giovedì 7 febbraio 2013

Review of Chitarra Con Forza by Magnus Andersson, Phono Suecia 1988




Magnus Anderrson has been one of the propulsive strengths that has moved things in the field of the contemporary guitar for a long time. I think is necessary to quote Angelo Gilardino, author of the notes that accompany this cd: “Among them as well as among the students who had found the cultural and musical climate in my school amenable to the cultivation of their principles, Magnus Andersson stood out already from 1976 onwards as a borderline case. His attitude towards the classical and established twentieth century repertoire was that of the cultivated inconoclast; the exasperated structuralism in his analyses of all the sacred scriptures of guitar music might have seemed overintellectualised if it had not been accompanied by an incredible amount of physical energy in the rehearsal and performance, and by a tendency to carry instrumental virtuosity to the threshold of the incomprehensible. It was not easy to make him despair when confronted by difficulties. Thus the encounter with the world of new music came naturally to him, was actually self-imposed, and here he soon proved himself to be one of the boldest and most reckless masters. Although his distinction from the category of standard guitarists has been exact and polemical, his role in the new instrumental music has been formidable and one is not suprised at the superabundance of new compositions dedicated to him by young composers - friendly challenges to his mental agility and his dexterity.
Just few lines but surely more incisive than whatever review, mine inclusive. This cd, dated 1988, it’s one of the most interesting contribution to the repertoire of the contemporary music for guitar with a repertoire of northern composers, all passages to the limit of the pure virtuosity and where Andersson can show off all of his ability as interpreter. All these passages were composed between 1980 and 1985 and you can feel the strong the influence of the studies of Darmstadt.
It deals with Capriccio per chitarra (1985) by Miklos Maros, composed as a commision for the contest of Ulricehamn’s Guitar Festival in 1986, Sma fotter (Small feet) (1982) by Mikael Edlund, Away From (1980) by Sven-David Sandstrorn, Grand Caprice Vulgaire, (1982) by Erik Forare, piece that comments the 1900 popular music, Melody to the Memory of a Lost Friend, (1982) by Hans-Ola Ericsson, for 10 strings guitar to, Arena (1982) by Lars Sandberg, directly written for Magnus Andersson as a request by the Swedish national Radio.
Passages surely non well known and played … perhaps after 25 years from this recording would be necessary new listening and new interpreters.

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