Tuesday, January 31, 2012
Monday, January 30, 2012
History. It’s 2007, we are in Cologne, Germany, for the Triennial of Music. The program of the Triennial foresees that six experts of Renaissance music would be compared with the same number of musicians devoted to contemporary music. Piano with clavicembalo, organ with keyboards and synthesizers and so on. Obviously the guitar is placed side by side with the lute.
From these joining the musicians must create some new music that keeps in mind of the characteristics of their tools and their musical formation. For the guitar the champion called in the name of the modernity is Mister Scott Fields, American, guitarist and improviser voted to the free improvisation on the style of people like Derek Bailey or Larry Ochs and Elliott Sharp. For the lute it was called Stephan Rath.
The two musician play, have a good time, create a beautiful agreement, they enjoy themselves so much that their music is recorded by the same Fields and after a couple of year printed on cd for the Neos, record label devoted to the contemporary repertoires.
In the notes that come with the cd Fields quietly speaks of music "composed" for the Triennial, but we don’t know if these music have been printed or are available for other interpreters. I sincerely hope for it, because the musics are beautiful, very intense and almost dreamy in their melancholy and the two musicians play very well. Despite the difference about instrument and cultural background they overcome very well the difficulties and they play indeed with a beautiful and pleasant interplay. Both instruments (guitar and theorbo) can do what they want, playing the walking bass parts, the melodic parts, being dissonant.. and they exchange the roles and the competences without grazing the musical texture or without showing signs of yielding. There are 5 passages, 5 track in the cd the first four conceived as parts of a suite and the last "what we talk" gives the name to the cd and stands alone, the durations are among a minimum of almost 6 minutes to almost 23. Otherwise from other situations that see the improviser exceed with a loss of quality here the music flows serene without fatigues for the listener, the two musicians are good and they know how to weave themselves together.
Beautiful record, to listen for the one who plays in a duo or for the one who are thinking about creating together one with a liutist, in this case this cd would be a good base of departure, Scott Fields has his own website and maybe we should ask him if transcripts of these duets exist.
Saturday, January 28, 2012
Friday, January 27, 2012
Thursday, January 26, 2012
Wednesday, January 25, 2012
Tuesday, January 24, 2012
Monday, January 23, 2012
The subtitle of this cd almost makes me dream: New Music for Guitar Vol 1! First cd therefore of a series of recordings devoted to the new music for contemporary guitar, enough to make me smile for more than one month.
I know Gisbert Watty well, we had interviewed him a couple of years ago it for the Italian Blog Chitarra e Dintorni Nuove Musiche and he had supriesed me for his devotion and his enthusiasm about looking for new roads and new possibilities for his guitar, particularly for a neglected historicall aspect about the classical repertoire: compositions for ensemble in which the guitar appears.
This first entitled volume Venus' Song, from the homonym passage composed by Fabrizio De Rossi Re is composed in fact from passages where the guitar doesn't play alone, but always or together with the flute of Tristaino, the piano played by Sigmund Watty or the clarinet of Marcello Bonacchelli, or it plays accompanied by the electronics as in the sad passage of Andrea Nicoli or in electric version accompanied by the cd as foresees the music by Thomas Reiner, Australian composer that had already in past composed for Gisbert Watty and for the trio altrove 1.3.
Only one the score for soloist guitar Three Dances in the Abstract composed by René Mense.
Six are the composers for this cd. Besides the quoted Reiners, De Rossi Re and Renè Mense also lend their talent Andrea Nicoli and Thomas Bottger. The music here ring belongs more to the music for herself, abstract music, meditative, proper to accompany the silence, to define and to widen the space.
Only exception the passage "fan-fair" by Thomas Reiner where a to pulsating minimal techno worthy of the more experimental Jeff Mills creates a base for the structures produced by the electric guitar of Watty, correct conclusion of an interesting cd indeed. Now we have to wait the next volumes.
I allow me to signal Venus' Song to all the guitarists that desire to go out of the formula of the solo recital and I make my compliments to the Italian independent record label ArsPublica for this beautiful initiative, not the only to mention in their interesting catalog.
Saturday, January 21, 2012
Friday, January 20, 2012
Thursday, January 19, 2012
Wednesday, January 18, 2012
Tuesday, January 17, 2012
Monday, January 16, 2012
Saturday, January 14, 2012
Friday, January 13, 2012
Thursday, January 12, 2012
Wednesday, January 11, 2012
Tuesday, January 10, 2012
Monday, January 9, 2012
Fretless guitar is such a curious instrument. It seems such a simple thing seeing it, but when you feel it under your fingers and you start to think about it you understand that it is not an easy thing. Remove the keys is not a simple aesthetical matter, behind those metal barrettes there is a world, a logic, a tradition and a forma mentis that you can’t find anymore suddenly on a smooth keyboard.
The difference is mental, visual and tactile, disappeared the tonal points of reference we are opened to new possibilities and logic that this record well shows. Till now this guitar has been only appanage of improvisators: who other could begin play on it? As always when it’s necessary to map new territories we sent the explorers who start to draw some summary maps and trace new points of reference, behind of their then will come the professional certifiers and cartographers, but at the moment the available musical materials are the solos and the few improvisations often immortalized by the video available on youtube recorded during the Festival of the Guitar Fretless that is annually held in New York.
Till now few are those people who have begun to play it, I quote the tutelar names of Elliott Sharp for USA and of Simone Massaron in Italy.
This records starts an operation of documentation, inside you will find rigorously all improvisations for fretless guitar and bass and for percussions. The guitar plays curious, the ear has to find its way to orient in a microtonale sea, the music is strong, raw and impassioned, this is a curious, pleasant and stimulating cd.
There is not only music but also some extracted by recordings of lectures on fretless guitar that with a lot of humor and so much passion talk of the characteristics of this guitar and invoke loud much more interest from the composers and a news notation’s system created for the characteristics of this instrument.
I recommend it to everybody: opening our mental horizons is always a good thing!