SKU: DY.DO-1551

ISBN 9782897963316.

PULSO DE LA VIDA was composed as part of my dear friend Kostas Tosidis' doctoral thesis with the title Bowing technique on the guitar.
The character of the piece changes from simple and meditative to rhythmic and tension-filled, reflecting different stages of our lives.
Using a C, G, D tuning for the bass strings, the guitar utilizes resonance to create sustained, cello-sounding melodies on the fourth string, complemented by harmonies on the fifth and sixth strings.
The bowing technique is introduced with a continuous tremolo accompanied by an extended form of the first theme.
The more dancelike and rhythmical part of the piece uses a 19/16 measure that allows us to experience a sense of disparity.
Finally, the simplicity combined with a sense of completeness, but also of abandonment of the beautiful gift of life, leaves us in a state of stillness for any kind of introspection.

PULSO DE LA VIDA a été composé dans le cadre de la recherche doctorale de mon cher ami Kostas Tosidis, sous le titre Bowing technique on the guitar (technique d'archet à la guitare).
Le caractère de la pièce passe de simple et méditatif à rythmique et plein de tension, reflétant les différentes étapes de notre vie.
La guitare, dont les cordes basses sont accordées en do, sol et ré, utilise la résonance pour créer des mélodies soutenues au son du violoncelle sur la quatrième corde, complétées par des harmonies sur les cinquième et sixième cordes.
La technique d'archet est introduite par un trémolo continu accompagné d'une forme étendue du premier thème.
La partie plus dansante et rythmique de la pièce utilise une mesure 19/16 qui nous permet d'éprouver un sentiment de disparité.
Enfin, la simplicité combinée à un sentiment de plénitude, mais aussi d'abandon du magnifique cadeau qu'est la vie, nous laisse dans un état de tranquillité propice à toute forme d'introspection.

SKU: UT.CH-227

ISBN 9790215324145. 9 x 12 inches.

Emilio Calandin: Piccola sfumatura
Claudia Montero: Lagrimas de Buenos Aires
Marco Reghezza: Como Preludio
Marco Smaili: Preludio
Alessandro Spazzoli: Preludio in Do maggiore
Roberto Tagliamacco: Prelude sur le nom de Tarrega
Paolo Ugoletti: Prelude sur le nom de Tarrega

Having been invited several times onto the jury of the prestigious Certamen Tarrega in Benicasim, I thought I would involve a few composers in a gift to the father of the modern guitar. So I asked the composers to write a Prelude of the kind that Tarrega wrote and which count among his most significant compositions.
These Preludes for Tarrega, all written between August and November 2015, are very different from each other. The common feature, however, between these and the Preludes by Tarrega is their brevity, an average level of performance difficulty and guaranteed easy listening, even when written in a non-tonal language (like the meditative and melancholy piece by Emilio Calandin and the one by Marco Smaili, with its Impressionistic feel reminding one of Tarrega's most famous pupil, Miguel Llobet).
In some Preludes (the ones by Paolo Ugoletti, Roberto Tagliamacco, Claudia Montero) the reference to Lagrima, one of Tarrega's most famous Preludes, is evident in form, title and some citations. Ugoletti and Tagliamacco work well and expressively on harmony and counterpoint, while the Argentinian Claudia Montero links Tarrega to a heartbreaking Buenos Aires...
In Alessandro Spazzoli there is rather more a connection with Tarrega's sense of melody and deep simplicity, while Marco Reghezza remembers ironically what was brewing in European music when Tarrega was alive: in fact, his Como Preludio goes across the 24 keys - and even a reference to Wagner's Tristan raises its head...
I am delighted for this volume to come out at the time of the fiftieth edition of the Certamen Tarrega.
(Piero Bonaguri).