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Fossa-Piccinni, Ouverture de Didon
Edited by Byron Fogo, piano reduction by Lilia Vázquez, revised by Manuel Rubio and Joel Almazón with an introduction by Alejandro L. Madrid. In July 19 of 1930, Rafael Adame performed his Concierto for guitar and orchestra, with the orchestral part reduced to a piano score by himself. The concerto was performed again in a well publicized concert on February 5, 1933, at the Anfiteatro de la Escuela Nacional Preparatoria. The historical importance of this concerto is that i…
The 12 Preludios were written by Miguel Alcázar as the result of his first two trips to the Soviet Union. During the first trip, in November-December of 1983, he met Nikita Koshkin during the presentation of Alcázar's work at the Union of Composers in Moscow. A few days later, he promised to write something for him, as a way of commemorating the beginning of their friendship, if Alcázar would write also something for Koshkin. Both agreed upon this and when Alcá…
The composer says:
Folklorists have determined that the quintessential national Honduran dance is the Xique. The Xique (or Sique) is a very simple popular peasant couple dance with a definite European influence and tempo of a fast waltz. Though some of these dances are strictly for the salon, the majority of Honduran folkloric dances are of indigenous roots and have many elements that tie it to the Creole imitations of European musical styles. The onomatopoeic name of the dance, Xique, i…
Fernando Cruz Cordero was born in Montevideo (Uruguay) in 1822. Like many other Argentine guitarists of his time, Cordero did not pursue music as a profession. He studied law at the University of Buenos Aires, where he obtained his doctorate in 1843. His practice, specializing in criminal law, was among the most renowned of the period. He also embraced freemasonry and was one of the founding members of the Lodge Unión del Plata no. 1, …
The composer says:
Prelude, Chorale and Fugue was commissioned by the Brazilian guitarist Nicolas de Souza Barros. The work features a combination of extended traditional European forms and compositional techniques with a wholly Panamerican atmosphere, from American jazz to the Brazilian Seresta and Choro. The composer owes an important part of this piece’s formal idea to César Franck’s homonymous piano work and his inspiration from the cultural freshness of the American co…
Natalio Galán was born in Camaguey, Cuba, in 1917. He began his piano studies there with Luis Aguirre. Studied harmony and counterpoint with José Ardévol and Virginia Fleites at the Conservatorio Municipal. In 1953 he took a course in orchestration with Henry Cowell with whom he became closely associated. Entered Juilliard where he studied with Henry Brant.
Máximo Diego Pujol was born in Buenos Aires in 1957. He graduated from the Juan José Castro Provincial Conservatory with a degree of a Senior Professor of Guitar. Pujol did his instrumental studies with Alfredo Vicente Gascón, Horacio Ceballos, Abel Carlevaro, Liliana Ardissone and Miguel Angel Girollet. He also studied harmony and composition under the guidance of Leónidas Arnedo and participated in important master classes and seminars directed by Antonio de Raco, A…
Máximo Diego Pujol: Tango, Milonga y Final for two guitars. Score and parts. 8+6+6 pp.
The composer says:
Several musical threads led to my writing this piece of music to celebrate my friend Matanya Ophee’s (AKA MO) 80th birthday - a life lived with the guitar. Jelly Roll Morton once asserted: “In fact, if you can't manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning; I call it, for jazz.” Over the last couple of years I moved back to Jelly Roll Morton’s city: New Orleans, home of my adolesce…
Appassionata, Ronaldo Miranda’s first solo guitar work, was composed in 1984 but had to wait until 1996 for its premiere. The title, like those of several other works by Miranda, is borrowed from the historical repertoire, but there is no connection to Beethoven’s sonata; it rather suggests the character, alternately pugnacious and abandoned, of a compact and vigorous sonata-form. Miranda provides the guitar repertoire with a portentous piece, largely indebted to the late-Romantic pi…