Guitar

SKU: HL.48182807

Composed by Jacques Charpentier. Leduc. Classical. Softcover. Alphonse Leduc #AL24474. Published by Alphonse Leduc (HL.48182807).

UPC: 888680872014. 9.0x12.0x0.054 inches.

For guitar and string orchestra.

Guitar (Guitar)

SKU: HL.48182806

Composed by Jacques Charpentier. Leduc. Classical. Softcover. Alphonse Leduc #AL24472. Published by Alphonse Leduc (HL.48182806).

For guitar and string orchestra.

RV 93. By Antonio Vivaldi. Chamber Music (Guitar). For guitar, 2 violins, cello (bass) (string orchestra) and basso continuo. Level: 3-4. Extra contrabass part. Published by Doblinger (Austrian import).

RV 93. By Antonio Vivaldi. Chamber Music (Guitar). For guitar, 2 violins, cello (bass) (string orchestra) and basso continuo. Level: 3-4. Set of parts (one each). 12 pages. Published by Doblinger (Austrian import).

Guitar (Guitar)

SKU: HL.50485079

Guitar and Piano Reduction. Composed by M. Giuliani. Guitar. Classical. 84 pages. Ricordi #SIK758K. Published by Ricordi (HL.50485079).

UPC: 884088917043. 8.25x11.75x0.21 inches.

By Alfred d'Auberge and Morton Manus. For Guitar. Guitar Method or Supplement. Book. 48 pages. Published by Alfred Publishing.

Composed by Nicolo Paganini (1782-1840). Edited by Frederic Zigante. Editions Durand. Softcover. 92 pages. Editions Max Eschig #DF16375. Published by Editions Max Eschig

(G 523 Concertante ). By Luigi Boccherini (1743-1805). Edited by Antonio De Almeida. For orchestra, 2 violin solo, 2 violas (0,2,0,1-2,0,0,0 - Guitar - Strings, 2 Violin Solo). Orchestral music. Score. Op. 10/4, G 523. 68 pages. Published by Doblinger Mu. score.

Guitar solo

SKU: GH.GE-11464

Composed by Benjamin Staern. Duration 15 minutes. Gehrmans Musikforlag #GE 11464. Published by Gehrmans Musikforlag (GH.GE-11464).

ISBN 979-0-070-11464-6. A4 inches.

Work note by the composer:

When I received the news of this commission, I had no idea what it would lead to. Writing for guitar solo is not the same as composing for orchestra where you have forty voices where you can easily mask an entire section. Here you are very naked to the bone.
The starting point for this work was from J.S. Bach's Chaconne in D-minor that Johannes had performed in concert, originally written for violin but there is a version transcribed for guitar and piano made by Ferruccio Busoni. When I went to Cortona (in Tuscany, Italy) completed the southern mentality of this work.
Arpalineais actually a merged word in Italian language. Arpa means harp, however in a musical context it's more or less resembled with the word arpeggio, which means broken chords. Lineameans line.

The work is divided in three parts.
I. Arpeggio: It starts with an opening chaconne-like sequence and is marked with a certain depth in which the chords starts to separate from the organum note in the bass and it culminates into a section called with rhythmical focus. These sections alternates, variates which each other.
The middle section has a playful and childish atmosphere where the guitarist knocks on the body of the guitar resembling a Spanish folk instrument cajon. This is leading to a section which tends more to a very aggressive fusion-like riff that loses control and reaches its climax at the end.

II. Linea: The static rhytmical pulse is now disintegrated and it forms more or less sort of a free, improvisational state in a rubatolike tempo. The character is described as a very hot day with temperatures rising above 37! C (or 100! F) where you can hardly do anything just sitting dozed off and pespiring because of the extreme heat watching a huge fog coming up in the evening that spreads around the Tuscan atmosphere.

III. Finale: It starts off with fast one-note ostinati then more and more notes pop up like a gradual rain storm with thunder strikes! And eventually it leads to that is a large flood through the streets of an medieval Southern town. The work ends with a short circuit slapped strings along with extremely fast tremolos that reaches higher and louder as possible!

Benjamin Staern