SKU: M7.KC-2005
ISBN 9782848580005. English French Spanish.
The legendary figures of Antonio Lauro and Alirio Diaz are monuments of the Venezuelan spirit. It is important to remember the extraordinary course of fortune which brought together Antonio Lauro and Alirio Diaz - a great Composer and a great virtuoso who inspired each other with their creativity. This interaction was vital in the success of this wonderful Music, born of their common cultural heritage and presented to the world through the extraordinary talents of Alirio Diaz, the greatest performer of Lauro's guitar works. It is difficult not to draw parallels between this relationship and that Andrés Segovia with Manuel Ponce or Julian Bream with Benjamin Britten and William Walton.
SKU: OT.26114
ISBN 9789655051049. 8.27 x 11.69 inches.
Ariel Lazarus Guitarra Liturgia Two pieces based on music from the Spanish and Portuguese tradition. Contents: Jerusalem de Sefarad - Suite for Guitar Contrapunto Sefardi The composer writes: For many years I wanted to compose a piece for guitar which would inspire interested students to expand their repertoire in the direction of Jewish music. The most natural thing for me was to write a suite based on themes from the synagogue in which I grew up – the Spanish and Portuguese synagogue of Gibraltar. My beloved grandfather served all his life as hazzan (cantor) of this synagogue, and I always felt as a composer and educator that I had a special obligation to continue his tradition and pass it on to a new generation. In this composition, I let the guitar echo the piyyutim (semi-liturgical poems) that were part of my childhood: Adon Olam, Sh'charchoret, Achot K'tana, Yigdal, Borei ad Ana, all of which are sung in the Spanish and Portuguese tradition from Gibraltar to London, and from New York to Jerusalem. I let myself dream the piyyutim, take them apart and reconstruct them as a short suite for guitar, the results of which you are invited to hear here. As a conceptual idea for the suite, I choose to suggest about the cultural continuation between the Diaspora and the land of Israel by way of referencing the well-known melody of Naomi Shemer, which is also popular among the hazzanim.Dr. Ariel Lazarus is a unique voice among Israeli composer-performers today. Brought up in a family with Jewish musical roots both in Gibraltar and Westphalia, he began composing and playing the guitar in his teens, and has been committed to developing his own compositional language ever since, always maintaining an open dialogue with his traditions. Lazarus received his BMus and MMus degrees from Oklahoma City University in classical guitar performance and composition where he studied with American composer Dr. Edward Knight. He earned his PhD from Bar Ilan University, studying composition with Prof. Betty Olivero and Prof. Gideon Lewensohn and conducting research under the supervision of Prof. Edwin Seroussi from the Hebrew University. His symphonic works have been premiered by the Raanana Symphonette Orchestra, and his chamber works have been performed by various ensembles in the United States, Central Europe, Portugal, Gibraltar, Scandinavia and Israel. Lazarus performs regularly as Art Ambassador on behalf of the Israeli Ministry of Diaspora affairs Amiel BaKehila program. His solo album A Hebrew Capriccio was released by the German boutique label SmoothFactor and was awarded critical acclaim, among others, in Haaretz, and Neue Westfalishe. Dr. Lazarus is the musical director and co-founder of the Israeli Ladino Orchestra. His work with the orchestra has been recognized by the official Carta de España. He teaches at the Academic College for Education Givat Washington, and the Rimon School of Music. Lazarus’s work has been awarded by the Israeli Pais Art council and ACUM.
SKU: UT.CH-289
ISBN 9790215325852. 9 x 12 inches.
Giovanni Podera: Fantasia (In memoriam JoaquÃn Rodrigo)Marco Reghezza: Nana EstrelladaMarco Simoni: Junto a RodrigoMarco Smaili: Fronda de la tarde (Homenaje a JoaquÃn Rodrigo)Paolo Ugoletti: Fuga a 4 vociFollowing the successful publication of Homenaje a Rodrigo (2015), containing four pieces by Alessandro Spazzoli – one of which was performed in the presence of the composer’s daughter, Cecilia Rodrigo, during her visit to the International Convention in Alessandria –, here is the second volume. It contains more tributes to Rodrigo written on my input by five well-known Italian and Spanish composers, two of whom are also guitarists and have therefore written the fingering for their own pieces.Giovanni Podera plunges us into a typically Rodrigo-like atmosphere with his evocative Fantasia, while the following three compositions are full of direct quotations from pieces also for guitar by the great composer from Valencia. Thus, Marco Simoni, in his expressive Junto a Rodrigo – which also provides the title to the volume – plays with themes taken from Junto al Generalife and from Dos piezas caballerescas for a cello ensemble as well as hinting at reminiscences of Tiento antiguo. As for Marco Smaili, in his impressionistic Fronda de la tarde, he evokes quite evidently Zarabanda lejana and Invocación y Danza, but there are more hidden references to Caminos de Santiago and even to the very famous Concierto de Aranjuez. Marco Reghezza builds his heart-breaking Nana estrellada on a sequence of chords used by Rodrigo in the fantasia ¡Que buen caminito!. On the other hand, there are no direct quotations and echoes of Rodrigo’s way of writing in the Fuga a quattro voci by Paolo Ugoletti. However it was Rodrigo himself who constructed four-part imitative passages for guitar in Pasacalle and in the Ricercare of the Fantasia para un Gentilhombre. The close polyphony of the piece by Ugoletti may be considered as a tribute to this kind of craft shown by Rodrigo who, like Ugoletti, was able to write such dense and idiomatic counterpoint without being a guitar-player.I am pleased that this volume comes out in the imminence of the 20th anniversary of the disappearance of the illustrious Spanish composer who gave so much to the musicians – and not only to them.(Piero Bonaguri)Muchas gracias por este emotivo y excelente musical homenaje a mi padre. La edición es excelente y la difundiremos con todos nuestros medios por las redes sociales a nuestro alcance. Ha sido un gran trabajo por su parte, fruto de sus grandes conocimientos guitarrÃsticos y su devoción por JoaquÃn Rodrigo. Le reitero mi gratitud y mi felicitación con el ruego transmita a los cinco compositores mi felicitación y deseos de éxito. (Cecilia Rodrigo).
SKU: BT.DV-11346
German.
SKU: FG.55011-324-4
ISBN 9790550113244.
Quadri Morandi (2014) ties together two essential themes of Kai Niminen's (b. 1953) compositional style: guitar and a subject inspired by Italy. The strong presence of the guitar in his works is natural since he is in an actively performing guitarist himself, and guitar works indeed play a significant role in his oeuvre. Moreover, he has written plenty of orchestral music; for instance two symphonies, numerous concertos, and chamber music. In the field of Finnish music he is a composer who can be characterized as free from any specific school or style. In his musical language, free tonal in essence, one can detect traces of Impressionism, Neoromanticism and even Expressionism at times, but he is also willing to employ more recent 20th-century stylistic devices. Nieminen has mentioned that he finds himself very similar to Japanese Toru Takemitsu both musically and in thought. Mediterannean culture and Italy especially have been close to Nieminen's heart ever since he first visited the country and appeared in the jury of the international Fernando Sor guitar competition in 1981. He has composed a great number of works which refer to Italian landscapes or artists. The work Quadri Morandi (Morandi's pictures) is written in four movements. It has at its centre the painter Giorgio Morandi (1890-1964), who is known as a master of still lifes and landscapes painted in a plain manner and is subdued colours. Their atmosphere typically reflects a calm spirit. This is the third guitar work that nieminen has written for Kleemola. It is easy to find a counterpart for the encaptivating realm of Morandi's art in Nieminen's clear and pure expression. The titles and expression markings also include several references to Morandi. For example, in the opening movement Prelude the words la Natura morta (still life) appear as an additional note on the chord sequence following the freely flowing opening section. At the end of the movement one can hear rhythmic motif coloured with flageolets that repeats the syllables of the painter's name: Gior-gio Moran-di. A similar motif can be heard at the end of the second movement Quasi cadenza. The tranquilly breathing third movement Paesaggio (landscape) creates an illusion of landscape by imitating the echo of monastery bells (come campane del monastero) and at the same time refers to il monaco (the monk), the name by which Morandi was often called. The final movement Ritratto (Portrait) is the most extensive of all the movements and can be seen, with its recurring motifs, as a reflection of the stable yet subtly varying elements of Morandi's art. The work ends with the rhythmic motif that once more echoes Morandi's name, like signature.
SKU: UT.CH-111
ISBN 9790215316317. 9 x 12 inches.
The three original pieces for guitar Notturno, Napolitana (popolar songs) and Roma (March for guitar), together with three transcriptions, are included in a manuscript of 36 pages, noting in the frontispiece “Transcriptions and compositions of F. Balilla Pratella sent as a tribute to M.R. Brondi (1920)”.These compositions follow a traditional language, and, in the tonality and the alternating themes, are an expression of Pratella’s folkloric vein, with cantabile and melancholy melodies, with the exception of the march, that show some echoes of the nineteenth century guitar masters’ way of composing.There is a characteristic use of the quartine with no alternated thumb forefinger tremolo, that immediately recalls the plectrum orchestra so much used by Pratella in his youth.The discovery of these pieces – which happened accidentally and saved them from certain destruction – contributes to enhance that period of great guitarist turmoil preceding Segovia, establishing itself at the beginning of twentieth century in Italy with three compositions from an author that, along with the Bonaccorsi and Colacicchi, anticipated that current – already initiated by the Fara, Gabriel, Caravaglios – which was, in the following decades, to go by the name of ethnomusicology.
SKU: FG.55011-887-4
Olli Koskelin's then when A-go (2022) for guitar was premiered by Otto Tolonen, to whom the nine-minute work is dedicated.This product is a B4 sized folder, sheet music (performance score) enclosed as loose pages.Olli Koskelin's (born 16 April 1955) compositional output reflects a wide range of interests. The vast area covered by his style encompasses the neo-impressionism of the piano work Courbures (1989) to the post-expressionist echoes of his Music for String Quartet (1981) as well as the breakneck virtuosity of his clarinet piece Exalte (1985/1991) and the rich romantic textures of his orchestral piece ... like a planet silently breathing... (1993). He often uses the overtone series like the French spectral composers and avoids dramatic culmination. Soft harmonics, tranquil arching melodies, a leisurely rhythmical pulse and a coherence of mood are in evidence in his later works as in Uurre (1997) for chamber ensemble, Miniatures (1997) for string quartet and Circles within for 19 solo strings.
SKU: BT.HITPCKROO01
French.
Jouez rapidement 20 morceaux connus !Une méthode unique et novatrice, accessible tous les débutants même ceux qui ne connaissent pas le solfège (tablatures, grilles et diagrammes).Un recueil ultra complet et agréable utiliser :présentation claire, pages intérieures en couleurs et spirales.Cette méthode de guitare progressive et facile est organisée en deux parties:La première introduit la guitare en présentant les différentes parties de l’instrument, lesdifférences de modèles (classique, folk, électrique) mais aussi en expliquant comment la tenir, l’accorder et la faire sonner !La deuxième partie propose une formule novatrice. 20 chansons sous forme de leçon cequi permet d’introduire un largechoix de styles musicaux : rock, pop, jazz, ballade, reggae...Dès le début de l’apprentissage : place au jeu gr ce l’explication technique, musicale et historique de chaque titre sur une double page.Le morceau est écrit sous forme d’accords(grilles et tablatures) avec les paroles intégrales pour chanter et s’accompagner.Bref, dans cette méthode tout est l pour apprendre avec plaisir et jouer tous ses morceaux préférés.Sur le CD audio : tous les morceaux et leurs play-backainsi que certains passages plus difficiles un rythme lent pour faciliter lapprentissage.
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