Classical Music for Guitar Review
Classical Guitar music of the 18th Century Masters with: Karl Wolff - Guitar, Stephen Aron - Guitar, Laura Campbell - Flute, Solo Guitar - Two Guitars - Guitar and Flute, The Fantasia in C minor, K 475, by Wolfgang Amadeus Mozart dates from 1785. This grand composition is remarkable for its exceptional variety of rapidly changing moods, daring modulations, and pianistic stylization. I first transcribed this work for two guitars so that one guitarist played Mozart's left hand and the other guitarist played his right . This seemed the best way to go. It seemed logical enough, but during our first rehearsals for the recording we quickly became aware that a more balanced trading of parts not only made the piece more interesting to play, it also added subtle nuance and variety to themes when they were repeated. The opportunity to equally share the rich and varied material over the full range of both guitars was irresistible. Mozart's Fantasia opens with an enigmatic,! lengthy and powerful introduction in a minor key that modulates to a lyrical melodic passage in major with both players alternately taking the melody. The allegro movement that follows opens with boisterous "left hand" octaves for one guitarist and crescendoing dissonances for the other that lead into rapid descending harmonies played by both. The movement modulates freely to an ending with an almost melodramatic chromatic cadenza. The third section, a lyric andantino also trades passages between both instruments, again giving each player the opportunity to shine. The pui allegro section of this movement is yet another dramatic exposé in chromaticism and fast-moving arpeggios, followed by a recapitulation of the opening on an even more mysterious sounding finale that closes this perfectly balanced work. Ludwig van Beethoven The bagatelle in A minor, popularly known as Für Elise is possibly the most frequently played and requested of Beethoven's shorter solo piano works. It isn't surprising that this expressive, intimate and much played composition has been transcribed for solo guitar numerous times, and is popular with classical, flamenco and electric players alike. I simply couldn't resist arranging this piece and found it addictive to play in spite of the numerous times I've heard it. This arrangement requires some re-tuning of the guitar to play it as it was written. Getting inside this piece by playing it, to experience its perfect structure and expressive nature clearly demonstrates why it has become the classic and much loved composition that it is. Mauro Giuliani The Opus 85 Grand Duo Concertant for flute and guitar was published in 1817 by Artaria in Vienna. It is a large work of four movements and about 22 minutes length. This piece has been a frequent favorite on recital programs for flutist Laura Campbell and myself for a number of years. It's grand classical sonata form and style, relevant to the better known Mozart and Beethoven, make it a very good addition to this recording. The final piece on this program is Les Soirees d' Auteuil by Napoleon Coste who was born in the village of Amondans in France on June 27th, 1805. Les Soirees d' Auteuil are the final two pieces in his collection entitled Souvenirs Book II. The lyric Serenade followed by engaging Scherzo, a work originally written for the seven string guitar, represent Coste's departure from the more established style of sonata form prevalent in the classical era to more romantic pieces that in some way represent his impressions of the locale after which they were named. Stephen Aron Stephen Aron has been described by the New York Times as “cultivated and musical” He performs regularly throughout the US and Canada and has recently released a 3-CD set of the complete Chopin Mazurkas in new original arrangements on solo guitar. Other recordings include two for voice and guitar, Shine On Harvest Moon and In My Heart (a collection of sacred hymns) and a solo guitar recital disc entitled Sketches. Aron is Read more...
