56 pp., $19.95, Presser Order number 494-02103 (PWYS-31b)
To view first line incipits for Preludes 13-18 click here.
To view first line incipits for Preludes 19-24 click here.
Gilbert Biberian is one of the most innovative performers and composers working in the field of the classical guitar today. He completed his schooling in Leeds where he also began his musical education with jazz clarinetist Vic Bennett. In 1968 he graduated from Trinity College of Music, continuing his studies with James Patten, Elisabeth Lutyens and Hans Keller, and interpretation with the pianist Antony Kinsella. Following a successful debut in the Wigmore Hall in 1969 he was invited to work with the London Sinfonietta and Pierre Boulez, Luciano Berio, the Nash Ensemble, the BBC Symphony Orchestra as well as many others. In 1980 he left the Omega Guitar Quartet, a group he formed in 1972, to pursue his flourishing solo career. His concerts are greeted with much acclaim for their high artistry and musical energy. Although a prolific composer himself, he has also stimulated much original compositions by various front-rank composers. He is regarded as one of the major composers for the guitar of all time. His compositions have been published in England, Italy, Holland and the U.S.A. He has edited guitar series for J & W Chester and for Peters Edition. His guitar works are being widely performed, broadcast and recorded.
“ . . . I congratulate Matanya Ophee for recognizing its true worth and finally bringing this wealth of material to the attention of the guitar-playing public . . . The album’s production quality is first rate with the music copy being as clear as could be imagined . . . those of you with the appropriate technique and imagination just invest in this substantial collection and explore its vast possibilities for yourselves.” Raymond Burley Classical Guitar.
“ . . . Biberian’s “Preludes” have been praised for some years in the British press, and their publication has been awaited eagerly. I am pleased to report that they are worth the wait. . . When an edition offers “24 Preludes,” there may be a presumption that there will be a piece in each of the major and minor keys, but that is not the case here. Ouite a few of the Preludes are tonal, but do not fall into such a key-sequence scheme, while otherc have no well-defined tonal centers. Many of these pieces could function equally well as etudes, since each tends to feature a particular type of figuration, presenting specific technical and musical problems to be solved. Each Prelude has a descriptive subtitle to help the player ferret out the musical concept behind the piece (“Tombeau,” “Arabesques,” “Las Campanelas,” “The River,” “The Sufi,” etc.). Often intricate and complex, these Preludes are intended for a fairly advanced player, although there are no fearsome technical obstacles. They are composed skillfully and effectively for the guitar, with instrumental possibilities and constraints firmly in mind. David Grimes, Soundboard.
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