Ruben Mattia Santorsa in Concerto, Napoli 4 dicembre

MASTER-CLASS col chitarrista LUCIO MATARAZZO / Bari, 5-6-7 Dic. 2015

CONCERTO E MASTER - CLASS(corsi di perfezionamento chitarristico)
col chitarrista 
LUCIO MATARAZZO

Bari,  5 - 6 - 7  Dicembre  2015

 

   

 

 

--- Per la prima volta assoluta a Bari! ---

Master-Class :  6 - 7  Dicembre 2015 
Corso di perfezionamento chitarristico
per solisti, ensemble, formazioni da camera,
effettivi e/o uditori
 

Per Informazioni :Associazione Culturale e Musicale De Falla - Bari
Tel: 347.60.52.769  ;  Fax: 080.099.99.10

Concerto : Sabato 5 Dicembre 2015  ore 20.30 Presso Nicolaus Hotel & Events - BARI

Orchestra di Chitarre De Falla , direttore Pasquale Scarola

solista Lucio Matarazzo

in " SPAGNA E SUD AMERICA"

Per altre info CLICCA QUI:

http://www.orchestradichitarredefalla.it/index.asp?page=34

La musica di Sir Richard Bishop

Tangier Session è l’ultimo disco in solo realizzato da Sir Richard Bishop, chitarrista, improvvisatore, compositore statunitense, membro fondatore del gruppo Sun City Girls. L’ascolto di questa sua ultima, ottima, fatica discografica uscita per l’etichetta indipendente Drag City, rappresenta l’occasione per fare due chiacchiere sulla sua musica e sul suo stile chitarristico, riascoltando un paio di altri suoi lavori del passato.

Cominciamo con Improvika, cd uscito nel 2004 per la Locust Music, il suo secondo lavoro dopo Salvator Dalì, prodotto nel 1998 per la Revanant Records di John Fahey. Questo disco si compone di nove brani interamente strumentali (Bishop non canta mai), nove brani basati sull’improvvisazione, elemento strettamente caratterizzante lo stile del nostro chitarrista. Improvika definisce già lo stile del nostro uomo: improvvisazioni estremamente curate basate su strutture modali che attingono pienamente al blues afroamericano, alla musica indiana e a quella araba. Sono evidenti le origini libanesi di Bishop e l’uso estensivo di accordature aperte. E’ un bel disco che segnala al mondo la presenza di un nuovo chitarrista caratterizzato da uno stile molto personale e unico, che allo stesso tempo, si inserisce pienamente nella tradizione di Basho e di Fahey.

While My Guitar Violently Bleeds esce nel 2007 per la Locust , ed ha un carattere decisamente diverso da Improvika, sono tre brani dalla struttura più estesa per chitarra elettrica e acustica caratterizzati non solo dalle improvvisazioni modali ma anche da loop, drones e noises vari. E’ un salto di qualità verso una musicalità più contemporanea e di avanguardia che tuttavia ben si integra con i precedenti ascolti: la chitarra di Bishop non solo sanguina violentemente, ma anche ringhia e digrigna i denti scorrendo su corde affilate, non è un disco semplice, la sperimentazione qui si fa più audace e l’atonalità è una costante.

E arriviamo all’ultima fatica: Tangier Session, uscito quest’anno per la Drag City. Le sonorità qui sono più vicine a quelle di Improvika, ma sono più mature, sono passati più di dieci anni e i due dischi testimoniano i notevoli progressi fatti da Bishop nell’arricchire il proprio vocabolario e lessico musicale.

Allo stesso tempo questo disco è anche qualcosa di più: è una sorta di storia d’amore tra un uomo e il suo strumento, tra un musicista e la sua chitarra. Qualcosa che si pone tra un racconto di X File e l’Amarcord di Fellini. Nel corso delle sue peregrinazioni attraverso il mondo, a Genova, porto di mare italiano, Bishop scova questa chitarra, uno strumento sicuramente vintage in un piccolo negozio perso nei caruggi della città, se ne innamora, la compra e la porta con se fino a Tangeri, in Marocco, dove nella tranquilla solitudine di una casa locale riesce a trovare la quiete, la concentrazione e la giusta ispirazione per creare le musiche che registrerà, così, di getto con una rudimentale strumentazione per questo nuovo album. Dalle dita e dal plettro di Bishop esce un suono caldo e allo stesso puro, pulito, nitido e così bello all’ascolto, dall’incontro con questo strumento di cui si sa solo che ha circa un secolo di vita alle spalle e che era stata venduta da un distributore della Georgia, tale C. Bruno & Sons, nascono brani che sono il risultato di continue ibridazioni tra musica del medio oriente, flamenco, musica gitana, folk americano, musica classica, jazz e quant’altro possa riuscire a esprimere la creatività di Sir Richard Bishop. Per lui, mescolare stili e perseguire esperienze musicali non comuni o fuori da “normali” percorsi turistici terzomondisti è diventato un vero e proprio stile di vita. E' stato socio fondatore dei Sun City Girls, un trio che saputo scolpire un vero e proprio percorso attraverso la scena internazionale creando una improvvisazione ai confini tra rock, jazz, world, punk e musica sperimentale in una forma onnicomprensiva catturata da 50 album, cassette e video di concerti per oltre 26 anni, a partire dal 1979. Condendo le loro leggendarie performance con continui riferimenti al misticismo, alla religione, agli UFO, al ritualismo e al teatro Kabuki ... riflettendo la loro disinibita gamma musicale.

Personalmente ritengo che con Tangier Session Bishop sia riuscito ad alzare ancora un po’ più in su il livello qualitativo delle sue incisioni discografiche riuscendo a raggiungere e a eguagliare l’altra intensità e quello “stream of consciousness” creativo che riesce sempre a sprigionare nei suoi concerti. Uno dei migliori dischi del 2015.

Sir Richard Bishop - The Rotunda, Philadelphia 4/12/2015 on Blog Chitarra e Dintorni

Richard Bishop is an American composer, guitarist and singer best known for his work with the Sun City Girls. He styles himself Sir Richard Bishop.

Una Serata con Mr. Bream - An Evening with Mr. Bream: Dances of Dowland

Download Podcast

25 novembre 2015: Dances of Dowland

Ancora Dowland, ancora il liuto. Bream continua a alternarsi tra musica contemporanea e musica rinascimentale-barocca. I sedici brani che fanno parte di questo disco sono tutti pezzi del grande virtuoso rinascimentale inglese, tutti piccoli capolavori ormai entrati di diritto nella storia della grande musica.

November 25, 2015: Dances of Dowland

Even Dowland, still the lute. Bream continues to alternate between contemporary and Renaissance-Baroque music. The sixteen songs played in this record are all pieces by the great virtuoso English Renaissance, all small masterpieces now entered by law in the history of great music.

Radio Podcast

02/09/2015: The Art of Julian Bream

09/09/2015: Guitar Concertos 

16/09/2015: The Golden Age of English Lute Music

23/09/2015: An Evening of Elizabethan Music

30/09/2015: Popular Classic for Spanish Guitar

07/10/2015: Rodrigo, Britten, Vivaldi

14/10/2015: Music for Voice and Guitar (Julian Bream & Peter Pears)

21/10/2015: Julian Bream in Concert
28/10/2015: Baroque Guitar
04/11/2015: Bach Lute Suites Nos. 1 and 2

11/11/2015:  Lute Music from the Royal Courts of Europe
18/11/2015: 20Th Century Music

Sir Richard Bishop Live in Italy Tarcento Villa Moretti 10 05 2014 on Blog Chitarra e Dintorni

Richard Bishop is an American composer, guitarist and singer best known for his work with the Sun City Girls. He styles himself Sir Richard Bishop.

The music of Sir Richard Bishop

Tangier Session is the last SOLO record realized by Sir Richard Bishop, American guitarist, improviser, composer, founding member of the band Sun City Girls. Listening to his latest, excellent, recording effort produced by the indie label Drag City, it’s the opportunity to talk about his music and his guitar style, listening again to a couple of his older records.

Let's start with Improvika, cd released in 2004 for the Locust Music, his second job after Salvador Dali, produced in 1998 for the Revanant Records of John Fahey. This record consists of nine songs entirely instrumental (Bishop never sings), nine songs based on improvisation, element closely characterizing the style of our guitarist. Improvika already defines the style of our man: extremely smart improvisations based on modal structures that fully draw on the African American blues, Indian and the Arabian music. We are read in this record Bishop’s Lebanese origin and the extensive use of open tunings. It 'a good record that indicates to the world the presence of a new guitarist characterized by a very personal and unique style but, at the same time, fully embedded in the tradition of Basho and Fahey.

 While My Guitar Violently Bleeds is realized in 2007 for Locust, and has a character very different from Improvika, here we have three songs from the largest structure for electric and acoustic guitar characterized not only by the modal improvisations but also by loops, drones and various noises. It's a quantum leap towards a more contemporary and avant-garde style that, however well integrated with previous plays: his guitar not only bleeds violently, but also snarls and gnashes his teeth sliding on sharp ropes, not an easy record: experimentation here becomes more daring and atonality is a constant.

And then we get the last effort: Tangier Session, released this year by Drag City. The sounds here are closer to Improvika, but they are more mature, it's been more than ten years and these two albums testify to the significant progress made by Bishop in enriching his vocabulary and musical lexicon.

At the same time this record is also something more: it is a kind of love story between a man and his instrument, between a musician and his guitar. Something that arises between an X-File story and Amarcord movie by Fellini. In the course of his wanderings through the world, in Genoa, Italian seaport, Bishop found this guitar, an instrument definitely vintage in a small shop lost in the small streets of this city, he falled in love with her, he bought it and carried with him up to Tangier in Morocco, where in the quiet solitude of a local house he could find peace, concentration and inspiration to create the music that he recorded, casting rudimentary instruments, for this new album. From the fingers and plectrum Bishop gets a warm and the same time pure sound, clean, clear and so beautiful to listen, by the encounter with this instrument, that we only know that was made nearly a century ago and had been sold by a distributor of Georgia, such C. Brown & Sons, he creates songs that are the result of his continuous hybridization between music of the Middle East, flamenco, gypsy music, American folk, classical, jazz, etc. For him, to mix uncommon styles and musical backgrounds pursued outside "normal" tourist routes has become a real lifestyle. He was a founding member of the Sun City Girls, a trio that managed to carve a real journey through the world stage by creating, through improvisation, a continuous border between rock, jazz, world, punk and experimental music in a form encompassing captured 50 albums, cassettes and videos of concerts for over 26 years, starting in 1979. Mixing their legendary performance with constant references to mysticism, religion, UFOs, ritualism and the Kabuki theater ... reflecting their uninhibited musical range.

I personally think that with Tangier Session Bishop was able to raise a little more the quality of his recordings, reaching and matching the high intensity and the creative "stream of consciousness" that he always managed to give off in his concerts . One of the best albums of 2015.

Flauto e Chitarra a Rebus (Antonella Bini e Silvia Cignoli)

Una Serata con Mr. Bream - An Evening with Mr. Bream: 20Th Century Music

Download Podcast

18 novembre 2015: 20Th Century Music

20Th Century Music è forse il disco più importante della imponente produzione discografica di questo grande chitarrista, prodotto anch'esso nel 1966, mantiene a distanza di quasi 50 anni ancora intatto tutto il suo fascino e la sua modernità. Le musiche di Reginald Smith Brindle, Benjamin Britten, Frank Martin, Hans Werner Heinze e Heitor Villa-Lobos qui registrate hanno saputo superare la prova del tempo per diventare pilastri del repertorio chitarristico moderno.

November 18, 2015: 20th Century Music

20th Century Music is perhaps the most important record of impressive discography of this great guitarist, also produced in 1966, it maintains after nearly 50 years intact all its charm and its modernity. Music by Reginald Smith Brindle, Benjamin Britten, Frank Martin, Hans Werner Heinze and Heitor Villa-Lobos recorded here have been able to stand the test of time to become the pillars of the modern guitar repertoire.

Radio Podcast

02/09/2015: The Art of Julian Bream

09/09/2015: Guitar Concertos 

16/09/2015: The Golden Age of English Lute Music

23/09/2015: An Evening of Elizabethan Music

30/09/2015: Popular Classic for Spanish Guitar

07/10/2015: Rodrigo, Britten, Vivaldi

14/10/2015: Music for Voice and Guitar (Julian Bream & Peter Pears)

21/10/2015: Julian Bream in Concert
28/10/2015: Baroque Guitar
04/11/2015: Bach Lute Suites Nos. 1 and 2

11/11/2015:  Lute Music from the Royal Courts of Europe

MusicaFoscari / San Servolo Jazz Fest - Venezia

http://www.unive.it/nqcontent.cfm?a_id=162184

Una Serata con Mr. Bream - An Evening with Mr. Bream: Lute Music from the Royal Courts of Europe

Download Podcast
8 Novembre 2015: Lute Music from the Royal Courts of Europe

Julian Bream inaugura il 1966 con un nuovo disco di musiche per liuto. La sua ricerca all'interno delle biblioteca di tutta Europa porta alla luce un nuovo interessante repertorio, questa volta basato sulle musiche per le reali corti europee: lo ascolteremo eseguire musiche di Simone Molinaro, Peter Phillips, John Dowland, Alonso Mudarra, Wojciech Dlugoraj, Hans Neusidler.....e molti altri

8 November 2015: Lute Music from the Royal Courts of Europe

Julian Bream inaugurates 1966 with a new album of music for lute. His research within the library across Europe brings to light a new and interesting repertoire, this time based on the music for the royal courts of Europe: we will listen to him performing music by Simone Molinaro, Peter Phillips, John Dowland, Alonso Mudarra, Wojciech Dlugoraj, Hans Neusidler ..... and many more

Radio Podcast

02/09/2015: The Art of Julian Bream

09/09/2015: Guitar Concertos 

16/09/2015: The Golden Age of English Lute Music

23/09/2015: An Evening of Elizabethan Music

30/09/2015: Popular Classic for Spanish Guitar

07/10/2015: Rodrigo, Britten, Vivaldi

14/10/2015: Music for Voice and Guitar (Julian Bream & Peter Pears)

21/10/2015: Julian Bream in Concert
28/10/2015: Baroque Guitar
04/11/2015: Bach Lute Suites Nos. 1 and 2

Percorsi Musicali: Gisbert Watty e la new music for classical guitar di Ettore Garzia

Vi segnalo l'ottimo post di Ettore Garzia "Gisbert Watty e la new music for classical guitar" dedicato alla chitarra di Gisbert Watty! Sul suo Blog Percorsi Musicali!

http://ettoregarzia.blogspot.it/2015/11/gisbert-watty-e-la-new-music-for.html

Interview with Paul Bowman by Andrea Aguzzi, third part (made in genuary 2011)

Interview with Paul Bowman, first part
Interview with Paul Bowman, second part

I have, sometimes, the feeling that in our times music’s history flows without a particular interest in its chronological course, in our discoteque before and after, past and future become interchangeable elements, shall this be a risk of a uniform vision for an interpreter and a composer? The risk of a musical "globalization"?

I have no idea what trends are prevalent in today’s new music scene. There was, according to musicologist Joseph Strauss, the illusion that serial music dominated the academic scene in the U.S. in the 1950’s and 1960’s. However, the majority of composers at that time were writing tonal music. So now with the infusion of rock and rap, I guess it’s anything goes. So how can one with authority discount this new style, except if you’re an established composer from an earlier time/style who can see the folly in it. But composers now have it really difficult to find a way to distinguish themselves and make a big name for themselves. It’s sort of like in Germany with the opera art form being dominated by “Regietheater” - directors taking enormous liberties with an opera story plot to fit their vision, which is often at odds with audiences.

Let’s talk about marketing. How much do you think it’s important for a modern musician? I mean: how much is crucial to be good promoters of themselves and their works in music today?

Though improvisers may have more performing opportunities in clubs and other “non traditional” concert spaces - and someone can make a career playing the electric guitar with this type of music - the new-music classical guitarist has to be creative in finding performing opportunities. The guitar societies unfortunately have a museum mind-set. So do the guitar festivals. And most other instrumentalist’s still don’t think the guitar is a serious enough instrument. So I rely on contacts with composers and institutions for my performing concerts. There are some managers/agents, but most of the real legwork is done by the artist.

What do you think about the discographic market crisis, with the transition to digital downloading in mp3 and all this new scenario?

It’s human nature to download things illegally, just like it is human nature to have university students plagiarize their papers and research - items they find on the web all because of the availability that the internet affords. This has unfortunately tainted research so that no real research happens. It used to be also that the waiting for a recording to come into a store would heighten ones expectations and one would value that recording more.

Please tell us five essential records, to have always with you .. the classic five discs for the desert island ...

“400 Years of Classical Guitar” by Arlirio Diaz; any of Segovia’s recordings from the 1920’s and 30’s; “Selling England by the Pound” by Genesis; “Tales from Topographic Oceans” by Yes; my 12 C.D. box set.


What are your five favorite scores?

Le Marteau sans Maître by Pierre Boulez, Piano Preludes by G. Ligeti; Kurz Schatten II by Brian Ferneyhough; Changes by Elliott Carter and Sequenza XI per chitarra sola by Luciano Berio.

With who would you like to play? What kind of music do you listen to usually?

I would like to play with the JACK String Quartet – I think these young guys are tremendous in what they are doing for New Music. I think as long as Boulez is conducting, it would be a great experience to work with Ensemble Intercontemporain, as well as collaborate with the composers at IRCAM. As far as what music I hear, it’s very difficult for me to just engage in “casual” listening. I enjoy the silence of nature from where I live! I also had one of the most profound experiences in silence while performing in the premiere concert of the new Conrad Prebys Concert Hall at U.C. San Diego. The acoustician was Dr. Cyril Harris.

Your next projects? When we will see you playing in Italy?

As I mentioned, I am performing with flutist Harvey Sollberger in February. After that, I will be working on a solo program of transcriptions. Specifically, there is an excellent transcription of Brahms’ Hungarian Folk Dances, as well as transcriptions of Janacek piano pieces. An interesting piece to look at is the fugue from Haydn’s Creation. I would like to learn all the music really well and record this program by the end of this year (2011). In the meantime, living here on many acres in the rural mountains of western North Carolina, I will be a gentleman farmer for at least a year or two – do my projects, as well as to write and defend my dissertation. I would love to have my box set published. There are separate pieces that are published on different labels. However, every one knows it is enormously difficult these days to publish a C.D. project. On my website, one can listen to some great pieces - (www.paul-classicalguitarist.com). As far as teaching, I would be happy to be a guitar professor nearby and not have to move from my pristine, idyllic location! As for Italy, Mr. Tallini mentioned about inviting me to perform at a guitar festival in Rome that he was organizing, but I never heard back from him. I would like to return to Italy, as the musical life is wondrous!

A last question …. the Blog is read by several students .. any good advices to give them?

Find your voice and follow through with your convictions.

This is really the last question .. which is more a reflection: Luigi Nono said "Other thoughts, other noises, other sounds, other ideas. When we listen to, we often try to find ourselves in others. To find our mechanisms, system, rationalism, in the other. And this is a quite conservative violence. "... Now .. does experimentation free ourselves from the burden of having to remember?

Absolutely.

Thank you very much, Paul!

Festival Corde d'Autunno 2015 secondo appuntamento

Share Tweet Forward Appuntamenti del Festival - Centro Asteria piazza Carrara 17.1 Milano     sabato 7 novembre 2015 ore 15:00 Mostra di liuteria  Francesco De Gregorio - Daniele Marrabello - Stefano Moccetti - Fabio Zontini -Angelo Vailati  ore 14:00 - 19:00 Masterclass Massimo Lonardi & Lorenzo Micheli ore 15:00  Incontro sulla nuova musica scritta per chitarra classica  musicisti: Andrea Monarda - Carlo Mattiuzzo musiche di: Claudio Ambrosini, Giorgio Gaslini, Terry Riley, Alessando Solbiati e Giorgio Colombo Taccani.   domenica 8 novembre 2015    ore 15:00 Mostra di liuteria  Francesco De Gregorio - Daniele Marrabello - Stefano Moccetti - Fabio Zontini -Angelo Vailati  ore 17:10 prova comparata degli strumenti esposti ore 18:00 Concerto duo Massimo Lonardi & Lorenzo Micheli clicca per il programma domenica 13 dicembre 2015   Concerto partecipanti Master Musica da Camera   Quartetto di chitarre Luca Battioni, Thomas Ettorre, Gianluigi Ubezio, Mirko Regazzoni Duo Italiano Silvia Bontempi (violino) Stefano Sanzogni (chitarra) Duo Colona-Ricci Lydia Colona (clarinetto) Tommaso Ricci (chitarra)

Recital e Masterclass David Russell, Lucia Pizzutel, Antonio Rugolo, Vincenzo Zecca

21,  22, 23 Novembre Sede Associazione “Corde… Vibranti”  

MASTER CLASS con DAVID RUSSELL

dal 20 al 23 Novembre  Sede Associazione “Corde… Vibranti”

MASTER CLASSES con LUCIA PIZZUTEL, ANTONIO RUGOLO, VINCENZO ZECCA

 Sabato 21 Novembre  ore 10.30/12.30 Palazzo Pantaleo

CONFERENZA con MIMMO PERUFFO

Le corde per chitarra dal tempo di Mozart ai nostri giorni: storia di un'avventura tecnologica                                                                                                                                                                                                           

dal 20 al 23 Novembre  Sede Associazione “Corde… Vibranti”

LABORATORIO di MUSICA D’INSIEME con LUCIA PIZZUTEL

Il corso prevede 4 giorni di lezioni in ensemble di chitarre ed il concerto finale.    

23 Novembre  ore 19.30 Palazzo Pantaleo

CONCERTO Ensemble di chitarre e Alunni Solisti