14 Results for : atonality
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Cordatum
CORDATUM - JAVIER BRAVO (GUITAR) ARGENTINE MUSIC COLLECTION VOL. II THE CONTEMPORARY GUITAR  , , ,This disc is part of a research project about avant-garde guitar music in Argentina and it includes works composed between 1974 and 2011. Many of these guitar works are recorded for the first time on CD and some of them remain unpublished .They are pieces of great artistic value and despite the great the development of classical guitar world, are not yet known or broadcast. We hope that this album contribute to the diffusion and promotion of contemporary Argentine art, it's excellent works and creators. The twentieth century was the scene of great changes in all spheres, many new movements have arisen in politics, science and art. Notably, the second half of the century is a turning point in the emergence of new concepts in music: the appearance of indeterminacy in various musical parameters, the development of serialism and other highly refined organizational systems, the enrichment of timbre through new instrumental techniques and electronics and, finally the coexistence of the styles of all times and all countries.  , , ,In Argentina we can find a turning point in the creation of the Instituto Di Tella and it's Latin American Center for Advanced Musical Studies. Despite it's relatively brief period of activity (1962-1971) it exerted a decisive influence on Latin American music and other arts of the time, stimulating the creation, communication and exchange between composers of our continent and the rest of the world. ,  , ,The guitar, instrument of long tradition and popularity in Argentina in all musical genres, had it's repertoire enriched with many creations that incorporate new expressive possibilities through timbral innovation, an unprecedented evolution of musical notation, and experiments with new ways of structuring musical material.  , , ,This creative impulse remains over time and reaches the XXI century, where all these trends converge, develop and manifest according to the personality of each composer, resulting in a wide range of artistic expressions. JORGE TSILICAS (Buenos Aires 1930 - Buenos Aires 1995) Monologues (1974) Jorge Tsilicas studied composition with Jacobo Ficher, Francisco Kröpfl and Enrique Belloc in Argentina. Later he studied with Boris Porena and Franco Donatoni in Italy. He devoted much of their production to the guitar, including works for solo guitar, duets and quartets. His works are written in an atonal style, exploring the timbral possibilities of the guitar and experimenting with different degrees of formal indeterminacy (Spiral, Perikiklosis). Dedicated to argentine guitarist Irma Costanzo, Monologues is a piece organised in three movements: The first have a fragmentary and energetic character. This movement is structured in series of short gestures consisting of chords, note sets and percussive effects. A sense of agitation is achieved through continuous dynamic contrast and permutation of elements, evolving over a harmonic texture based mainly in minor second and augmented fourth intervals. The second movement, Moderato, based on the same harmonic elements, conveys a more contemplative, lyrical mood, with a greater sense of continuity of the elements. It's third movement, Presto, shares sound gestures with other movements but it is characterized by the use of fast passages in a toccata or cadenza style in most of the movement. JAVIER BRAVO (Buenos Aires * 1972) Distance (2006)-Toccata (2004) Javier Bravo studied composition with Rodolfo Daluisio and wrote works for various instrumental ensembles ranging from solo instruments to symphonic and electroacoustic music. His musical language is inspired by popular Argentine music and jazz, together with sound resources and procedures of contemporary music. Distance explores the harmonic and resonance possibilities of guitar through a twelve-tone based structure. Written on a lyrical and contemplative style, this piece refers to rhythmic gestures of zamba, a very traditional Argentine folk dance. In contrast to Distance, Toccata expresses a climate of agitation: it begins with short chord sequences in fortissimo, which alternate with extensive passages based on the idea of continuous motion. The work, of great virtuosity, grows in tension through numerous meter changes, polymetric passages, multiple string tremolos and strumming chords. Based on a twelve-tone structure, this work is built over concepts of free atonality. FERNANDO ROVETTA (* 1968) 'Two Pieces for Guitar' (1994) Graduated from IUNA with a Musical Arts degree, Fernando Rovetta studied composition with Juan Carlos Figueras, Pablo Cetta and Fernando Maglia. Awarded as composer on several ocassions, he gives seminars on contemporary music and participates as jury of guitar competitions. On "Two pieces for guitar ' the author says: 'The 'Two Pieces for Guitar '(1994) are rooted on tango music, exploring it's gestures, procedures and sound within a musical language lying between extended tonality and free atonalism. The first one, 'Transition', is developed through the interaction of a harmonic component (with the chord as support) and another melodic (a chromatic gesture linked to bandoneonist Anibal Troilo style). In the second piece, 'Recycling', motivic elements contrast themselves and cohere in the rhythmic aspect (supported in various stylistic resources). This work includes the phrasing and dynamic fluctuations of the tempo, typical of the genre.J avier Bravo's performing deeply understood the implications that have these formal aspects, resulting in an intense version, very rich in detail. ' SALVADOR RANIERI (Arena, Italy 1930 - Buenos Aires 2012) Cordatum (2005) Salvador Ranieri, was a prolific composer, with a catalog of more than 180 works, including symphonic and chamber music . He studied composition with Juan Francisco Giacobbe in Argentina and later with Goffredo Petrassi in Italy. He studied electronic music at the Institute di Tella through a scholarship, and then he continued working in that field at the Academy of Santa Cecilia (Rome). His style was defined several times as deeply expressive, driven by an intense inner dramatism. Cordatum is written in the manner of a fantasy, in a style full of passion and metric vitality. Chromatism, rhythmic insistence and percussive effects are characteristic of the author's style. The work, composed in 2005, was premiered by Javier Bravo in 2011. CECILIA FIORENTINO (Buenos Aires * 1962) Petite Suite (2011). I. Prelude II. Dance III. Aria IV. Final Cecilia Fiorentino graduated as Profesora Superior de Piano (1982) and Composition (1986) at the National Music Conservatory 'Carlos López Buchardo'. Noteworthy among her teachers are Fermina Casanova, Virtu Maragno, Alicia Terzián, Delia Castro, Isabel von Basenheim, Amalia Cascarini and Perla Brúgola. She is the author of some fifty works, most of them for chamber ensambles. As a composer, she has been awarded several times and she actively participates in composers' associations from Argentina. She teaches counterpoint and composition at several Buenos Aires' Conservatoires and has participated as jury in various composition competitions . On Petite Suite, the author tells us: 'Written in a free tonal style, this work- as almost every movement- express on it's titles, formal models that inspired it's composition: the single motive based structure in the first movement -resembling the style of many Baroque preludes-, the rhythmic and formal symmetry in the second movement -Dance-, and the characteristic accompanied melody texture in third movement titled Aria. The final movement consists of two parts: a free introduction in a fantasia style, and a 'fugatto' section to conclude. While it is not the first time I have included the guitar in one of my works, it is certainly the first time that I write a solo guitar piece. This has been for me, a unique challenge, that I hope to have withstood thanks to the valuable contr- Shop: odax
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Falling Awake
(from the liner notes) 'This project was first envisioned in 1976 - so long ago that it was to be made in vinyl. As a classically trained pianist working in experimental and electronic music I wanted to return to the piano and record what I was hearing harmonically. And, while influenced then (as now) by the tonally based minimalism of Steve Reich,Terry Riley, and others, I was more drawn to write music on the boundaries between tonality and atonality. Given that, I'm surprised by the sonority of these 16 pieces, which seems to be a far distant cousin of the terrain I was exploring back then. I have made these selections from recordings of over 100 sessions at the keyboard, sessions in which nothing was pre-planned. I had intended to include some multi-tracked piano compositions that I'd long been laboring over, but the cellist Ann Bourne happened to be visiting and suggested,"You've got two different albums here." This gave me permission to let go of 'composing' for this disc - and "play the moment."- Shop: odax
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Raptures
My style is a fusion of classical modernism, free jazz, neo-romanticism with touches of boogie-woogie and fragmented atonality, alternately exuberant, moody and deeply probing.- Shop: odax
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Silver Guitar
Ernesto García de León and Martín Pedreira Ernesto García de León and Martín Pedreira are guitarists and composers who enjoy active concertizing and teaching careers in their mutual countries. They are great admirers of each other and have dedicated music to each other. García de León's Acere, Op. 27 (1988) is not only dedicated to Pedreira, but contains themes from Pedreira's own music. Likewise, Pedreira's Homenaje a Heitor Villa-Lobos (1994) is dedicated to his old friend, both composers are ardent aficionados of the great Brazilian composer. Yet, they have much more in common. Both hail from very tropical regions in which folk and popular music play an integral role in the everyday life of everyone. García de León comes from the state of Veracruz, the easternmost region of Mexico on the Gulf, a part of the country more akin musically and ethnically to Cuba than any other part of Mexico. Both have been guests in each other's country, giving recitals and master classes and acting as tour guides for the benefit of musical "a-nationalism". After a consummate analysis and integration of styles, each composer has filtered the folk and popular music of their country and applied it, newly conceived, in their own compositions. Thus we hear the logical result of the 20th century's music in their work. Their music is the subsequent product of Amadeo Roldán and Alejandro García Caturla, Stravinsky and Bartok, Villa-lobos and Brouwer, Ponce and Revueltas, or Chavez and Copland. But it could also easily be said that this is the result of the son-montuno, the son jarocho, the guajira, danzón, the rumba, of Pablo Milanés, of Guty Cárdenas, of Pérez Prado, Toña la negra, Agustín Lara, Silvio Rodríguez, Benny Moré, the Trio Matamoros, Los Panchos, the Beatles, and just about anything else either composer ever heard as a child. It is an important characteristic of the world in which they exist to appropriate, take apart, and reassemble - leaving and adding as they go. Martín Pedreira (b. 1952, Havana) Martín Pedreira (b. 1952, Havana) is a guitarist and composer who is continuing in the compositional tradition of his teacher Leo Brouwer. He has sought to create music that can successfully express a unique voice that is knowledgeable of the music of a post-modern world, while using his beloved traditional Afro-Cuban rhythms and music as the template within which to manipulate these ideals. Although his catalog of work is small, the quality is of a high standard which only bears witness to his meticulous craftsmanship. His Divertimentos (1987), for which he was awarded the Premio Nacional de Composición by the Union of Writers and Artists of Cuba (UNEAC), is a collection of 25 studies intended to improve the technical abilities of the performer. However, these pieces go far beyond mere technical drivel, passing through many moods and sonorities which contradict the collection's humble intent. In an email, Pedreira comments about these pieces: "With strains of Cuban "country" and African music, the Divertimentos, at their essence, are short pedagogical studies inspired by traditional Cuban music. These references are sometimes direct and obvious, like the Oriki Iyá (ritualistic Lucumí chant), or indirect, as if from a dream, like the series of Islas or Preludios. In some cases, there is an emphasis on specific techniques, but these procedures are applied without losing sight of the principal objective - that of maintaining the expressive character of the music. " In the present recording, Carlo Pezzimenti has chosen a selection of 13 from the Divertimentos, while the "Guajira" is taken from a separate work, Pedreira's Suite Simple. Ernesto García de León Ernesto García de León is represented on this recording by two different works. La Guitarra de Plata (The Silver Guitar), Op. 56 dates from 2001 and has a tragic story. One of García de León's students at the National Conservatory of of Music in Mexico City, Noé García Alcaraz, commissioned a set of twenty etudes that he would perform in his graduating recital. The commissioned work was written (20 Estudios, Op. 50, 1998) and the recital went off without a hitch. As a present for the occasion and for his professorial guidance, Noé presented García de León with a small silver guitar. This piece had been made by artisans in Alcaraz's home city of Taxco, famous for it's silver mines, silver jewelry and crafts, in whose traditional style this 'silver guitar' had been made. Later, García de León learned of the tragic and senseless death of his student in a botched surgery. García de León wrote The Silver Guitar as an elegy to his student that was fittingly premiered in 2001 by Juan Carlos Laguna at the annual guitar festival held in Noé García Alcaraz's home of Taxco. It's structure is in three parts (Introduction, Dance, Elegy) with a coda in the "Elegy". The composer uses free atonality and chance procedures, as well as an ethereal, sometimes sardonic, mood to evoke the melancholic essence from which the piece is born. The "Canción" and "Final" are the last two movements of García de León's Suite, Op. 35 (1992) for two guitars. The tone in these pieces is lighter and more nostalgic, focusing on rhythmic qualities so pervasive in his music, such as the habanera rhythm in his "Canción" and the son jarocho in his "Final". Interestingly, the composer urges a certain amount of improvisation from both performers in the "Final", yet another quality of his style that is representative of the post-modern world. Brian Clemént-Foreman (b. 1952) Lousiana native Brian Clemént-Foreman (b. 1952) has an extensive catalog of compositions featuring the guitar, his own instrument. His latest addition, the triptych Contes Normands (2006) is the product of a vacation the composer took to Normandy. Inspired by the same countryside and hamlets that were such fruitful muses for Guy de Maupassant, Clément-Foreman has produced three pieces for two guitars imbued with the colors and harmonies of what one can aptly call neo-impressionism. While never easily falling into a cliché, the composer weaves a luxuriant fabric of harmonic denseness clearly evoking the reminiscences of his visit. This recording features the first two movements, "Les Andelys" and "Honfleur", named after communities in Normandy. - Notes by Pedro A. Haley Ernesto Garcia De Leon's compositions are published by Michael Lorimer Editions. (ASCAP). Michael Lorimer Editions, 175 west 73rd street (10G) New York 10023 USA. Brian Clement is also a member of ASCAP Martin Pedreira's music is published by Editora Musical de Cuba (EMC) Carlo Pezzimenti Carlo Pezzimenti, who studied under the great Spanish Guitarist Andres Segovia, is the director of the guitar programs at Texas Woman's University in Denton Texas and Brookhaven College in Dallas Texas. He has given concerts around the world, and to date has released 18 recordings. His work has been reviewed by many publications including Gramophone Magazine and the New York Times, which stated, ' In his hands the music made it's effect with reserved eloquence' Brian Rowe Brian Rowe, born in Huston, Texas, studied classical guitar with Carlo Pezzimenti, and earned a bachelor's degree of music from Texas Women's University in 2009. Brian plans to continue studying with Carlo and obtain a master's degree in guitar pedagogy The Silver Guitar Again I am proud to present another in our series of recordings that feature the poetic beauty that can be realized on the classical guitar playing well composed contemporary music, music that is truly inspired, not hatched out based on a formula. The music recorded on this CD will invoke images of nature, of faraway lands, of anguish at a loss, joy of love and the bliss of surrender to life itself... Just listen and allow the silvery notes of Carlo's Fleta guitar and Brian's Rozas guitar take you on a magical ride to worlds that words cannot describe...enjoy. ---Austin Audu.- Shop: odax
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