(Actual reviews not yet available.)
Jan Freidlin was born in Chita in southern Siberia. Graduated in 1971 from the Odessa Conservatory with a degree in composition. In 1973, Jan Freidlin began teaching composition at the famous Stoliarsky Musical School in Odessa. At the present time, the composer is a professor of composition at the University of Tel-Aviv in Israel to where he immigrated in 1990. Among his compositions are three symphonies (1973, 1984, 1986), the ballet Guernica, a double concerto for flute, piano and strings (1974), several works for chamber orchestra, two string quartets and other chamber music works, several large scale compositions for piano and many vocal works.
A word by the composer:
This new edition represents the continuing researches of the editor, and the introductory notes tell a fascinating tale of musicological detective work (and some serendipitous fortune). You will enjoy reading the story. Every effort here has been made to find the original intent of the composer, peeling back successive layers of alterations to the manuscripts. To the casual glance, there are few differences from the prior publication, but closer scrutiny shows numerous differences in detail (both text and fingering). Some of the changes resolve questions I had regarding the earlier edition, but I believe there are still a few missing accidentals. The fingerings given shed valuable light on the instrumental and musical concepts of the composer, and are quite workable; nevertheless, they may not always be the very best choices for a particular modern performer . . .
If you have not heard or played these beautiful pieces, by all means buy a copy. If you are serious about playing them, you might want to compare the two editions carefully; they both offer useful information, fingerings and interpretive ideas on the music. David Grimes, Soundboard. Return to Catalog.
As one would expect, the manuscript contains items which are duplicated in other more established sources, but not that many. Of the 48 items presented here, only five appear in the Dresden source. And even these contain some notable variants. The otherwise familiar Allegro from Le Fameoux Corsaire contains a splendid example of what Crawford describes as the Ukrainian augmented second a subtle touch of Easternisation which is absent from the Dresden and London versions. Elsewhere, there is much to discover. The Presto in B flat major is a veritable Weiss blockbuster . . . The same is true of the wonderfully fluid D major Courante which, like the Presto, has some how become permanently separated from its stablemates. There are even some jewels to be found amongst the bogus compositions wrongly attributed to Weiss. The Haydnesque Menuet, for example, is a charming specimen of what lutenists must have been playing immediately before their instrument went into two centuries of hibernation.
Finally, a word of recognition for Alan Rinehart, who has made an excellent job of the guitar arrangements contained in the supplementary volume. No guitarist could ever hope to replicate the unique voice of the baroque lute, but Rinehart has successfully captured the essence of this most aristocratic of fretted instruments. The intricate campanella fingerings add several grades to the technical requirement, but its well worth the man-hours needed to puzzle them out. A ground-breaking publication which no serious guitarist or lutenist should be without. Paul Fowles, Classical Guitar. Return to Catalog.
I am also very favorably impressed with Jonas Tamulionis Eleven Preludes. These are generally quite short, but have a cumulative effect, and would work well when perfommed as a set. The writing is extremely idiomatic, and sound is much richer than one would expect from the sparseness of the score. A few special effects are nicely integrated into the texture. Koshkins suite, The Elves, is, of course, playful, pert, and saucy. The five movements are: Gavotte, Valse, March, Melody, and Galop. Each piece is fresh and original, and a bright performance of the suite would charm and delight any audience. There is much more excellent music here, and any moderately advarded player will find plenty of new program material. David Grimes, Soundboard.
As one would expect, the manuscript contains items which are duplicated in other more established sources, but not that many. Of the 48 items presented here, only five appear in the Dresden source. And even these contain some notable variants. The otherwise familiar Allegro from Le Fameoux Corsaire contains a splendid example of what Crawford describes as the Ukrainian augmented second a subtle touch of Easternisation which is absent from the Dresden and London versions. Elsewhere, there is much to discover. The Presto in B flat major is a veritable Weiss blockbuster . . . The same is true of the wonderfully fluid D major Courante which, like the Presto, has some how become permanently separated from its stablemates. There are even some jewels to be found amongst the bogus compositions wrongly attributed to Weiss. The Haydnesque Menuet, for example, is a charming specimen of what lutenists must have been playing immediately before their instrument went into two centuries of hibernation . . . Paul Fowles, Classical Guitar. Return to Catalog.
Every now and again, someone in the music publishing world decides to quit catering to the lowest common denominator of the general public and releases a really worthile book. This is certainly the case with a recent edition . . . of The Complete Richard Pick School of Guitar.
Richard Pick is a sort of mythical figure in the American guitar world. Hes based in Chicago, and in the 50s and 60s published a fine series of beginning tutorials and repertoire pieces with Forster Publications. Most of these are out of print now, but theyre well worth a search. Anyway, Pick has been working on this current method for about half a century, and has really distilled a lot of the myriad data thas contained in so many other methods into its purest and most important essences.; . . .
Picks basic thesis is that guitarists need to learn to put the music first, and realize that their guitar is merely a tool to accomplish this goal. Too many students, even at college level and beyond (and including some teachers!), get this concept bassackwards and think that just because some-thing is played on the guitar it is automatically wonderful. Sorry: junk is junk, and nowadays bad music shouldnt be any more acceptable than bad food or a bad check.
There is of course a vast world of difference, another galactic plane even, between simple music played well and with feeling, versus more difficult music thoughtlessly hacked apart. This concept likewise confuses some people, who seem to think that criticism of the latter implies de facto contempt for the former.
But I digress.
Picks idea of begin at the beginning is highly practical, but perhaps a little misleading. The School of Guitar is not designed for novice players, and assumes a basic knowledge of the fretboard and of standard notational conventions. But you dont need to be a virtuoso, either. I also want to stress that it is equally adaptable for steel string fingerstyle playing as well as to traditional classical approaches. The aforementioned Book I is a concise analysis of the functions of the right and leff hands, and ends with three pages of the most practical and challenging left-hand warmups Ive ever encountered. Book II offers scales, block chords, and arpeggio exercise in all the sharp (#) keys, even unto the remote corners of A# minor(!) Book III does the same for the flat (b) keys. book IV is an appendix with a series of chord resolution exercises, a glossary, instructions on reading figured bass, and miscellaneous information. At the very end is a bonus suite not listed in the table of contents. In between all the technical stuff can be found all sorts of Interludes, Preludes, original works and arrangements. One gets the impression that Pick has a deeply ingrained pathological hatred of seeing empty white space anywhere on a page! As I said, this is a magnificent effort, deserving of a historical place alongside the methods of Sor, Aguado, or Foden. There is at least two years of intensive study material in these pages. I personally have been working on it since early February, and can truly say that my playing and reading skills have improved enormously. Run, dont walk, and get a copy right away. And best of luck with page 201! David Norton, Intermountain Acoustic Musician. Return to catalog.
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