33 Results for : transposed

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    Romantico
    BIOGRAPHY Tomo Iwakura was born in Great Britain. When he was twelve years old he began to learn the guitar with Iwao Suzuki. After his completion of a faculty of law at 'Gakusuin Univaersity' in Tokyo he studied the guitar with Michael Koch at the 'Peter-Cornelius Konservatorium' in Mainz, Germany. He finished his study of music in 1997 with an excellent degree. Also he took lessons of N. Yepes, J. Bream, A. Pierri, D. Russel. He won the first prize and a special prize at 'Gakusei Guitar Competition' in Tokyo and is also a prize winner of 'Concours International de Guitare' in Ile de Re, France. Concerts in Germany, France and Japan. Since 1989 he lives in Germany. Review The Work of Tomo Iwakura By Chuck Leonard Tomo Iwakura's classical guitar work is blissfully gifted from the first strike of the string through his last arpeggio. With six works to his name including, several discs that include the work of J.S. Bach, as transposed for guitar, particularly his Lute Suites and Partitas, through his other recorded works which include compositions by Astor Piazzola, Carlo Domeniconi, Johann Kaspar Mertz, and the more obscure work of the classical guitar repertoire, including Roland Dyens: Libra Sonatine. Tomo Iwakura's guitar work is some of the finest classical guitar work out there today. His work combines the softness of William Kanengiser and Andrew York, famous for their solo work, as well as their combined work in the L.A. Guitar Quartet, but at the same time Tomo Iwakura's work consists of a power, strength, and aesthetic sensibility that can only be found on the scratchy old LPs of the late Andres Segovia. Tomo Iwakura's brings his guitar to life, making it sing, dance the gigue, and even tango. His recorded work runs the gamut of the guitar repertoire, thus proving that Tomo Iwakura is a master of the classical guitar and all of it's various styles, from the early transposed works of J.S. Bach right through the compositions that made the guitar famous in the beginning and middle of the twentieth century, and up through to later works of Astor Piazzola, and his various tango experiments. Tomo Iwakura's playing and performance are strong and unparalleled. His work is extremely gifted and while there are some artists that are comfortable playing these pieces, especially the J.S. Bach works, as if they're nothing more than dusty old LP's, Tomo Iwakura breathes new life into these pieces and lifts the beauty of their melodic and harmonic materials to the fore. Tomo Iwakura work is par excellence, and his playing is flawlessly top-notch. Selected Discography: Bach: Partita II & Sonata III Fernando Sor Guitar Music Libra Sonatine ROMANTICO Bach: Complete Lute Suites I Bach: Complete Lute Suites II.
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    Portuguese Music for Solo Cello
    'In Antagonia, for solo cello, the first and second strings are tuned half a tone lower (A and D flat). This tuning divides the instrument in two contrasting fields: two perfct fifths separated by an augmented fourth that makes them "antagonistic". This antagonism is transposed to every aspect of musical construction: there is one force trying to ascend and another one pushing down (or vice-versa), rhythmical characters opposing each other in expansions and contractions, and dynamic progressions in different directions. The work is divided into six parts: prologue (pesante), four variations (fuido, presto, allegretto, lento) and epilogue. In the introduction there is no theme but a structure that is transformed in tempi, textures and sonorities peculiar to each variation. In the epilogue there is a deformed condensation of all the previous sections: it is the non-resolution of an untransposable conflict. It's anguish is intensified by the dissonances of the scordatura, wich "repress" the natural tone of the cello. Written in Almoçageme in March 1990, it was first performed in Barcelona three months later, in a concert in memory of Jean Etienne Marie. It was recorded by the Czech and the Portuguese Broadcasting Companies, and selected by the jury of the International Society for Contemporary Music for the World Music Days that took place in Mexico City, in November 1993. It is dedicated to the Portuguese cellist Irene Lima.' Alexandre Delgado 'The composition of this piece, like all my music, is based on listening and spectral understanding of the sound phenomena, taking into account the acoustic properties of the musical instrument, which is the subject of research, leading to the abstract speculation on the compositional process. The piece is based on a defective spectrum on C (one octave below the C on the cello), in which only 11 partials (from the fundamental up to the 29th harmonic) are taken into consideration. From this defective spectrum I realized 8 micro-intervallic frequency shifts, resulting in a total of 9 sound aggregates. These aggregates have a slightly different intervallic structure between them, yet this small difference is of great importance - in terms of acoustics and perception it changes considerably the harmonicity / inharmonicity of the aggregates, what actually means being more consonant or less consonant in terms of perception. Each of these sound aggregates corresponds to a section of the piece. Although the sections succeed without interruption, some interludes and transitions are introduced here and there between them. There are also few sections, where some of the material presented earlier is reintroduced from a new perspective. Within each section, every aggregate is the subject of successive transpositions, yet retaining the same intervallic structure and also conforming to the base harmonic spectrum. These transpositions give origin to numerous melodic figurations, often in accelerando and appearing throughout the piece. The electronics operates primarily as a shadow or double of the acoustic instrument, blending with it, and extending it's identity. Occasionally, it can also act as a counterpoint.' Miguel Azguime, 29th July 2014 'Labirintho was written for the cellist Filipe Quaresma. The piece is clearly divided into two major parts recognizable by the change in tempo. The construction of this piece is centred on a theme that is constantly repeated and varied, resembling an obsession from which it can not escape (like in a maze).' Carlos Azevedo 'One of the salient features of the work of Corte-Real has been it's umbilical relationship with Portuguese culture and, above all, with it's poetry. Poets that the composer has put to music or from whom has taken inspiration are already numerous: Pessoa, Pascoaes, Régio, Agostinho da Silva, Eugénio de Andrade or Florbela Espanca. The work Bicicleta do Poeta (The Poet's Bicycle) (2014) for solo cello, is inspired by the poem Bicicleta (Bicycle) by Herberto Hélder. As in the poem, the music is full of sudden changes of speed and pace, unpredictable changes of direction and hard braking. The calm, relaxed, summer's-day ride itself gives way to the speed and vertigo inside...' Afonso Miranda 'Ostinati (2010) represents a change of direction in the composer's work: a turn that incorporates previously rejected elements, guided under a greater freedom, in the sense that it suffers less from the denial of material and solutions than from the meeting of musically sufficient ideas in order to create one sound identity. The material found in the origin of the score is, therefore, quite concise. Like other works from Ricardo Ribeiro, if the thought associated to the electronic processing is present since the first moment, it is true that the instrumental part lives by itself as an autonomous piece. This phenomenon doesn't work both ways: the electronic is only possible as a factor that improves the original idea, sometimes even recreating it, according to the notes which date from the elaboration of the instrumental part. The idea that each performance consists in a unique piece is, in Ostinati, taken a step further, since the electronic program was designed with some characteristics of randomness concerning to the degree of microtonality's range and overlapping of elements closer or furthest in time, which can be triggered in certain sections. The same electronic works as an orchestration of a particella, adding the microtonality and enhancing the timbre. The persistence of ideas and gestures is a metaphor of the idea of repetition, a presence that is increasingly evident in the last works of the composer. The repetition that in Intensités (2001) happened at the harmonic level, is present in Ostinati at a much more immediate level, in the movement, in the heights, in the continuous manifestation of strength which simultaneously transmits serenity.' Diana Ferreira.
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    Dark Side of Rhe Bass
    Bass World magazine n° 33 Sounding Board The Dark Side of the Bass Francesco Fraioli, double bass Francesco Buccarella, piano N.B.B. Records NBB23 2009 The dark Side of the Bass features stunning performances by Italian double bassist Francesco Fraioli with Francesco Buccarella on piano. The CD includes three sonatas for double bass and piano by the composers Vilmos Montag, Hans-Peter Linde and Paul Hindemith. On the first track, the first movement (Allegro moderato) of the sonata by Vilmos Montag, Fraioli establishes his wide range of dynamic expression and depth of lyricism. Clearly, he is very influenced by one of his teachers, Francesco Petracchi.The entire work demands a legato tone that must be maintained over the wide register and over string crossings. Fraioli's agile shifting and string crossing technique allows him to maintain the dramatic and intense lyricism that score demands. Aided by the recording engineer's decision to utilize a close mic, he is able to clearly articulate every note of the rapid gestures while sustaining his lyricism throughout. However, it was very surprising to hear him occasionally negate his best qualities by opting to perform some of the spiccato passages very off-the-string. Fraioli's pizzicato tone is supportive, deep,very sustained, rich in overtones, and most importantly, dark in timbre. This is especially true at the end of the first movement. Perhaps his dark, rich timbre is what inspired the title of the CD. Despite the close mic, which favors clarity of fundamental frequencies and transients of the envelope more than the overtones of the bass, I'm even more impressed at how Fraioli was able to achieve such dark timbres under these circumstances. The Vilmos Montag Sonata was composed in 1967, but it's careful chromaticism and restrained emotion will remind the listener of the conservative romanticism of the cosmopolitan French tradition of the late 19th century. In other words, if you liked César Franck's Sonata for Violin and Piano, you will like the Montag. The effective writing is very idiomatic and does not confront the double bassist with unreasonable and unmanageable difficulties. Vilmos Montag wrote the Sonata for his brother, Lajos Montag, a double bassist. The Sonata by Hans-Peter Linde, also written in 1967, will immediately remind listeners of the music of Shostakovich, especially the fugato section of the first movement. Also, like much of the music of Shostakovich, the Sonata by Hans-Peter Linde successfully walks the tightrope between the two extremes demanded by late 20th century audiences. It is accessible to the casual listener, yet the work can also satisfy the more sophisticated listener who also wants to analyze the work on multiple levels. Fraioli's approach on the Linde Sonata differs from the Montag. It is much more passive, careful, and in some places, even introspective in nature. The approach is cautious, carefully studied and rigorously appropriate. It is absolutely à propos for the mood of the Linde Sonata. There are formidable double stops in the third movement, and Fraioli executes them with poise and precision. The final sonata on the CD is Paul Hindemith's Sonata for Double Bass and PIano (1949). Fraioli realizes this venerable staple of 20th century repertoire with distinctive lyricism. Both Fraioli and pianist Francesco Buccarella eschew the traditional, misguided practice of square, mechanical and cold phrasing that has often plagued performances of the Hindemith Sonata. From the first sustained note, Fraioli shapes each note with sensitive detail drawing from his expressive vibrato and his command of the lyrical strokes in his right-hand bowing technique. The interpretation is fresh and classic all at once. The recording engineers Lorenzo Gerace and Stefano Cappelli are to be commended for their recording of the piano and double bass in an unusual space that would normally invite unwanted resonances and distortions of the sound waves. Not only did they compensate for such an unfavorable environment, they were able to allow the reverberations of the hall to appropriately color the sound of the double bass and piano. The balance of the double bass and piano in terms of volume and frequency distribution across the spectrum allowed for a unification of the two instruments as a chamber ensemble and ultimately empowered the musicians to produce a recording that is both transparent and ideal. -review by Jeremy Baguyos ------------------------------------------------------------------------------------------------------------------------------------------------------------------------------ The dark side of the bass project aims at emphasizing the "hidden" assets and qualities of the double bass, on the one hand highlighting the instrument's enthralling poetic aspect while on the other hand stimulating interest in it's repertoire. Conceived together with Luca Aversano, lecturer in the history of music at the DAMS department of Roma Tre University College of Liberal Arts, the project's relationship with the academic world has proved so fruitful that it has transcended the mere cultural level and lead to the shared use of a physical space. In fact, the university's main hall was transformed into a recording studio that hosted both the musical performances and the recording sessions. Relying on the technical mastery and performance skills of Francesco Fraioli on double bass and Francesco Buccarella on piano, The dark side of the bass features works by Vilmos Montag (Sonata in E minor, 1967), Hans-Peter Linde (Sonata in E, 1967) and Paul Hindemith (Sonata, 1949). Besides their being paradigmatic examples of twentieth century music, the artistic style of double bass, as brought into play by these works, has proved a valid testing ground for daring musical experiments, whilst allowing for the creation of refined aural moods. One of the highlights of the CD, for both it's cultural and historical relevance, is the premiere recording of Hans-Peter Linde's Sonata in E (1967). Furthermore, the author has even agreed to be personally involved in the project by providing an introductory note to the sonata for the booklet accompanying the CD. Luca Aversano ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------Vilmos Montag, sonata in e minor for double bass and piano (Ed. F Hoffmeister, 1967) Vilmos Montag was born in Budapest February 16, 1908. A student of V. Kladirko and N. Zsolt, he received his diploma in violin at the music high school in Budapest. Later, he graduated in orchestral conducting at the national conservatory. At the same time, he studied composition with L. Lajtha and graduated with honors (Franz Liszt award). At the age of 20, Montag joined the Budapest Opera orchestra as well as that of the philharmonic society. In 1957 he moved to Sweden where he continued composing and where he died in 1991. His musical production consists of pieces for piano solo, a method on piano playing, 5 cadenzas written for the classical concert repertoire, orchestral works, chamber music and a mass. The sonata for double bass and piano in e minor, composed in 1967, is a product not only of musical inspiration, but of family alliances, as well. In fact, it was his brother Lajos Montag who asked him to compose a piece for the double bass. Lajos was a first rate double bassist and composed considerable music as well as a didactic method for the instrument. The part of the double bass in this sonata is transposed a step down from the normal pitch, except for the lowest string. The three higher strings are raised a whole tone according to the classic tuning of Bottesini, while the bottom e-string remains the same. The result is a mixed tuning which opens up new melodic possibilities. Instead of the normal perfect 4th intervals between the strings: e-a-d-g, we now have e-b-e-a. A perf
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