ISBN 9781513459752. 8.75x11.75 inches.

One might think that it would be impossible to arrange the music of Georges Bizets opera, Carmen, for solo classic guitar, but Nestor Ausqui has done it! While the guitar is an intimate and sweet-sounding instrument, it does not have a broad dynamic range; yet, as Dionisio Aguado proclaimed in his Nuevo Metodo para Guitarra of 1843, the classic guitars expansive palette of tone color gives it the ability to emulate a miniature orchestra. These characteristics make the guitar the ideal instrument to reflect both the character and sensuality of the dances that occur throughout Bizets CarmenAragonaise, Habanera, Seguidillas, and Danse Bohemeas well as Carmens sober Chant de la Mort. Recommended for the advanced guitarist, Carmen Suite is written in standard notation with extensive digitation and occasional drop-D tuning. In Nestor Ausquis Carmen Suite, the guitar both sings like a human voice and accompanies itself, giving the work an irrefutable guitar identity. The characteristic feeling manifested in Spanish dance is now expressed through the guitar with a full and defined instrumental singularity. Guillermo Rene? Alvarez Musicologist, Professor at the Instituto Superior de Mu?sica, Universidad Nacional del Litoral-Argentina.

ISBN 9781609743260. This collection is drawn from the Portefeuille Guitarre-Spieler series and is intended for intermediate to advanced guitarists.The works in this collection:Fantasy on themes from Don Giovanni, Op. 28Don Giovanni has long been famous among enthusiasts of fretted instruments for Mozart's sublime use of the mandolin in Don Juans' aria Deh, vieni alla finestra. Mertz himself took note of Mozart's 'mandolin serenade' for he employed as a catalyst a brief quote of the mandolin introduction in his Op. 28 for a modulatory transition based upon the theme. Mertz also included a simple arrangement of the aria as number 76 in his Kukuk, a 'musical panorama' of 136 short pieces.Martha, Op. 16Martha, oder Der Markt zu Richmond by German composer Friedrich Flotow (1812-1883) was first produced in Vienna in 1847. In the second act of Martha Flotow incorporates 'Tis the Last Rose of Summer (Qui sola, verginrosa), a traditional Irish melody to which the poet Thomas Moore wrote lyrics. It was one of the most popular songs of the nineteenth century. In addition to Beethoven, Mendelssohn, and Thalberg, guitar composers to produce works based upon the famous song include Giuliani, Ferranti, Holland, and Foden. Preceding Ah! che a voi perdoni Iddio in his Op. 16, Mertz quotes a brief passage from his Elegie.The Prophet, Op. 21Giacomo Meyerbeer was the leading composer of French grand opera during Mertz's professional career. Following studies in Italy, the German composer was chiefly active in Paris and Berlin, although he traveled Europe extensively producing his operas. Le prophete premiered in Paris in 1849 after a long delay due to casting problems. Mertz's Op. 21 was published shortly thereafter.Nabucco, Op. 62 and Rigoletto, Op. 63Giuseppe Verdi's first major triumph as an opera composer was with the biblical opera Nabucodonosor (more commonly known as Nabucco). The opera was premiered in Milan in 1842 and its subsequent revivals throughout Europe spread Verdi?s fame at an astounding rate. Consequently, Verdi was commissioned to compose 14 operas in the following decade. Among these operas was Rigoletto, first produced in Venice in 1851. Mertz frequently turned to the music of Verdi for his operatic fantasies, producing no fewer than four distinct works based on themes from Rigoletto alone.

Song List: Once to Every Man and Nation (Thomas J. Williams) Castle Of Dromore Jesu, Joy of Man's Desiring (J S Bach) Hector the Hero (J Scott Skinner) Niel Gow's Lament for the Death of His Second Wife Che Gelida Manina (Giacomo Puccini) Plaisir D'Amour (Jean-Paul-Egide Martini) El Noi De La Mare Beautiful Dreamer (Stephen Foster) My Heart at Thy Sweet Voice (Camille Saint-Saens) Pavane, Op No 50 (Gabriel Faure) The Fairy Queen (Turlough O'Carolan)

ISBN 9781619117983.

Romantic Arias for Classical GuitarA is a collection of the worlds most beloved songs from the world of opera.A A An aria is a song performed during an opera that listeners are the most familiar with. These AC/a!Apop songs of opera" provide an entry point for those unfamiliar with the opera repertoire, considered by many as the most expressive genre of western music. For those who are familiar with the world of opera, you will recognize the selections here as the arias most beloved by millions of listeners around the world.This project, a labor of love by master guitarist Steve Eckels, contains the most famous melodies by composers Verdi and Puccini including the great operasA La Traviata,A Madame Butterfly,A La BohA"me,A Turandot,A Nabucco,A Tosca, andA Rigoletto. Also included are MassenetsA Meditation, DelibesA Flower Duet, OffenbachsA Barcarolle,A BizetsA HabaneraA and others. The pieces have been arranged for recreational or concert guitarists, and have been meticulously fingered and engraved for ease of learning. The author has also provided music reading warm-ups to assist in learning the pieces. Eckels performances of all the arrangements on YouTube will provide an aid in familiarizing yourself with the most beloved songs ever written.A Includes access to online audio.

Isaac Alb�niz (1860? 1909) �, senza dubbio, il vero fondatore della musica spagnola moderna.

Bambino prodigioe instancabile viaggiatore, la sua opera � impregnata dei colori e dei saporidella Spagna, paese che ha amato profondamente per tutta la vita. L?influenzadel Flamenco � accertata: Alb�niz era un habitu� delle taverne dove si cantavae suonava questo genere. ASTURIAS, ispirato dalla Grana�na (stile flamenco di Granada) � uno di quei brani che ha superato i confinidella musica prettamente classica, raggiungendo un pubblico planetario.

Questatrascrizione, pur conservando alcune idee geniali di Andr�s Segovia (latonalit� di Mi minore, le terzine a partire dalla terza frase, gli armonicinella sezione centrale), presenta una scrittura chitarristica pi� precisa, curatanei minimi particolari e una maggiore coerenza con l?originale. Diteggiature esoluzioni nuove per la mano sinistra danno vita a una partitura fresca, riccadi sonorit� inedite.

Bojano, 16 Settembre 2020.

Flavio Sala.

* * *

Isaac Alb�niz (1860 - 1909) is, without doubt, the truefounder of modern Spanish music.

Child prodigy and tireless traveler, his works are full of colorsand flavors of Spain, a country he has deeply loved all his life. The influenceof Flamenco is proven: Alb�niz was a regular in taverns where this genre wassung and played. ASTURIAS, inspired by the Grana�na(flamenco style of Granada) is one of those pieces that went beyond theboundaries of purely classical music, reaching a global audience.

This transcription, while retaining some brilliant ideas ofAndr�s Segovia (the key of E minor, the triplets starting from the third phrase,the harmonics in the central section), presents a more precise guitar writing,with attention to the smallest details and greater coherence with the original.New fingerings and solutions for the left hand give life to a fresh score, fullof new sounds.

Bojano, September 16,2020.

Flavio Sala.

Franc�sco T�rrega (1852 ? 1909) � il fondatore della Scuola Chitarristica Spagnola, la solache pu� vantare pi� di 150 anni distoria e un unico filo conduttore.

Partitodall?opera di Fernando Sor (1778 ?1839) e di Dionisio Aguado (1784 ?1849), T�rrega ampli� e affin� la tecnica, arricchendo la chitarra classica dinuovi mezzi espressivi e di repertorio. Tali innovazioni sono giunte fino ainostri giorni grazie ai suoi numerosi discepoli diretti, tra cui Miguel Llobet, Daniel Fortea e PascualRoch e indiretti: Andr�s Segovia,Regino ed Eduardo Sainz de la Maza, AlirioD�az, Pasqualino Garzia e molti altri.

Emilio Pujol (1886 ? 1980), che studi� con T�rrega durante gliultimi 7 anni di vita di quest?ultimo, raccolse l?eredit� del Maestro in un monumentalemetodo, in 4 volumi, di inestimabile valore: la Escuela Razonada de la Guitarra,basada en los principios de la t�cnica de T�rrega, con una prefazione di Manuel De Falla, portando a termine ci� che perT�rrega rest� un sogno e che la morte prematura non gli permise neanche diiniziare.

Il Capricho�rabe, scritto nel1899, � forse la composizione pi� celebrata di T�rrega, dopo Recuerdosde la Alhambra.

In questarevisione ho tenuto presente la versione pubblicata in Spagna dall?editore UnionMusical Espa�ola e le biografie pi� importanti scritte su T�rrega:EmilioPujol: T�rrega (Edizioni: L?empreinte m�lodique), Wolf Moser: Francisco T�rrega yla guitarra en Espa�a entre 1830 y 1960 (Edizioni: Piles) e Adri�nRius Espin�s: Francisco T�rrega, una biograf�adocumental (Edizioni:Orphenica Lyra).

Alla luce di taliletture, ho ritenuto opportuno segnare le dinamiche e omettere alcuniabbellimenti e glissati. Lo stesso T�rrega, infatti, pare ebbe dei ripensamentia riguardo. Ho mantenuto, pertanto, quelli nelle ripetizioni, tagliando glialtri. Ho aggiunto e cambiato alcune diteggiature di entrambe le mani, considerandol?evoluzione della chitarra classica anche dal punto di vista della costruzione,nonch� la tecnica flamenca. Infine, l?idea nell?Introduzione, di eseguire laseconda scala discendente, interamente con la sola mano sinistra, �, invece,totalmente mia.

Bojano, 29Settembre 2020.

Flavio Sala.

***