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Alexei Alexandrovich Agibalov was born in Tashkent in 1940. He began studying the guitar at a young age, using the methods by Alexander Ivanov-Kramskoi for the six-string guitar and by Vladimir Sazonov for the Russian seven-string guitar. He received his first lessons from a Western guitarist during the 1963 concert tour in Tashkent of the Argentinian guitarist Manuel Lopez Ramos. That experience has convinced him to seek formal musical education, and in the same year, he enrolled in the Gnesin State Musical College in Moscow, working under the tutelage of the well known teacher of the seven-string guitar Lev Menro. He graduated in 1969. Shortly after graduation he was appointed as a professor of guitar and music theory at the Music College in Frunze (today Byshkek, Kyrgyzstan) where he still lives today. During the 1970s-80s, Agibalov concertized extensively in many Soviet cities such as Kharkov, Rostov-on-Don, Moscow, Krasnoyarsk, Volgograd, Ekaterinburg. He recorded two long-playing records for the Soviet record label Melodiya in 1987-87. In addition to being a seven-string virtuoso, Agibalov is one of the very few artists on the territory of the former Soviet Union, searching for new modes of expression for the Russian guitar. He composed a large number of compositions for this instrument including 5 concerti for guitar and orchestra, 3 full scales sonatas, 5 Inventions which explore the polyphonic resources of the instrument, many chamber music pieces, guitar duos and many Etudes. Much of his music is based on Kyrgyz folk themes, evoking the cultural dichotomies faced by Russian artists finding themselves in a Diaspora that was created by the fall of the Soviet Union. Besides his musical activities Alexei Agibalov is also a talented jewelry designer and an artist working in the field of metal hammering, creating interesting bas-relief images based on Kyrgyz imagery, as well as Russian folk tales and religious themes. His jewelry and art is exhibited in many museums world wide. The Sonata was composed in 1988-89 and was revised and updated by the composer for this edition. The fingering offered by the composer is based on the G open tuning of the Russian seven-string guitar which is as follows:
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