mercoledì 27 novembre 2013

Video : Barney Kessel - Autumn Leaves

Download podcast: : il raffinato swing di Barney Kessel



Download Podcast


Grandissimo jazzista e chitarrista, Barney Kessel  può essere ancora oggi considerato una delle pietre miliari della chitarra jazz e dello swing. Raffinato, elegante, colto e misurato nei suoi arrangiamenti e nelle immortali rappresentazioni dei suoi standards, Kessel ha rappresentato da sempre un esempio e un oggetto di studio per voleva misurarsi con la chitarra jazz ... gli rendiamo un commosso omaggio ascoltando le sue prime incisioni risalenti all'inizio degli anni '50.


Great jazz guitarist Barney Kessel can be still considered one of the cornerstones of jazz and swing guitar . Refined, elegant, cultured and measured in his arrangements and performances of his immortal standards, Kessel has always represented an example for whom  wanted to compete with the jazz guitar ... we have prepared an affectionate  tribute by listening to his first recordings from the early '50s.

FORLÌ: 104,5 Mhz

(Forlì, Cesena e Ravenna)

Via Curiel 53 - 47100 Forlì
Telefono & Fax 0543 414312
forli@radiovocedellasperanza.it



martedì 26 novembre 2013

Video : Gerung spielt Bussotti - Ultima Rara

Weihnachtliche Gitarrenmusik




Weihnachtliche Gitarrenmusik

am 15. Dezember 2014
um 17:00 Uhr


Veranstaltungssaal Tourist-Info Rettenberg
Bichelweg 2
87549 Rettenberg 

Gästeinformation Rettenberg
08327 / 92040


Zu hören sind ausgesuchte Kompositionen vom 16. Jh. 
bis zur Gegenwart - u.a. von J.S.Bach, G. F. Händel, M. Luther 
und von H.-J. Gerung. 

Der Eintritt ist frei - Kollekte
_______________________________


Nähere Informationen entnehmen Sie
bitte dem angehängten Programm.

Ich würde mich sehr freuen, Sie
bei dem Konzert begrüßen zu dürfen.

lunedì 25 novembre 2013

Video : Marco Cappelli Acoustic Trio - Commissario Ricciardi

Recensione di Le Stagioni del Commissario Ricciardi di Marco Cappelli Acoustic Trio, 2013, Tzadik



Era notte fonda e cadeva un pioggia fredda sulla città. I pochi passanti si affrettavano cercando di raggiungere il più in fretta possibile la sicurezza delle loro case. Case che sembravano congelate sotto la pioggia autunnale, quasi come se anche loro fossero cadute in letargo. Il Commissariato non faceva eccezione. Anzi, si erigeva in una triste e vuota imponenza, le imposte chiuse, le poche luci che filtravano, i passi trascinati nei corridoi semibui.
Mi fermai con calma sulla soglia dell'unico ufficio illuminato. Alla scrivania un uomo dai capelli brizzolati esaminava con attenzione, anzi , con feroce determinazione alcune carte e foto, intravvidi un corpo disteso e scomposto in bianco e nero. Rimasi in attesa, finché l'uomo si accorse di me e alzò il capo con fare seccato.
- E lei che desidera?
- Scambiare due parole con lei Commissario .. su un comune amico?
- Amico?
- Diciamo così ..
Il Commissario rimase a guardarmi per qualche secondo.
- Non ho tempo da perdere.. se ne vada.
Non risposi. Presi dalla tasca del mio impermeabile il cd  "Le Stagioni del Commissario Ricciardi" e, entrando nel suo ufficio, lo lanciai direttamente sulla sua scrivania.
Il Commissario fece quasi un salto sulla sedia, poi guardò la confezione del cd col suo ritratto, trasalì e mi fissò con intensità mentre con studiata indifferenza mi sedetti davanti a lui.
- Cos'è questa roba?
- E' un cd .. una cosa che viene dal futuro .. dal 2013 .. come me ...
- Dal futuro? Non dica fesserie ...
- Quello che lei vede è l'equivalente tecnologico tra ... 80-90 anni del vostro ultimissimo 78 giri  e se non mi crede che viene dal futuro lo guardi, lo tocchi e mi dica se ha mai visto una cosa simile prima .. è stato realizzato oltre oceano a New York.
Il Commissario lo prese in mano, lo fissò, lo apri, si specchio nel disco di metallo lucente, rilesse due o tre volte sibilando il nome del trio, poi lo posò di nuovo sulla scrivania.
- Marco Cappelli .. ho già sentito questo nome ma...
- E' un chitarrista napoletano ...
- Ah ecco ...
- Nascerà nel 1967, nel 2012 leggerà i suoi romanzi, ne trarrà ispirazione e col suo trio, assieme a Ken Filiano al contrabbasso e a Satoshi Takeishi alle percussioni realizzerà delle musiche che con la tecnologia del futuro registrerà su questo oggetto che lei ha davanti.
Il Commissario sembrò accasciarsi sulla sua sedia.
- I .. i miei romanzi..?
Sospirai.
- Commissario .. lei nella realtà non esiste .. lei è il frutto della fantasia di uno scrittore, il Signor Maurizio De Giovanni. Lei nella realtà non esiste .. come me ..
- Anche lei esce da un romanzo?
- Non esattamente .. da un blog .. una specie di romanzo giornaliero che si farà ..
- Nel futuro ..
- Esatto.
Rimanemmo a guardarci negli occhi, in silenzio, per diversi secondi mentre la pioggia continuava a battere contro le finestre del suo ufficio.
- E .. perchè è qui allora?
- Per un atto di giustizia.
Il Commissario mi fissò con aria interrogativa.
- Vede Commissario .. io ero presente al concerto a Mestre in cui Marco Cappelli ha presentato e provato prima di registrarle queste musiche .. sono davvero belle sa? Ottimi musicisti, grandi talenti e .. la rappresentano in pieno, hanno la sua malinconia, la sua decisione, la sua umanità .. nascosta dalla sua riservatezza e dal suo carattere e dalla durezza della sua professione ... e così, quando ho comprato questo cd, ho pensato di venirla a trovare e di portarglielo, così, per darle una soddisfazione, per rompere un po' la monotonia della sua professione, per mostrarle uno spiraglio ...
- Ma io queste musiche non le posso ascoltare.
- Metta la mano sul cd e pensi di ascoltarlo.
Ricciardi lentamente obbedì, mentre il suono di una chitarra lenta riempiva la stanza. Rimanemmo in silenzio ascoltando tutto il disco, tutti e nove i brani.
- Non ne capisco niente di musica .. ma .. mi piace ...
- Da delle buone emozioni vero?
- Sì ...
Rimanemmo ancora un po' in silenzio. poi guardai l'orologio.
- Si è fatto tardi ... è stato un piacere Commissario.
- Buona notte, allora.
- Buona notte a lei e .. auguri per le sue indagini, non sembra un caso facile.
Riccardi mi lanciò un 'occhiataccia.
- Lei ovviamente sa già come andrà a finire..
- Ovviamente ...
- E allora perchè dovrei portarla a termine?
Sorrisi.
- Perchè questo il suo destino, Commissario, il suo destino come uomo, come pubblico ufficiale e come personaggio dei suoi romanzi.
Mi voltai e usci dal suo ufficio e dal Commissariato. Giunto in strada mi girai verso le finestre del suo ufficio. Una silhouette si stagliava contro la luce delle finestre osservandomi. Mi allontanai sotto la pioggia battente. Alla prossima Commissario.

domenica 24 novembre 2013

Video : Barney Kessel- "Here's that Rainy Day"

Guitars Speak terzo anno: il raffinato swing di Barney Kessel



Mercoledì sera alle 21 su Radio Voce della Speranza

Grandissimo jazzista e chitarrista, Barney Kessel  può essere ancora oggi considerato una delle pietre miliari della chitarra jazz e dello swing. Raffinato, elegante, colto e misurato nei suoi arrangiamenti e nelle immortali rappresentazioni dei suoi standards, Kessel ha rappresentato da sempre un esempio e un oggetto di studio per voleva misurarsi con la chitarra jazz ... gli rendiamo un commosso omaggio ascoltando le sue prime incisioni risalenti all'inizio degli anni '50.

Wednesday evening at 9 PM on Radio Voce della Speranza

Great jazz guitarist Barney Kessel can be still considered one of the cornerstones of jazz and swing guitar . Refined, elegant, cultured and measured in his arrangements and performances of his immortal standards, Kessel has always represented an example for whom  wanted to compete with the jazz guitar ... we have prepared an affectionate  tribute by listening to his first recordings from the early '50s.

FORLÌ: 104,5 Mhz

(Forlì, Cesena e Ravenna)

Via Curiel 53 - 47100 Forlì
Telefono & Fax 0543 414312
forli@radiovocedellasperanza.it




sabato 23 novembre 2013

Tatyana Ryzhkova Expressions - NEW CD



Tatyana Ryzhkova Expressions - The new album by Tatyana Ryzhkova is now available in Tatyanas Online Shop

http://www.musicofstars.com/

On the CD you’ll find the works of F.Tarrega, M. Giuliani, A. B. Mangore, I. Albeniz, F.Chopin, A. Piazzolla, J.K. Mertz, A. Piazzolla

CD PRESENTATION:

venerdì 22 novembre 2013

Video : J. Sevriens Suite pour Tatyana, performed by Tatyana Ryzhkova

Interview with Tatyana Ryzhkova – by Giuseppe Chiaramonte third part


Giuseppe Chiaramonte: Who is the guitar-maker of your instrument? Have you ever played a handmade Italian guitar?
Tatyana Ryzhkova: The guitar that I am playing now is made by a German luthier Michel Brück. It is a cedar double-top and it is pretty new, from year 2010. When I searched for a new instrument at that time, I have tried a lot of different guitars from many countries (of course not all, but many) and this guitar was the only instrument that said to me: “take me with you!” It was a love at first sight. And we are still very happy together.
Unfortunately, I didn’t have an opportunity to play any Italian guitar.

Giuseppe Chiaramonte: You are also a poet. Tell us something about your poems.
Tatyana Ryzhkova: I began to write my poems when I was 14 years old. At that moment I had a difficult time in my life, because I couldn’t play the guitar. And because I had so many troubles and couldn’t put them in my music, I had to found another way – to put the feelings on paper. At first, there were only dark and pessimistic poems, with a lot of pain. But with the passage of time it became lighter and more positive. The poems have helped me to stay up and to become stronger.
4-5 years ago I began to write music to my poems, and from that time on I write only positive and optimistic poems. I feel happy and would like to share this happiness with all people. I think there are too many dirty and painful things in our world to speak one more time about them. So I just would like to give people on my concerts a little piece of happiness and love with my songs, just to make the audience feel happy, even for a one hour…



Giuseppe Chiaramonte: Other than the guitar, what are your other interests? How do you like to spend your free time?

Tatyana Ryzhkova: Fortunately, I don’t have a lot of free time (otherwise it would mean that I have not enough work, which would be a pity). If I have some free minutes, I’m doing something that is connected with my music, website, songs, Facebook profile, answering Emails. But the easiest way to spend some free time is to go to Internet. I haven’t figured out yet how you can manage this time trap, where you get caught every time, when you just like “to check mails or read some news”, but you have no problems with your free time after that.

I like travelling a lot, to see new places, like to cook (specially sweat thing - desserts, cakes etc.), like to be with my family. At the moment I am trying to learn how to cook Macarons (devilishly delicious French dessert) – they are so tricky! So I need more practice… What a luck for my friends!

giovedì 21 novembre 2013

Video: J. K. Mertz, Romanze, performed by Tatyana Ryzhkova

Interview with Tatyana Ryzhkova – by Giuseppe Chiaramonte second part



Giuseppe Chiaramonte: When and where are you going to play next?
Tatyana Ryzhkova: I don’t know, when the questions will be published, so I could just answer that all of my future and past concerts you can find on my homepage www.tatyana-ryzhkova.de. I constantly update my website, so you can find all the dates and news there.

Giuseppe Chiaramonte: Recently, your first solo guitar CD “Tatyana Ryzhkova - Guitar” was released. Could you tell us something about this project?
Tatyana Ryzhkova: Oh yes! This project was very important for me. It was like a summing up of the whole my work in the last few years. I have recorded only the best and the most favorite pieces from my current program. There was also a world premiere of the CD: a wonderful piece of Dutch composer Jean Sevriens “Suite pour Tatyana”, which was dedicated to me. I love this music, I find myself and my soul in each bar of the music, and it was a great pleasure for me to play this piece.
During the recording there was one more very important thing for us, the main target: to record the most natural (!) guitar sound. If you have ever recorded your playing, you will know how difficult it is to record the guitar sound most clear, deep, voluminous, warm and with the perfect balance between trebles and basses, just the sound that you hear with your own ears, when you are playing or hear somebody playing. Unfortunately, very often it doesn’t work or you just hear the “perfect” electronic sound that is made by all that high-tech things. Sometimes you can hear that the sound is “perfect”, but you also hear that it is dead.
So we paid a lot of attention to the sound and, I think, we achieved great results: the sound on the CD is natural, perfect and alive.



Giuseppe Chiaramonte: Who is your favourite classical music composer?

Tatyana Ryzhkova: I don’t have a favourite composer. I mean, I love music and not the composer. Which music I like to hear depends always on my mood, time and situation. All composers have their best and worst pieces. Generally, I like baroque, classical, romantic, Spanish and tango music. First of all, I like the music that touches my heart, and if it really touches me it doesn’t matter if it is the music by Vivaldi, Brahms, Schönberg or Anonym.

mercoledì 20 novembre 2013

Download podcast: Jesce Sole, la canzone popolare napoletana


Download Podcast


Uno delle cose che non mi piace del nostro bellissimo paese è come riusciamo agevolmente a depauperarne l'impressionante patrimonio culturale. Prendiamo ad esempio la canzone popolare napoletana: una storia e una tradizione centenaria ormai a livello popolare tristemente rappresentata dai cantanti neomelodici napoletani e dalle triste comparsate nei talk show televisivi. Questa sera cerchiamo di renderle un giusto omaggio con il disco Jesce Sole dei Maestri Valentina Mastrangelo soprano e Francesco Langone chitarra.


One of the things that I do not like about my beautiful country (Italy) is how we are able to easily waste its impressive cultural heritage. For example the popolar Neapolitan music: a history and a tradition  now sadly represented by the neomelodic Neapolitan singers and a sad appearances on television talk shows. Tonight we try to make a fitting tribute listening to the record Jesce Sole played by the duo Mastrangelo Valentina soprano and Francesco Langone guitar.

FORLÌ: 104,5 Mhz

(Forlì, Cesena e Ravenna)

Via Curiel 53 - 47100 Forlì
Telefono & Fax 0543 414312
forli@radiovocedellasperanza.it




martedì 19 novembre 2013

Istituto Italiano di Cultura di Atene - I GIOVEDÌ DELLA NUOVA MUSICA ITALIANA

I GIOVEDÌ DELLA NUOVA MUSICA ITALIANA
Quattro appuntamenti mensili tra presentazioni, video, ascolti guidati ed esecuzioni dal vivo a cura di Riccardo Vaglini
Istituto Italiano di Cultura di Atene, dal 22 novembre 2013 al 14 febbraio 2014
Gli incontri sono aperti a musicisti e non musicisti, appassionati e non ancora appassionati

22.XI.2013 --> 17.I.2014
1. Dissonanza acustica, dissonanza concettuale: sul postmoderno in musica
Salvatore Sciarrino, Efebo con radio, 1981. Ascolto guidato (framm.), 6'
Paolo Castaldi, Definizione di Grid, 1969. Esecuzione dal vivo, 2'
Bruno Maderna, Criside e Trimalchio e il monumento, da Satyricon, opera in un atto, 1973. Ascolto guidato, 8'
Luciano Berio, Wasserklavier, 1965, pianoforte. Esecuzione dal vivo, 3'
Aldo Clementi, Concerto per violino, 40 strumenti e carillons, 1977. Ascolto guidato (framm.), 5'
Paolo Castaldi, Scale, 1970. Esecuzione dal vivo, 5'

13.XII.2013
2. Voce, corpo, atto: la musica come esperienza
Giancarlo Cardini, Oggetto che cade, 1984-85. Esecuzione dal vivo, 8'
Sylvano Bussotti, Novelletta, 1973. Video dal Concerto per Demetrio Stratos, Milano, Arena Civica, 14.6.1979, Giancarlo Cardini pianoforte, 4'
Giuseppe Chiari, Solo per megafono, 1968. Esecuzione dal vivo, 3'
Luciano Chessa, Variazioni su un oggetto di scena [1], 2002, pianoforte e pupazzi imbottiti. Esecuzione dal vivo, 2'
Giuseppe Chiari, La mano mangia il foglio, 1967. Esecuzione dal vivo, 3'.
Fabrizio De Rossi Re, Canto del rauco mendicante, 2001. Esecuzione dal vivo, 5'
Paolo Castaldi, Cardini. Solfeggio parlante per voce sola, 1973. Video dal Concerto per Demetrio Stratos, Milano, Arena Civica, 14.6.1979, Giancarlo Cardini voce, 4'
Giuseppe Chiari, Musica madre, 1972. Esecuzione dal vivo, 4'

17.I.2014 <-- font="" nbsp="">
3. Liberare la musica dalla musica: l'illusione della tecnologia
Luciano Berio, Thema (Omaggio a Joyce), 1958. Musica elettronica, 7'
Andrea Nicoli, Ni anverso ni reverso, 1999. Ascolto guidato, 10'
Mattia Nuovo, Ressa parlante, 2012-, voce ed elettronica, esecuzione dal vivo, 4'
Marco Marinoni, Io so, 2012. Musica elettronica, 11'
Riccardo Vaglini, Al limite ignoto, 1999. Musica elettronica, 1'
Riccardo Vaglini, The shouting Valley, prod. Alfea Cinematografica 2000, video, 4'

14.II.2014
4. Less is more: estetiche della sottrazione e della fissità
Filippo Perocco, Tarlo che rode, 2002. Video di Luca Camilotto, 2'
Franco Battiato, L'Egitto prima delle sabbie, 1978, pianoforte. Esecuzione dal vivo, 14'
Massimo Mariani, TV blue, 1994. Dal video Duplum di Massimo Mariani, 1996, 7'
Riccardo Vaglini, Toccata lentissima, 1992, pianoforte. Esecuzione dal vivo, 8'

Mostra di liuteria e concerti Pontedera - 23 e 24 novembre



sabato 23 e domenica 24 novembre 2013 avrà luogo la quinta edizione della Mostra di liuteria chitarristica organizzata dall'Accademia della Chitarra. Tutti gli eventi sono ad ingresso gratuito e si terranno presso l'Auditorum dell'Accademia (Piazza Martiri della Libertà, 22, Pontedera, PI).

La manifestazione aprirà al pubblico sabato 23 alle 10:30 con l'esposizione di strumenti di 14 maestri liutai provenienti da tutt'Italia e con il maestro madrileno Manuel Rodriguez. Gli strumenti in mostra saranno disponibili per prove da parte del pubblico, con l'assistenza dei liutai partecipanti, nelle aule della Scuola di Musica dell'Accademia, adiacenti all'Auditorium. La casa editrice livornese Sillabe presenterà le proprie edizioni musicali, con particolare riferimento alle proposte per chitarra classica.

Nella giornata di sabato è inoltre in programma la tradizionale prova comparativa degli strumenti (ore 18:00, a cura del chitarrista Enea Leone), seguita da una degustazione di vini offerta dall'azienda Castelvecchio di Terricciola. Alle 21:15 di sabato avrà luogo un concerto dell'Ensemble Cameristico dell'Accademia con Salvo Marcuccio (chitarra) e Andrea Carli (direttore); in programma la prima esecuzione del nuovo concerto per chitarra e piccola orchestra di Marco Gammanossi e musiche per quintetto strumentale e chitarra di Leo Brouwer (quintetto per fiati, violoncello e chitarra) e Alberto Ginastera (suite dal balletto "Estancia").

Domenica 24 la mostra riaprirà alle ore 10:30. Nel pomeriggio l'Accademia della Chitarra festeggerà 10 anni di attività con una piccola cerimonia pubblica (ore 16:30), seguita da un concerto del chitarrista Enea Leone (ore 18:00) con musiche di Sor, Rodrigo, Barrios, Morricone e Dyens. La mostra chiuderà alle ore 20:00.

Tutte le informazioni per raggiungere la sede della Mostra e i nostri contatti sono su:

Interview with Tatyana Ryzhkova – by Giuseppe Chiaramonte first part



Giuseppe Chiaramonte: When did you start studying guitar? Why did you choose this instrument? Who was your first guitar teacher?
Tatyana Ryzhkova: I started to play guitar as a child, when I was 10 years old. As a normal child, I didn’t want to play any instrument, I was happy enough without it. But, how it often happens, my mother brought me to a music school. When she was young, she wanted to play guitar but it wasn’t possible, so she had a dream that her daughter will one day play guitar.
Sometimes our parents have pretty good ideas and now I’m very happy that my mother had such a nice dream 17 years ago.
At that time, I was very lucky to take my first guitar lessons with a great teacher, who was one of the best guitar teachers in Belarus – V. Gromov. He was always kind, patient, and a little bit childish. He was a real friend, a great friend.

Giuseppe Chiaramonte: How much important is the first teacher for a musician? How much important was your first teacher for your career?
Tatyana Ryzhkova: I think that the first teacher is extremely important for every musician, especially when this musician is still a child. Your first teacher is always like a lighthouse for you, he gives you a technical basis, understanding of music and he enriches your emotional world. He can pick you up to the stars, but he can also put you down.

Giuseppe Chiaramonte: You performed hundreds of recitals with classical guitar. What do you usually do before an important concert? How do you prepare yourself the day before? I mean, are you used to play a lot until few minutes before the concert or do you prefer to take a rest in order to relax?


Tatyana Ryzhkova: I don’t practice at the day of the concert. It’s too late. I mean, if you cannot play this one or that one difficult passage two days before, it doesn’t help you if you’ll play it the whole day until your entrance on the stage. The only thing that could help you at this moment is to relax and pray. Frankly, I’m always rather nervous at the day of the concert and the only motivation that keeps my optimism up is that some hours from now everything will be over, and after the concert I’ll feel myself like the happiest woman in the world.

Giuseppe Chiaramonte: Where did you perform your best concert(s)?

Tatyana Ryzhkova: It’s a very difficult question. I played really a lot of concerts, but each concert is something special for me. All of them are very different, because the most important thing for me in a concert is my audience. And never, never you’ll have the same audience twice. Applause, reaction to the music and to some of my jokes, the eyes and smiles of the people in the audience, all this is always different. And I think it’s fantastic, because it makes every concert an unforgettable and unique event.

lunedì 18 novembre 2013

Video: F. Tárrega, Capricho Arabe performed by Tatyana Ryzhkova

Tatyana Ryzhkova - BIOGRAPHY


Tatyana Ryzhkova was born in 1986 in Minsk, the capital of Belarus. At the age of 10, she took her first guitar lessons from the best music teacher of Belarus, V.V.Gromov. Thanks to her talent, perseverance and the guidance of her teacher, she was able to achieve a high proficiency level, which allowed her to perform successfully at an international duets competition in Poland. As the youngest competitor, Tatyana got the highest mark in her group and was given an honorary diploma.

In the following 2,5 years Tatyana took part in more than 200 concerts on some of the most significant stages of Minsk and Belarus, such as the Big Hall of The National Philharmonic, Theatre of Musical Comedy, the Church of St. Roch, and also at some governmental and presidential concerts.
In 1999 Tatyana Ryzhkova was given the scholarship of the Presidential foundation in support of young talents. Various radio and TV performances helped her win love and success of the public.


Tatyana started her higher education under the guidance of the wonderful teacher Michael Zhuravlev at the Glinka Music College in Minsk. After only a year she successfully passed all the necessary exams and was accepted in the Liszt Academy of Music Weimar, Germany (Hochschule für Musik Franz Liszt Weimar) into one of the most prestigious guitar classes by the famous professor of guitar Thomas Müller-Pering.

In 2009 Tatyana Ryzhkova became the scholarship holder of the New Liszt Foundation (Neue Liszt Stiftung Weimar).

Prize-winner of various competitions in Belarus, Russia, Poland and other countries, participant at international festivals in Poland, Germany, Italy, Tatyana took master-classes by the leading guitarists of Europe, such as Carlo Marchione, Pavel Steidl, John Dearman (LAGQ), Olaf van Gonnissen, Giampaolo Bandini, Darko Petrinjak; Tomasz Zawierucha, Kurt Rodarmer among others.



At present she actively continues her stage career and leads guitar classes at music schools in Achim and Bremen. Tatyana’s recordings attracted more than 2 000 000 visitors on the Internet and the tendency is growing.

Tatyana’s performance is noted for a special fullness and softness of sound, delicate and sensual musicality, elegance of style, virtuosity and reach repertoire.
Tatyana has another talent: she writes her own songs. They combine meaningful content, accessibility, emotional warmth and theatrical expressiveness.

domenica 17 novembre 2013

Pordenone Guitar Festival


Guitars Speak terzo anno: Jesce Sole, la canzone popolare napoletana



Mercoledì sera alle 21 su Radio Voce della Speranza

Uno delle cose che non mi piace del nostro bellissimo paese è come riusciamo agevolmente a depauperarne l'impressionante patrimonio culturale. Prendiamo ad esempio la canzone popolare napoletana: una storia e una tradizione centenaria ormai a livello popolare tristemente rappresentata dai cantanti neomelodici napoletani e dalle triste comparsate nei talk show televisivi. Questa sera cerchiamo di renderle un giusto omaggio con il disco Jesce Sole dei Maestri Valentina Mastrangelo soprano e Francesco Langone chitarra.

Wednesday evening at 9 PM on Radio Voce della Speranza

One of the things that I do not like about my beautiful country (Italy) is how we are able to easily waste its impressive cultural heritage. For example the popolar Neapolitan music: a history and a tradition  now sadly represented by the neomelodic Neapolitan singers and a sad appearances on television talk shows. Tonight we try to make a fitting tribute listening to the record Jesce Sole played by the duo Mastrangelo Valentina soprano and Francesco Langone guitar.

FORLÌ: 104,5 Mhz

(Forlì, Cesena e Ravenna)

Via Curiel 53 - 47100 Forlì
Telefono & Fax 0543 414312
forli@radiovocedellasperanza.it





sabato 16 novembre 2013

Sentieri Chitarristici - Gisbert Watty Luciano Tristaino



Ensemble Phoenix Basel in Concert

Ensemble Phoenix Basel                                                    logo phoenix  
phoenix
Ensemble Phoenix Basel, next concerts:
Sonntag, 17.11.2013, Tage für neue Musik Zürich 


16.00, Einführung zum Konzert, Tonhalle, Foyer
Einführung und Lesung mit Stephan Meier (Verein Jean Paul 2013), Jürg Henneberger und Julia Katterfeld sowie den Komponisten des Abends.
17.00, Konzert, Tonhalle, Grosser Saal:
Ying Wang: Focus Overlap (2012) UA
Víctor Adán: Objetos (2006)
Nicolas Tzortzis: de l'intérieur éternel terrestre (2012)
Alex Buess: KHAT (2003)
Alex Buess: Apsis, für 8 Bläser und Schlagzeug (2013) UA

Ensemble Phoenix Basel
Jürg Henneberger, Leitung

Neben dem diesjährigen Länderfokus werden im letzten Konzert der tfnm 13 zwei Preisträger des Wettbewerbes "Wär' ich ein Ton" zum 250. Geburtstag des deutschen Schriftstellers Jean Paul vorgestellt. Ihnen gegenüber stehen ein New Yorker mexikanischen Ursprungs und der Schweizer Alex Buess, beiden sind differenzierte Klangforschungen im Grenzgebiet akustischer Erzeugung ¬- Verstärkung - elektronischer Transformation eigen.


22-30.11.2013: Russland-Tour
Werke von A. Sysoev (UA), V. Rennev (UA), A. Gusgchyan (UA), H.P.Kyburz, F. Furrer-Münch
22.11.2013, St. Petersburg, Bolshoy Dramatichesky Teatr

24.11.2013: Nishni Novgorod, GZSI

26.11.2013: Moscow, House of Music

28.11.2013: Ekaterinburg: Philharmonie

30.11.2013: Perm, Philharmonie
    
Ensemble Phoenix Basel Website
Tage für neue Musik Zürich 

venerdì 15 novembre 2013

Elena Casoli. La chitarra: un mondo...


... a parte? Nuovo appuntamento di Contrappunti dedicato alla chitarra. Ospite di Nicola Campogrande negli studi di Classica e' Elena Casoli, che presenta un'immagine varia e composita del suo strumento, attraverso una ricerca costante nella letteratura del passato e un vivo interesse per la produzione contemporanea.

In onda da stasera alle 21.10 su Classica HD, canale 131 si Sky.

Sentieri Chitarristici - Luigi Attademo



Interview with Elena Càsoli by Empedocle70 - third part



You have devoted your talent and your guitars to the contemporary repertoire and composers, what is your relationship with the classical tradition? Do you ever play any music of the nineteenth century or the Renaissance repertoire?

Certainly, I have studied this repertoire and it continues to be owned by myself deeply. I play it in concerts, I have recorded it, I follow the students who study it and I love it very much. I don’t think this is a contradiction, but I share my time and my energies between the classical and the contemporary repertoire, even if the last one because his characteristic of “work in progress” in collaboration with other musicians occupies an important part of my time. I think that it’s important to study a particular repertoire or composer, as much as it’s important for every musician to develop an elastic and flexible way of thinking, that shall permit him, to be able to move, I will not say through different styles – an ability that only few artists may have - but through different authors of the same style, enriching their own interpretative perspective and keeping the highest artistic quality.
You have found LArecords, an independent label dedicated to meetings and special productions between music and literature, would you like to tell us about this project and its achievements?

LArecords is a project founded with Maurizio Pisati, it’s been created to carry out special recording projects dedicated to the encounter between literature and music, projects that could not find space in the catalogues of other labels. LA is the A note, that in the Inno di San Giovanni by Guido D’Arezzo is remembered as "Labii reatum", the lip’s fault. We have designed this fault as "the pleasure of telling." In this way we recorded our first cd Taxi! with music by Maurizio Pisati and text by Roberto Sanesi, poet and translator of Milton, Blake and Shakespeare, whose voice has become part of music, a document that acquires special importance now that he is no longer among us. Shin-on is a meeting between a Japanese painter and four composers,two Japanese and two Italians. " This music was born around his works made of tissue paper and rust, nursery rhymes that echo Japanese teapot sounds, between puffs of flutes and guitars. The Copiafavole was the challenge of transforming into music the sounds and rhythms of machines, photocopiers, telling nine stories very different, making a live performance at the Piccolo Teatro Regio in Turin in 2002. We have now ready the master for a cd dedicated to Villa-Lobos and Brasil, with a brasilian party with short stories, poems, lullaby, the music of Villa-Lobos, and finally even his own voice that tells us that "The heart is the metronome of life"!

You have your own video channel on youtube with different videos with you playing in different situations, sometimes in music-theatre any way quiet different from the usual classic video of the classic guitarist. Why these choices and do you think that just like it’s happening in other musical genres, classical music shall find innovative use for video-multimedia, as well as with the trilogy "quatsi" by Godfrey Reggio for the music of Philip Glass?

As I often say, it’s following the composers, their creations, that I find myself in those situations where several kind of arts meet. I like these situation very much, they make me very curious about, though I not deny the appeal for the "purity" of the classical concert. The real difficulty is to create a real and deep interaction between the different languages used and not just pull over on the same stage musicians and artists from various sources using different media. I believe that fusions among the media are a necessary condition so that in the show shall happen something special for the artists and for the public, but this requires time, effort and a strong inspiration.

In addition to your significant live activity, you are "Gitarre Professorin" at the Hochschule der Künste Bern, How can you mix these two activities? Sometimes I have the impression of a dichotomy between the two "careers": a musician busy with his concert activity shall be a good teacher ...

For me these are two different but interactive expressions of my being a musician. I think that my live activity is a stimulus and not a barrier to the guitarists who work with me in Bern, as well as the energy of my students is for me as nourishment to play better in concert. In Berne I have the Guitar class by I teach also Interpretation of Contemporary Music, in addition to groups of chamber music and special projects in collaboration with the departments of Electronics, Theater, VideoLab. This allows guitarists to meet and work alongside other musicians, actors, composers and learn through this contact to live music not as a reason for isolation, but as a means of communication with other artists and the public. What I am saying may seem obvious to those who do not attend the world of classical guitar, but has a foundation, because in the guitar world, unfortunately, the isolation sometimes has stopped very promising talents who, not nourished by the continuous dialogue with other musicians, have ended up not believing in what they're doing. The first one who warned me about this danger was Ruggero Chiesa, who had repeatedly witnessed with sadness to this strange form of "aging" as he called it, that get the classical guitarist. I try to help everyone to discover his own direction, to understand the reason of this strong destre to be become a musician and how it can be achieved through the choice of repertoire and contacts with the world of music. When a student is clearly manifested in its motivation he show a boost and an extraordinary energy, he acquires the ability to study long hours to give a concrete shape to his own personal aspirations.

Outside contemporary and classical music do you listens to any other music genres?

I Listen to everything from jazz, that I like very much, to many borderline music expressions, like blues, ethnic music, records that arrive at home bought by friends moving around the world, from Japan to Chile. In this period I’m listening *, in particular, Chet Baker and Bill Evans and Sigur Ros. I often listen to Astor Piazzolla to better understand his so particular phrasing, and I play with chamber groups in Bern. I really like the traditional Indian music and Federico Sanesi, a tabla percussionist expert with whom we recently played at the Comunale di Bologna, sometimes he helps me to understand the extraordinary artists of that world. Right now I'm listening to the latest cd from Paul Beier dedicated to Francesco da Milano and Perino Fiorentino, which Paul gave me just this morning while we were talking about our recent concerts.

Thank you Elena

giovedì 14 novembre 2013

Masterclass di Tom Pauwels a Venezia



Martedì prossimo - 19.11.2013 dalle 10,30 alle 13 ca - al Conservatorio Benedetto Marcello si terrà un workshop sulla chitarra elettrica nel repertorio contemporaneo. Come sappiamo questo strumento è oramai largamente utilizzato dai compositori - vd. ad es. l'ottimo database http://www.sheerpluck.de/.
Grazie alla collaborazione con l'ensemble "L'Arsenale", avremo con noi Tom Pauwels, un chitarrista sia classico che elettrico, membro dell'Ictus ensemble (http://www.ictus.be/). Tom ci parlerà di questo strumento e del suo repertorio. 
L'ingresso è libero sino ad esaurimento posti; un motivo in più per curiosare in questo mondo.

Tom Pauwels si esibirà poi la sera stessa a Treviso ore 20:45 CHIESA DI SAN GREGORIO
musiche di H. Oehring, J. M. Sanchez Verdu,
P. Ablinger, F. Romitelli

Interview with Elena Càsoli by Empedocle70 - second part



I must confess that I’m very intrigued about your Panormo guitar that you have played in Chances for Changes for the tracks of Riley. I remember an interview with Uto Ughi where he spoke about his Stradivari considering himself like the last "guardian" of the instrument beyond the time and the simple concept of bare property, would you please tell us something about this guitar? His story, how it came into your hands ...

Meeting such a guitar has been such a lucky experience. Lucio Antonio Carbone, a maker of great experience working in his laboratory in Milan, has found this Panormo during a trip to England. As always not all the Panormo guitars yet in circulation are the same and equal value, even for the damage of time. I have tried it before restoration, and I have heard that it had that sound and particular sustain. Despite of the years, it was a very lively instrument, with a warm voice, ready to vibrate just calling. During the restoration, with the replacement of chains and other operations, it has been reported to an ideal balance and it was in England, in Manchester and Liverpool, which this guitar came back again playing for the first time in public in my hands.

I was very impressed by the disc devoted to the music by Henze, the result of your collaboration with Jürgen Ruck, a collaboration that continues from 1990. Would you please tell us something about and maybe tell us any new musical development about?

Over the years I have had the great fortune of playing with many musicians of great value. I met Jürgen at Ferienkursen für Neue Musik in Darmstadt in 1988, I had met him before during the experience of the summer masterclass of Oscar Ghiglia, and there we discovered a common passion for New Music. So we starter with the idea to create a duo dedicated mainly to this repertoire, commissioning and running premiered works by composers with whom we were in contact. We then also found alongside playing contemporary works which included two guitars in their orchestral, with the Chamber Orchestra of Europe, the Berlin Philharmonic and the Deutsche Symphonie Orchester. We had great experiences with great conductors such as * Heinz Holliger, Kent Nagano and Claudio Abbado, who along with concerts in duo have helped to make our partnership deeper and lasting. Playing together is a great pleasure, even if some works we have commissioned have give us a tough test for the commitment and the difficulty, like the pieces of Klaus Ospald and Claus-Steffen Mahnkopf. One of the most significant periods of our work together was the realization of Memorias de El Cimarron and some arias from opera The English Cat that became Minette for two guitars, as an invitation and a collaboration between Hans Werner Henze. The result was a CD that has won in Berlin, the Echo Klassik Preis 2000, and numerous concerts in which these new works for two guitars were heard, and now are in the repertoire of other guitar duos. We already have dates for 2009 and even though the distance between Milan and Monaco does not facilitate the meetings, the commonality of purpose and direction always keep us in close contact.

Cage, Carter, Riley, Reich .... What would be the next composer who crosses your path on music? Maybe ... Zappa?

As you know I love Frank Zappa’s music a lot and I played pieces from The Yellow Shark with the Ensemble Modern and the Divertimento Ensemble. I remember Zappa live in Frankfurt, during rehearsals with the Ensemble Modern while the various tracks of The Yellow Shark were taking shape, it was a great thrill to be there just to attend that event! After his death, I attended some evening dedicated to him, with works written for my electric guitar in his honour, like Early Reflection by Giorgio Magnanensi, an Italian composer active for many years on the music scene of Vancouver. I don’t know if there will be the possibility to do more about Zappa ... but there are other interesting American composers, some of them seem to follow the direction he has drawn. Sidney Corbett, who lives in Germany, Scott Johnson, whom we have played the world premiere Americans, a very interesting work, where the electric guitar has a very important role, with Sentieri Selvaggi last year, Tim Brady, a Canadian composer , an excellent electric guitar player himself, which I would like to suggest listening Playing Guitar: Symphony No. 1. And then let me remind Eve Beglarian and David Lang, that my students and former students at the University of Bern have already played in their diplomas and that I hope soon to play in concert. I think I would like to play Guitar Phase by Steve Reich and continue my work about Cage. Like John Cage suggested in his writings, lI keep my mind in alert, or at least I try to do it!

It seems that there is around the world a small musical scene of classical guitarists dedicated to an innovative and contemporary repertoire, people like you and for example Marco Cappelli and David Tanenbaum, David Starobin, Marc Ribot who played The book of Head by John Zorn ... shall we speak about a specific musical scene? Are there other guitarists you know and that you may suggest us that they “move on these musical routes”?



I think we can speak about a genuine community of guitarists of the international level that are interested in playing and encouraging a new repertoire for this instrument in its various forms. A repertoire that belongs to a great flow of music research, which we define as we say before “New Music”, which keeps in close contact the guitar with the rest of an active and important musical world. We work al lot, devoting countless hours to new scores for solo instrument or incorporated into ensembles, we keep in touch by email, we sends new cds between us to spread the knowledge of these pieces just written, there is very little competition and lots of understanding and cooperation. The names you mentioned are certainly part of this community and I think I can add, asking pardon for those who I may forget or whom I don’t know yet, Geoffrey Morris in Australia, Norio Sato in Japan, Jürgen Ruck and Seth Josel in Germany, Pablo Gomez in Mexico City, Pablo Marquez in France and Magnus Andersson in Sweden.

to be continued