Nuages (Mts) by Roland DyensI wrote the score for this piece in 1989. I had a dream one night in which I played a solo part for a classical guitar with a solo guitar part, and this was the piece that was born. I have always been interested in the effect of the texture of the concertina and the effect of the atmosphere of the smaller instrument on the larger one. For me, the most beautiful combination of these two instruments is the guitar, but the concertina is a very pretty one. I have often been asked why I do not compose concertos for these two instruments. But I would like to say that I wanted to play this part for a solo guitar and a solo concertina, and that my interest in the two instruments is not the same as that of the soloist. I am more interested in the atmospheric effects of these instruments, and their place in the sound spectrum. I would be very disappointed if I did not play with all my heart these beautiful instruments that are now, alas, almost extinct. For me, these instruments are like the two-stringed lyre of Ugarit. I do not play on a concertina the way I play on a guitar. I use a special technique when playing on a concertina, and this is why it is so important to me that the instrument be played with passion. Roland Dyens
I wrote Alba Nera in the year 1980. I immediately chose the name (Italian for black), because it was this colour of my soul. For me, the idea of a work for guitar and orchestra, with the orchestral palette and the musical phrases on which I based the work, came to me at once, just as the idea of a piece for two guitars, with a guitar and a solo guitar, and the guitar and a piano.In many ways I wanted to express the idea of an orchestral score to which one adds a guitar solo. The first version of the orchestral score was completed by mid-1980. But for some years, I could not find a solo part for the guitar, and every time I thought that it was done, I was disappointed.
The first concerto for guitar and orchestra, in three movements, was composed in April 1990. It’s dedicated to the late Ida Presti, a remarkable virtuoso of Spanish guitar whose career spanned more than half a century. Ida, with her magnificent style, was a true model of the guitarist, and an inspiration for all young guitarists. This concerto is marked by its beautiful variety, which permeates the whole and is clearly expressed through the word “mtis” (a mixture of races).
Le Caprice Brûlé by Gabriel Bianco (1975-2018)Gabriel Bianco was one of the most admired young guitarists in France. He was a virtuoso, as his performances in the world premiere of Concerto Mtis attest. The fervor of his playing, his expressiveness and his choice of repertoire exemplified the French guitar.
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