| Il Canone alla cartella e alla mente without Tenor. Systematic study of canonic imitation from sources by L. Zacconi, O. Tigrini and G. B. Martini Ut Orpheus
Early Music; Music Education SKU: UT.DM-14 Composed by Giorgio Pacchioni....(+)
Early Music; Music
Education SKU:
UT.DM-14 Composed by
Giorgio Pacchioni. Saddle
stitching. Classical. Ut
Orpheus #DM 14. Published
by Ut Orpheus (UT.DM-14).
ISBN 9790215301481. 9
x 12 inches. Mi
sono deciso a porre
ordine ai miei appunti e
studi sui canoni senza
tenor nella speranza di
essere utile a coloro i
quali, attraverso il mio
modesto sforzo, potranno
abbreviare il lungo
lavoro di addestramento
in quella materia che
ritengo sia l'unica ad
affrontare
sistematicamente e
compiutamente la
problematica compositiva
dell'imitazione, cioe lo
studio delle tecniche di
imitazione canonica dei
secoli XVI e
XVIII. Questo mio
studio propone allo
studente una serie di
documenti storici di
grandi didatti musicali
del passato, quali
Ludovico Zacconi,
Giovanni Battista Martini
e Orazio Tigrini nonche
un mio personale e
modesto contributo. Le
fonti antiche sono state
tradotte in italiano
corrente, pur lasciando
intatti alcuni termini
specifici, del resto ben
comprensibili. Il
presente volume e da
impiegare come manuale di
lavoro e di studio per
chi voglia imparare la
difficile arte
dell'imitazione. Vengono
qui affrontati, in modo
sistematico e
scientifico, la pratica
del canone <>, molto lodata da
Zacconi quale strumento
per stimolare l'ingegno
dello studente, i canoni
<> - piu
interessanti e
utilizzabili musicalmente
- e la prassi di
rivoltare un canone o
brano qualsiasi al fine
di ottenerne
'onestamente' una nuova
composizione. Sono stati
ignorati volutamente
tutti quei canoni
enigmatici o oscuri che
non contengono nessun
interesse musicale o
didattico. Si e inoltre
affrontato
sistematicamente il
criterio di 'fugare' un
tenor, pratica molto in
voga nei secoli dal XV al
XVII e attinente al
nostro argomento. (G.
Pacchioni). $16.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Il signor G. Curci
Melody line with text and harmony SKU: CU.EC9557 10 canzoni di G. Gabe...(+)
Melody line with text and
harmony SKU:
CU.EC9557 10
canzoni di G. Gaber.
Composed by Giorgio
Gaber. Canzonieri.
Published by Edizioni
Curci (CU.EC9557).
$9.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Italian Opera Arias for Bass-Baritone and Orchestra Voix Baryton, Piano [Livre + CD] Music Minus One
For Vocal Bass-Baritone. Includes a printed vocal score on high-quality ivory pa...(+)
For Vocal Bass-Baritone.
Includes a printed vocal
score on high-quality
ivory paper, with
informative liner notes;
and a CD G
graphics-enabled compact
disc with complete
versions (with soloist)
followed by stereo
orchestral accompaniments
to each piece, minus the
soloist. Published by
Music Minus One.
$19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Manuale di Diminuzione from works by A. Corelli and G. Ph. Telemann Flûte à bec Alto Ut Orpheus
By Giorgio Pacchioni. For Treble Recorder (Violin, Flute, Viol). Published by Ut...(+)
By Giorgio Pacchioni. For
Treble Recorder (Violin,
Flute, Viol). Published
by Ut Orpheus. (DM 07)
$17.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| 28 Preludes for Recorder Solo from works by A. Corelli, J. S. Bach, G. Ph. Telemann Flûte à Bec Ut Orpheus
| | |
| Suite No. 1 Guitare Guitare classique [Conducteur] - Avancé Productions OZ
Guitar solo - Advanced SKU: DZ.DZ-4308 Composed by Giorgio Mirto. Score. ...(+)
Guitar solo - Advanced
SKU: DZ.DZ-4308
Composed by Giorgio
Mirto. Score. Les
Productions d'OZ #DZ
4308. Published by Les
Productions d'OZ
(DZ.DZ-4308). ISBN
9782898522253. Foll
owing a recent experience
on the jury of a guitar
competition, I noted with
great pleasure that
Giorgio Mirto, with whom
I had shared the role of
juror, wanted to
celebrate the experience
of the competition -
during from which we
discovered that we had
had a great affinity of
thought - with something
which could endure over
time and not evaporate as
often happens in short
and occasional meetings
between musicians. He did
it as a true composer,
which he is, and
dedicated to me a very
beautifully crafted Suite
to which I allowed myself
to collaborate at least
formally, by suggesting
titles for the four
movements. This is how
Suite n.1 was born, a
piece that does not
strictly respect the
formal rules of the
Baroque era, but
reinterprets and reuses
them in a new key. The
work's obvious late
Baroque inspiration led
me to find titles that
invited the performer to
delve deeper into the
work's aesthetic
inspiration. So I
suggested to Giorgio that
he title the four
movements with something
that linked their content
to four greats of the
18th century. German
masters. The prelude has
thus become from Eisenach
because of its sometimes
improvised Bach-like
atmosphere, the second
movement, vaguely
toccata, speaks an organ
language in the manner of
Buxtehude (who lived in
Lübeck), the slow
movement has a Handelian
quality - and Handel was
born in Halle - and the
last movement, far from
being a true Chaconne,
undoubtedly has the
latter's taste for
variation and ostinato,
typical traits of
Telemann who lived in
Magdeburg. The cities
that appear in the titles
are therefore indelible
to the authors cited.
Furthermore, one should
not think that the style
of the work is in any way
German, given that
Giorgio Mirto expresses
himself in a very joyful
language that synthesizes
modality with minimalism,
all seasoned with a a nod
to Pink's progressive
rock Floyd. or a Mike
Oldfield... The result of
this mixture of ideas,
inspirations and styles
is a work that personally
I never tire of reading
and rereading, for the
freshness that emanates
from it and for the
climate expressive which
rises, nourishing itself
with full efficiency. We
ultimately cannot ignore
that the note B, the one
which marks in a minor
way some of the most
expressive works of the
guitar repertoire, from
the study of Sor which
made generations of
students fall in love
with the guitar, until to
that of Frank Martin's
Four Pieces via La
Catedral di Barrios, is
the modal fulcrum of the
entire Suite: it is true
that the Prelude begins
with a clear chord in E
minor and lingers on an
open ending in A minor ,
but it almost seems that
the initial E serves as a
launching pad for a
continuation of the work
in which the dominant,
that is to say the B, is
the true musical North,
the pole star which
guides us in the other
three movements until the
end of the Chaconne de
Magdebourg. I wish
Giorgio and our Suite
great longevity and a
favorable destiny in the
complex and complex world
of contemporary guitar
composition. And I thank
him again, flattered by
his very kind
dedication.
FRANCE
SCO BIRAGHI
Au
lendemain d'une
récente
expérience au sein
du jury d'un concours de
guitare, j'ai
constaté avec
grand plaisir que Giorgio
Mirto, avec qui j'avais
partagé le
rôle de
juré, souhaitait
célébrer
l'expérience du
concours - au cours de
laquelle nous avons
découvert que nous
avions eu un grand
affinité de
pensée - avec
quelque chose qui
pourrait perdurer dans le
temps et ne pas
s'évaporer comme
cela arrive souvent lors
de rencontres courtes et
occasionnelles entre
musiciens. Il l'a fait en
véritable
compositeur, ce qu'il
est, et m'a
dédié une
Suite d'une très
belle facture ÃÂ
laquelle je me suis
permis de collaborer au
moins formellement, en
suggérant des
titres pour les quatre
mouvements. C'est ainsi
qu'est née la
Suite n.1, une
pièce qui ne
respecte pas strictement
les règles
formelles de
l'époque baroque,
mais les
réinterprèt
e et les réutilise
dans une nouvelle
tonalité.
L'inspiration
évidente du
baroque tardif de
l'Ã
Âuvre m'a
amené ÃÂ
trouver des titres qui
invitaient
l'interprète
ÃÂ approfondir
l'inspiration
esthétique de
l'Ã
Âuvre. J'ai donc
suggéré
ÃÂ Giorgio de
titrer les quatre
mouvements avec quelque
chose qui reliait leur
contenu ÃÂ quatre
grands du XVIIIe
siècle.
Maîtres allemands.
Le prélude est
ainsi devenu d'Eisenach
en raison de son
atmosphère parfois
improvisée
ÃÂ la Bach, le
deuxième
mouvement, vaguement
toccata, parle un langage
d'orgue ÃÂ la
manière de
Buxtehude (qui vivait
àLübeck),
le mouvement lent a un
Qualité
haendélienne - et
Haendel est né
ÃÂ Halle - et le
dernier mouvement, loin
d'être une
véritable
Chaconne, a sans doute le
goût de cette
dernière pour la
variation et l'ostinato,
traits typiques de
Telemann qui vivait
ÃÂ Magdebourg. Les
villes qui apparaissent
dans les titres sont donc
indélébiles
aux auteurs cités.
De plus, il ne faut pas
penser que le style de
l'Ã
Âuvre soit en
aucune façon
allemand, étant
donné que Giorgio
Mirto s'exprime dans un
langage très
joyeux qui
synthétise la
modalité avec le
minimalisme, le tout
assaisonné d'un
clin d'Ã
Âil au rock
progressif Floyd de Pink.
ou un Mike Oldfield... Le
résultat de ce
mélange
d'idées,
d'inspirations et de
styles est un ouvrage que
personnellement je ne me
lasse pas de lire et de
relire, pour la
fraîcheur qui s'en
dégage et pour le
climat expressif qui
monte, se nourrissant de
plein efficacité.
On ne peut finalement pas
ignorer que la note B,
celle qui marque de
manière mineure
certaines des
Ã
Âuvres les plus
expressives du
répertoire de
guitare, depuis
l'étude de Sor qui
a fait tomber amoureux de
la guitare des
générations
d'étudiants,
jusqu'ÃÂ celle de
Frank Martin Quatre
Pièces via La
Catedral di Barrios, est
le point d'appui modal de
toute la Suite : il est
vrai que le
Prélude commence
par un accord clair en mi
mineur et s'attarde sur
une fin ouverte en la
mineur, mais il semble
presque que le mi initial
sert de une rampe de
lancement pour une suite
de l'Ã
Âuvre dans
laquelle la dominante,
c'est-ÃÂ -dire le B,
est le véritable
Nord musical,
l'étoile polaire
qui nous guide dans les
trois autres mouvements
jusqu'ÃÂ la fin de
la Chaconne de
Magdebourg. Je souhaite
ÃÂ Giorgio et
àë notre
û Suite une grande
longévité
et un destin favorable
dans le monde complexe et
complexe de la
composition contemporaine
pour guitare. Et je le
remercie encore,
flatté de son
très aimable
dévouement.
FRANCESCO BIRAGHI. $12.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Instrumental Passages in melodic progression from Francesco Rognoni's Selva de' varii Passaggi (Milano 1620) Ut Orpheus
By Giorgio Pacchioni. For Violin or Recorder in C and G. 32 pages. Published by ...(+)
By Giorgio Pacchioni. For
Violin or Recorder in C
and G. 32 pages.
Published by Ut Orpheus
$14.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
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