon, 09/28/2020 6:02 AM Antonio Vivaldi Violin Concerto "Cuckoo" / Coucou 6:13 AM Wolfgang Amadeus Mozart Symphony No. 13 6:30 AM Giuseppe Tartini Violin sonata 6:45 AM Carl Philipp Emanuel Bach Symphony 7:02 AM Capel Bond Concerto No. 4 in Seven Parts 7:11 AM Muzio Clementi Piano Sonata 7:32 AM Arcangelo Corelli Concerto Grosso No. 7 7:43 AM Franz Joseph Haydn Symphony No. 38 8:02 AM Johann Sebastian Bach Italian Concerto 8:16 AM Johann ChristophFriedrich Bach Trio Sonata 8:33 AM Richard Strauss Metamorphosen 9:05 AM Igor Stravinsky Violin Concerto 9:28 AM Louis Spohr Clarinet Concerto No. 2 9:53 AM Leroy Anderson Fiddle-Faddle 10:00 AM Wolfgang Amadeus Mozart ABDUCTION FROM THE SERAGLIO: Overture 10:07 AM Wolfgang Amadeus Mozart Flute Sonata 10:19 AM Wolfgang Amadeus Mozart Symphony No. 37 10:34 AM Wolfgang Amadeus Mozart Eight variations on a march 10:49 AM Wolfgang Amadeus Mozart Keyboard Concerto after J.C. Bach 11:02 AM Peter Ilyich Tchaikovsky Romeo and Juliet Fantasy Overture 11:25 AM Ralph Vaughan Williams Symphony No. 4 12:00 PM Eric Coates The Greenland (Rhodesian March) 12:08 PM Felix Mendelssohn Organ Sonata No. 6 12:23 PM Johann Strauss, Jr. Hofballtanze Walzer 12:35 PM Billy Joel Reverie (Villa D'Este) 12:46 PM John Williams (Comp./Cond.) Born on the Fourth of July: Suite 1:02 PM Carl Czerny Symphony No. 1, "Grand Symphony" 1:36 PM Johannes Brahms Fantasias 2:00 PM Johann Kaspar Mertz Am Grabe der Geliebten 2:07 PM Bernhard Henrik Crusell Clarinet Quartet No.
    [Show full text]
  • A Historical and Critical Analysis of 36 Valses Di Difficolta Progressiva, Op
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2012 A Historical and Critical Analysis of 36 Valses di Difficolta Progressiva, Op. 63, by Luigi Legnani Adam Kossler Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC A HISTORICAL AND CRITICAL ANALYSIS OF 36 VALSES DI DIFFICOLTA PROGRESSIVA, OP. 63, BY LUIGI LEGNANI By ADAM KOSSLER A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2012 Adam Kossler defended this treatise on January 9, 2012. The members of the supervisory committee were: Bruce Holzman Professor Directing Treatise Leo Welch University Representative Pamela Ryan Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements ii ACKNOWLEDGEMENTS I would first like to thank my guitar teachers, Bill Kossler, Dr. Elliot Frank, Dr. Douglas James and Bruce Holzman for their continued instruction and support. I would also like to thank Dr. Leo Welch for his academic guidance and encouragement. Acknowledgments must also be given to those who assisted in the editing process of this treatise. To Ruth Bass, Dr. Leo Welch, Bill Kossler, Lauren Kossler and Jamie Parks, I am forever thankful for your contributions. iii TABLE OF CONTENTS List of Musical
    [Show full text]
  • Oct 26 to Nov 1.Txt
    CLASSIC CHOICES PLAYLIST Oct. 26 - Nov. 1, 2020 PLAY DATE: Mon, 10/26/2020 6:02 AM Antonio Vivaldi Violin Concerto, Op. 3/6 6:11 AM Wolfgang Amadeus Mozart Symphony 6:29 AM Georg Philipp Telemann Concerto for Viola, Strings and B.C. 6:44 AM Carl Philipp Emanuel Bach Trio Sonata for Flute, Violin & BC 7:02 AM Heinrich Ignaz Franz Biber Mensa sonora, Part III 7:12 AM Franz Joseph Haydn Concerto for King Ferdinand IV of Naples 7:29 AM William Byrd Fitzwilliam Suite 7:41 AM Edward MacDowell New England Idylls 8:02 AM Georg Philipp Telemann Overture of Ancient and Modern Nations 8:17 AM Gioacchino Rossini String Sonata No. 5 8:33 AM Louise Farrenc Clarinet Trio in E-Flat 9:05 AM Cliff Eidelman Symphony for Orchestra & Two PIanos 9:34 AM Robert Schumann Märchenbilder 9:51 AM George Gershwin Love is Here to Stay (aka Our Love is 10:00 AM Wolfgang Amadeus Mozart Rondo for flute and orchestra K anh.184 10:06 AM Wolfgang Amadeus Mozart Symphony 10:24 AM Wolfgang Amadeus Mozart Adagio & Allegro 10:36 AM Wolfgang Amadeus Mozart Divertimento for Winds 10:51 AM Wolfgang Amadeus Mozart Rondo for piano & orch 11:01 AM Mark O'Connor Double Violin Concerto 11:35 AM Johann Sebastian Bach Orchestral Suite No. 4 12:00 PM Gioacchino Rossini La Gazza Ladra (The Thieving Magpie): 12:13 PM Sir Edward Elgar Harmony Music No. 4 for wind quintet 12:26 PM Allen Vizzutti The Rising Sun 12:43 PM Eric Coates Idyll 12:51 PM Franz Waxman Hotel Berlin: Cafe Waltzes 1:01 PM Sir Charles Villiers Stanford Clarinet Sonata 1:25 PM Friedrich Kuhlau Piano Quartet 2:00 PM Domenico Scarlatti Sonata 2:08 PM Nicolo Paganini Quartet No.
    [Show full text]
  • Elements of Style Hongrois Within Fantaisie Hongroise, Op. 65, No.1 By
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2012 Elements of Style Hongrois within Fantaisie Hongroise, Op.65, No. 1 by J.K. Mertz Andrew Stroud Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC ELEMENTS OF STYLE HONGROIS WITHIN FANTAISIE HONGROISE, OP. 65, NO.1 BY J.K. MERTZ By ANDREW STROUD A doctoral treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Summer Semester, 2012 Andrew Stroud defended this treatise on June 26th, 2012. The members of the supervisory committee were: Bruce Holzman Professor Directing Treatise James Mathes Outside Committee Member Melanie Punter Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii To my wife, mother and father. Without whom, I would fail in life and laughter. iii ACKNOWLEDGEMENTS I would like to thank a few individuals for their support. Firstly, Bruce Holzman, for listening to the continued scratching of strings and never flagging. I must give many thanks to professors Mathes and Punter for agreeing to follow me on this project. I also received wonderful direction from Matanya Ophee and Richard Long, men unsurpassed in their scholarly contributions to the history of the guitar. I owe an unending debt of gratitude to Dr. Jonathan Bellman of the University of Northern Colorado, the country’s foremost scholar of style hongrois, and someone who supplied an absolutely priceless amount of help.
    [Show full text]
  • View Pdf of Cd Booklet
    | NEW HORIZONS IN GUITAR PERFORMANCE serenade romantic music for romantic guitars Tom Kerstens Franz Schubert (1797-1828) Six Songs (arr. Mertz) (First original recording) Frederyk Chopin (1810-1849) 1 Ständchen (serenade) 3.57 Three Preludes Op. 28 (arr. Tárrega) 2 Die Post 2.49 15 No. 7 in A 0.51 3 Aufenthalt 3.20 16 No. 20 in C minor 1.42 Producers 4 Das Fischermädchen 2.16 17 No. 15 in D flat 5.39 Tom Kerstens 5 Lob der Thränen 2.48 John Taylor 6 Liebesbotschaft 3.02 Francisco Tárrega (1852-1909) Five Preludes Engineer Niccolò Paganini (1782-1840) 18 Endecha 0.56 John Taylor Grand Sonata 19 Oremus 0.50 (Tracks 7 – 11 First original recording, Urtext Edition) 20 Allegro 0.54 Recording Dates 7 Second Movement – Romance 3.42 21 Andante sostenuto 0.53 November & December 1992 8 Third Movement – Andantino variato 5.28 22 Lágrima 1.30 & January 1993 Ghiribizzi Three Mazurcas at Seldon Hall, Elstree, London. 9 No. 37 Adagietto (after Rossini) 1.29 23 ¡Adelita! 5.18 10 No. 20 Là ci darem la mano (after Mozart) 2.27 24 ¡Marieta! 1.41 Photography 11 Sonatina No. 1 2.17 25 Sueño 2.09 David Cockroft Liz Helman Giulio Regondi (c. 1822-1872) 26 Pavana 1.32 12 Introduction and Caprice Op. 23 10.02 Cover Design 27 Capricho árabe (serenade) 1.43 Clare Skeats Franz Schubert (Tracks 13-28 first recording of Chanterelle Urtext edition) 28 La alborada, la cajita de música Rachel Godfrey Two Pieces (arr. Tárrega) (the musical box) 1.21 Bath Spa College 13 Menuetto (from Sonata in G Op.
    [Show full text]
  • Franz Schubert's Chamber Music with Guitar: a Study of the Guitar's Role in Biedermeier Vienna Stephen Mattingly
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 Franz Schubert's Chamber Music with Guitar: A Study of the Guitar's Role in Biedermeier Vienna Stephen Mattingly Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC FRANZ SCHUBERT’S CHAMBER MUSIC WITH GUITAR: A Study of the Guitar’s Role in Biedermeier Vienna By STEPHEN MATTINGLY A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2007 Copyright © 2007 Stephen Mattingly All Rights Reserved The members of the Committee approve the treatise of Stephen Mattingly defended on March 26, 2007. ______________________________ Michael Buchler Professor Directing Treatise ______________________________ Nancy Rogers Outside Committee Member ______________________________ Bruce Holzman Committee Member ______________________________ Melanie Punter Committee Member ______________________________ Larry Gerber Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS The following organizations deserve special thanks for their material support of this project: the Presser Foundation for their generous grant to fund the recording and research of “Schubert’s Complete Chamber Music with Guitar”, the Vienna Schubertbund and the Schubert Institute of the United Kingdom for their
    [Show full text]
  • Franz SCHUBERT
    Franz SCHUBERT Chamber Music for Guitar, Flute, Viola and Cello Kamarimusiikkia kitaralle, huilulle, alttoviululle ja sellolle Jari Tarjasalo, Guitar – kitara Timo Pulakka, Flute – huilu Matti Hirvikangas, Viola – alttoviulu Mikko Ivars, Cello – sello 1 Franz SCHUBERT (1797-1828) Quartet for fl ute, guitar, viola and cello in G major, D96 1 Moderato 10:26 2 Menuetto 05:24 3 Lento e Patetico 05:56 4 Zingara 03:13 5 Tema con Variazioni 04:12 Sonata in A minor ”Arpeggione” D821. Arr. for fl ute and guitar. 6 Allegro moderato 10:53 7 Adagio 03:10 8 Allegretto 08:32 Six songs, arr. for solo guitar by Johann Kaspar Merz. 9 Lob der Thränen 03:13 10 Liebesbothschaft 03:01 11 Aufenthalt 03:19 12 Die Post 03:02 13 Ständchen 03:53 14 Das Fischermädchen 02:25 TT: 70:00 2 Quartet for fl ute, guitar, viola and cello in G major, D96 Franz Schubert’s Quartet for fl ute, guitar, viola and cello is an arrangement of Wenzel Matiegka’s (1773-1830) Trio for fl ute, viola and guitar. The original work, Notturno in G major Op. 21, was composed in 1807, and the theme in the concluding variations movement was taken from Friedrich Fleischmann’s well-known serenade. Schubert’s alterations include adding a cello part and composing another trio for the minuet. Schubert’s manuscript was found in 1918 in Zell am See, in the attic of a farmhouse. A great-uncle of the family living in the house had been a personal friend of the composer, and had presumably married the young guitarist for whom the guitar part was originally composed.
    [Show full text]
  • Album Booklet
    A Salon Opera Flauguissimo Duo A Salon Opera Niccolò Paganini (1782–1840) Mauro Giuliani (1781–1829) 1. Cantabile in D major, MS 109, Op. 17 [3:26] Grande Serenade, Op. 82 10. Theme & Variaons [4:22] Franz Schubert (1797–1828) 11. Menueo & Trio [3:18] 2. Frühlingstraum, D.911, Op. 89 No. 11 [3:00] 12. Marcia [4:19] from Die Winterreise, arr. Flauguissimo Duo 13. Allegro brillante [4:57] Flauguissimo Duo 3. An die Nachgall, D.497, Op. 98 No. 1 [1:54] arr. Flauguissimo Duo 4. Heidenröslein, D.257, Op. 3 No. 3 [1:44] Total playing me [51:03] Yu-Wei Hu flute arr. Flauguissimo Duo Johan Löfving guitar Francesco Molino (1768/75–1847) Nourno II, Op. 38 for flute or violin and guitar Original French Tribout guitar, 1850, anonymous, restored by James Westbrook 5. Andante cantabile [2:36] Eight-keyed flute by Marn Wenner, 2011, aer August Grenser, c. 1790 6. Rondo: Allegro [2:59] Fernando Sor (1778–1839) 7. Introducon and Variaons on a Theme of Mozart, Op. 9 [8:40] Introducon: Andante Largo – Theme: Andante Moderato – Variaon I – Variaon II – Variaon III – Variaon IV – Più mosso – Variaon V – Più mosso – Coda Christoph Willibald Gluck (1714–1787) 8. Dance of the Blessed Spirits [5:30] from Orfeo ed Euridice, Wq. 30 arr. Flauguissimo Duo About Flauguissimo Duo: Johann Kaspar Mertz (1806–1856) [4:11] ‘Flaust Yu-Wei Hu was sublime and her handling of Gluck and Paganini, 9. Tarantelle, Op. 13 No. 6 accompanied sensively by guitarist Johan Löfving, was my personal highlight’ Early Music Today ‘[...] Young arsts Flauguissimo Duo shine [...] They gave a fine performance that held our aenon throughout’ Classical Guitar Magazine A Salon Opera had their real career in the army.
    [Show full text]
  • Gebeth Romantic Music for Guitar
    Gebeth Romantic music for Guitar Mertz . Regondi Giacomo Susani GIACOMO SUSANI_booklet_2018_DEF_ESEC.indd 1 26/08/18 21:50 Johann Kaspar Mertz (1806-1856) 30.25 1. An Malvina 3.55 2. Etude (più allegro) 2.02 3. Unruhe 1.44 4. An die Entfernte 4.50 5. Capriccio 1.46 6. Gebeth 3.33 7. Lied ohne Worte 3.16 8. Elegie 9.19 Crediti / Credits Digital recording standard 88.2kHz/24bit Scuola della Carità, Padova, Italy, April 2017 Recording and master engineer: Marco Lincetto Photos: Giovanni De Sandre Artwork: Julia Maquieira Translations: Melissa Evans Guitar: Domingo Esteso - Madrid 1926 GIACOMO SUSANI_booklet_2018_DEF_ESEC.indd 2 26/08/18 21:50 Giulio Regondi (1822-1872) 28.50 9. Etude No. 1 3.12 10. Etude No. 4 8.06 11. Etude No. 6 7.58 12. Rêverie - Nocturne 9.34 GIACOMO SUSANI_booklet_2018_DEF_ESEC.indd 3 26/08/18 21:50 Gebeth è un progetto nato da un profondo desiderio di esprimere ciò che di più genuinamente personale e distintivo esiste nel mio fare musica. L’ambito delle registrazioni si è infatti rivelato il canale più efficace per esprimere idee senza compromessi, un contesto ideale per la presentazione pura della mia personalità artistica a prescindere da qualsivoglia influenza esterna. Per questo la scelta del repertorio (per quanto chiaramente basata sulla giustapposizione stilistica delle due maggiori personalità chitarristiche romantiche Johann Kaspar Mertz e Giulio Regondi) è avvenuta ricercando una forte affinità emotiva, che esprimesse un legame intimamente artistico e personale tra me e le opere scelte, piuttosto che seguendo un approccio meramente filologico nella resa della musica del passato.
    [Show full text]
  • Guitar Composers of the Classical and Early Romantic Period Circa 1780-1900
    Guitar Composers of the Classical and Early Romantic Period Circa 1780-1900 "Guitar compositions of the 19th century, with the exception of those of a didactic nature, haven't received the attention they deserve from either scholars or performers. The superficial accusation made of such literature that it is of little artistic value, is the result of a series of misconceptions which have been passed on due to the absence of an adequate historical and aesthetic analysis, and due also to the unfamiliarity of the performers with music which demands a brilliant technique too often superior to their ability. Oppressed by the works of the great Romantics and intimidated by such technical difficulty, guitarists have preferred to ignore a period which often presents music of excellent substance.. However, today increasing attempts are being made to revalue the music of those who kept the instrumental tradition alive even in the countries that saw an almost total predominance of opera. A careful selection of these compositions reveals works which compare well with the best pages of other more successful composers and which deserve to be in cluded in today's concert programmes." - In memory of Ruggero Chiesa (1933 - 1993) Recommended 6-string Early Classical-Romantic Guitar Composers (by birth date): 1 Major non-guitar composers included for time frame point of reference 2 Composers which were major orchestral composers but minor guitar composers Guitar Composers : Bach ( 1685 - 1750 ) 1 Haydn ( 1732 - 1809 ) 1 Luigi Boccherini 2 1749 - 1805 Christian
    [Show full text]
  • Album Booklet
    The Soldier’s Return Guitar works inspired by Scotland James Akers romantic guitar RES10165 I’d like to dedicate this recording to the memory of my sister Lorraine Galloway The Soldier’s Return Fernando Sor (1778-1839) Guitar works inspired by Scotland 1. Variations on a Favourite Scottish Air, Op. 40 [7:07] Mauro Giuliani (1781-1829) 2. The Soldier’s Return [4:25] Luigi Legnani (1790-1877) James Akers romantic guitar 3. Variations on Rossini’s ‘La Marcia’ (from La donna del Lago) [7:31] Mauro Giuliani 4. Prelude and Scotsoises (1) [4:05] 5. Blue Bells of Scotland [4:49] 6. Jenny’s Bawbee, A Reel [4:09] Johann Kaspar Mertz (1806-1856) 7. Fingal’s Cave [4:40] Mauro Giuliani 8. Coming through the Rye [3:45] 9. Prelude and Scotsoises (2) [4:25] 10. This is no my ain Lassie [5:05] Luigi Legnani 11. Variations on Rossini’s ‘Oh Quante Lagrime’ About James Akers: (from La donna del Lago) [7:47] ‘A superb player’ Mauro Giuliani The Independent 12. The Old Country Bumpkin [3:03] ‘Wonderfully supple, propulsive and alive’ The Guardian Total playing time [61:00] The Soldier’s Return: Guitar works craft to describe this place, writing of it, ‘one inspired by Scotland of the most extraordinary places I ever beheld. It exceeded, in my mind, every description I In the early-nineteenth century, a wave of had heard of it [...] composed entirely of enthusiasm for Scottish literature, landscape basaltic pillars as high as the roof of a and music swept across Europe.
    [Show full text]
  • Programma Di Sala Concerto Domus Mazziniana X Marzo 2018
    MARCO BATTAGLIA Specialista della musica ottocentesca che interpreta con chitarre d'epoca. Ha studiato presso la Civica Scuola di Musica di Milano e conseguito la laurea in CXLVI ANNIVERSARIO DELLA MORTE DI GIUSEPPE MAZZINI Conservatorio nel 1995. Sua è l’iniziativa del restauro della chitarra di Mazzini conservata all’Istituto Mazziniano di Genova con cui ha realizzato recital presso la Fondazione Stelline di Milano e il Teatro Sola favella comune a tutte le Nazioni “Carlo Felice” di Genova, ed ora di quella appartenente alla Domus Mazziniana. Si esibisce regolarmente in tournée sia nazionali sia Concerto per chitarra internazionali. Ha registrato per importanti stazioni radio e televisive italiane ed estere. È direttore artistico dell'800MusicaFestival, del Martesana International Guitar Festival e del Milano Classical Guitar Festival. È inoltre coordinatore dell''800 Musica Ensemble. Presso Marco Battaglia l’Accademia 800 Musica ha curato un Master promosso dal Rotary Club Milano Naviglio Prima esecuzione moderna con la chitarra di Giuseppe Mazzini Grande San Carlo. Ha effettuato produzioni discografiche per la MAP e pubblicato saggi musicologici. appartenente alla Domus Mazziniana www.marcobattaglia.it - www.800musicafestival.it Musiche di Niccolò Paganini, Mauro Giuliani, Gioachino Rossini / Mauro Giuliani e Giuseppe Verdi / Johann Kaspar Mertz FEDERICO GABRIELLI Ha conseguito il diploma di Conservatore dei Beni Liutari al termine del corso SABATO 10 MARZO 2018 ORE 17.00 quadriennale presso la Civica Scuola di GIPSOTECA DI ARTE ANTICA DELL’UNIVERSITÀ Liuteria di Milano. Lavora a Milano come PIAZZA SAN PAOLO ALL’ORTO - PISA costruttore e restauratore di strumenti musicali a pizzico. Nel 1991 il Museo Teatrale alla Scala di Milano lo ha incaricato del restauro conservativo degli strumenti a Il concerto sarà preceduto da una conferenza sul restauro pizzico della propria collezione.
    [Show full text]