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Collaborations with: Albinoni, Tomaso

Published by Pizzicato Verlag PZ. Harp Composed by Alejandro Allauca Nunez. Guitar Composed by Alejandro Allauca Nunez. Cello and piano Composed by Alejandro Allauca Nunez. Voice and piano Composed by Alejandro Allauca Nunez. Piano score. This site uses cookies to analyze your use of our products, to assist with promotional and marketing efforts, to analyze our traffic and to provide content from third parties. You consent to our cookies and privacy policy if you continue to use this site.

Please see our Privacy Policy for details. By signing up you consent with the terms in our Privacy Policy. I am a music teacher. Suenan las campanas de Los Andes orchestra. Serenata per arpa. Fiesta peruana per arpa. Fiesta peruana per arpa Composed by Alejandro Allauca Nunez. The pair of Scottish pieces, A Farewell to Stromness and Wild Mountain Thyme , are both audience favourites, and were treated by the duo with care and atmosphere in David's own arrangements.

Beethoven - Moonlight Sonata (1st Movement), arr. Emre Sabuncuoglu

After the interval and a complementary glass of wine, the duo began with a large set of music: the four Scarlatti sonatas. Like Alexandre Lagoya's arrangements of the first and second, Rebecca's arrangements of the second pair gave them an admirable immediacy in both flow and melodic appeal, the duo again displaying very impressive individual and combined virtuosity. The same control and lyricism were present in the set of three folk songs from David's home - simple melodies made interesting, and charming, for the guitar in Stephen Goss's sometimes surprising arrangements.

For the final set of pieces, we travelled a long way geographically and stylistically to Argentina and the tango. The Piazzolla was rendered with beautiful atmospherics, effects and the characteristic energetic movement of the tango. David and Rebecca continued to demonstrate easy control of the full range of the guitar's resources - tremolo, trills, tambora, harmonics - and lovely coordination and understanding of each other's playing and of the music. We were treated to an encore of Abel Fleury's Milonga del Ayer to round of an evening of.

Robin Hill. David Black. Sonata K. Stephen Goss. M ichael Partington, now based in the USA, is in the UK for a series of concerts, and we were delighted to host one of them as part of our Concert Series. Michael is a champion of new repertoire. The first of the new pieces in tonight's programme was US guitarist and composer Bryan Johansen's La Folia Folio , a set of modern variations on the often- used 16th century Spanish piece La Folia.

Johansen's treatment is perhaps light- hearted in intent, but no less demanding of the player for it, with its requirement for jazz, Elizabethan, Arabic, Spanish and flamenco styles. The big finale is a joy, and lovely end to the first half of the programme. The wonderful Piazzola set opened the second half, with Michael using his Martin Blackwell double- top instrument delightfully to deliver the rich and moving music. Following this was the Stephen Goss, performed for the first time only a month ago - the composer himself has yet to hear it! The work is an introspective and delicate description of a memorial chapel.

The accompaniment is full, and the melodies ring through. Michael makes no compromises to simplicity in his arrangements, but handles the tough task with calm and great musicality. The encore, Farewell to Stromness was an apposite choice in the light of the death last week of the composer, Peter Maxwell Davies.

Jazz’halo Music Days 1997

Michael did music and composer full justice. Michael kindly stayed to chat and sign CDs, and later, at the Eastfield Inn, regaled us with fascinating insights into the psychology of the performer, complete with book references and personal anecdotes. We headed home gratefully with that, our new CDs and an excellent concert to digest. Our warm thanks to Michael for a great evening of music. Rondeau de Concert, Op. C raig Ogden has the air of someone happily fulfilling his destiny. He is perfectly at ease doing what he was evidently put on the planet to do, with a playing style and presence that exudes calm and enjoyment.

But the near capacity audience was there for the music. As he explained, it could be argued that Scarlatti sounds better on the guitar, with so many tonal possibilities compared to the original keyboard performance. The harpsichord has a limited dynamic range and a plucking mechanism without flexibility, whereas there is the potential, at least in the hands of an expert like Craig, to coax so many tones out of the guitar.

So despite the inevitable loss of the sheer density of notes played in a keyboard version, sensitive arrangement and spirited playing of three Sonatas delivered a musical result that the composer would surely have appreciated. John McCabe died in February so it was a fitting tribute for Craig to play his composition, Canto. This brought out wide ranges of dynamics and tones from player and instrument.

The piece finishes quietly, its spirit lingering. Craig took us to his birthplace with an encore: Waltzing Matilda , otherwise known as The Jolly Swagman , arranged by William Lovelady. The tune shimmers out of the descending chromatic scales like sun through the eucalyptus. All in all it was a summery session, and the Bristol Guitar Society thanks Craig for the flashes of sunlight he brought to a wintery evening, and an equally entertaining master class the following day.

Sonata in A K. Sonata in D K.


  • Repertoire.
  • Le complot dans la République (Lespace de lhistoire) (French Edition).
  • Diciembre, Súper Álbum (Spanish Edition).
  • Category:Albinoni, Tomaso.
  • Works by Composer VIVALDI, ANTONIO.

Lute Suite no. Roland Dyens.

Repertoire

The acoustics here are pretty much ideal for our instrument, and the seating allowing everyone a good view of the action. Throughout a very substantial programme, Ms Yang alternated between two guitars, one a Smallman, the other a Fisher, and the audience responded with rapt attention, hardly a cough being heard to interrupt the musical flow.

Quite a contrast to those Segovia recitals of years ago when the great man was constantly bothered by loud audience coughing. Maybe we are all fitter now! At least two of these usually appear in duo form, so it already says a lot for her skill that there was never any loss of momentum, or sacrifice of the original texture. A slight change in the program brought forward a beautiful arrangement with variations on The Fishermen at Eventide , which was also a Yang arrangement and, as she explained, evokes the Chinese zither, with lots of slides, bends, strong vibrato and quick arpeggio figures.

This received a well- thought out and moving performance and was clearly much appreciated. Apparently the original music is long since lost; Goss' work is inspired by the extant poems, which are around three thousand years old.

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There are six highly contrasting sections, each evoking a different atmosphere and again drawing on zither- like sounds, with oriental scales much in evidence. This was a delightful work to hear, and I certainly hope to hear it again. The music of Paco de Lucia does not usually figure in classical guitar recitals, but seemed to cause no problems to the fingers of Ms Yang, who explained that she did not usually play flamenco but was inspired to play Fuente y Caudal as a tribute to the great flamenco guitarist, who died earlier in the year.

As can probably be gleaned from the foregoing, this was a highly successful and enjoyable evening of guitar playing, delivered by a musician whose charming stage presence, consummate technique and musicality left nothing wanting. G ary Ryan is an exceptional musician. Additionally special in his concert tonight was the palpable delight among the audience in spending the evening in his company.

The programme advanced in near chronolgical order. Immediately, the poise and precision of Gary's playing stood out. Preatorius felt as fresh as Dowland.

Manual Sonata (da ciel seren) - Guitar

In the Bach, his explanations of accents and time signatures, the knowledge that the double on each section is a descant using the reworked melody from the section, made the listening all the more enjoyable, and the complexity of Bach's composition all the more magical, but Gary's cleanness of articulation, described as 'jewel- like precision' by previous critics, was remarkable; under every duress of speed and of musical or technical demand, his accuracy and voicing are faultless.

The atmospherics of Brouwer's lullaby and Andean dance were equally exquisite, with the big, round voice of the Stephen Hill instrument filling Red Maids hall with ease. Walton's Bagatelles, which spare no demand on the player, Gary dealt with admirably - the orchestral expression, the hectic chord changes of I, the harmonic passages in II and the beautiful melodies of III; and always the amazing clarity. If startling technique was the first thing to delight the audience, the second was the variety of the programme; the stylistic range of Gary's mastery. Piazzola's tango was as characterful as Yocoh's variations on a simple Japanese melody in praise of the cherry blossom, subtle string bends and the strings damped in imitation of the 'koto' transporting us to the East.

Then the beautiful moorish melody of Albeniz's magnificent Mallorca , broad and lyrical in Gary's hands, and Roland Dyens' rhythmically intriguing and difficult- looking arrangement of Felicidade. Gary himself commented that Dyens' arrangements always teach you something about how to use a guitar in an interesting and original way. This was indeed a performance to see as well as hear, and the final two pieces were a spectacular end to the programme.

The stylistic differences between Torre Bermeja and the other, more traditional, pieces suggests that it was written at a later date and that these twelve works were bundled into a single cycle for reasons of commercial pragmatism rather than stylistic unity—viewed as a whole, the collection does suffer somewhat from this lack of cohesion. They were first published in and reissued various times, without significant revisions or corrections apart from the translation into French of some of the titles. This taste for the Classical is the key feature of his Piano Sonata No.

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The first movement Allegretto represents the ideal of Classical form and incorporates an eminently Romantic treatment of the piano redolent of Chopin , without a trace of nationalism, creating a rich contrapuntal texture. In the middle movement Andante those same procedures are transported into a poetic ambience of the utmost delicacy, in the manner of a romanza.

The sonata ends with a frenetic and technically extremely complex Allegro assai. What shines through these pieces are his experience as a virtuoso soloist; his handling of Spanish folk music, which he assimilates and transforms by refracting it through his own individual prism; his knowledge of earlier greats composers whose work he often programmed in recital such as Bach and Scarlatti, along with Chopin and Liszt, the celebrated pianists of the nineteenth century; and his romantic spirit, embodied in music of poetic, emotional, nostalgic, vital yearnings.

The facts will speak for themselves. About this Recording 8. Close the window.