Tags
Language
Tags
June 2025
Su Mo Tu We Th Fr Sa
1 2 3 4 5 6 7
8 9 10 11 12 13 14
15 16 17 18 19 20 21
22 23 24 25 26 27 28
29 30 1 2 3 4 5
    Attention❗ To save your time, in order to download anything on this site, you must be registered 👉 HERE. If you do not have a registration yet, it is better to do it right away. ✌

    ( • )( • ) ( ͡⚆ ͜ʖ ͡⚆ ) (‿ˠ‿)
    SpicyMags.xyz

    Nicholas Nebuloni & Vanessa Bernardi - Obras Maestras Espanolas (2023)

    Posted By: delpotro
    Nicholas Nebuloni & Vanessa Bernardi - Obras Maestras Espanolas (2023)

    Nicholas Nebuloni & Vanessa Bernardi - Obras Maestras Espanolas (2023)
    WEB FLAC (tracks) - 190 Mb | MP3 CBR 320 kbps - 136 Mb | 00:59:09
    Classical | Label: Movimento Classical

    The indissoluble and historical link between Spain and the Guitar offers us, with this CD, a new and intense chapter: the "Spanish Masterpieces", as the evocative tille reminds us, follow one another in the interpretation of Nicholas Nebuloni combining great classics of the six-string repertoire to precious record news.

    The CD opens with the unedited and evocative guitar version of Canci6n n. 6 by Federico Mompou (1893-1987), one of the most representative authors in the history of Catalan music.

    Belonging to the cycle of "Canci6n y Danza" composed by the author between 1918 and 1972, it was originally intended lor the piano; Nebuloni deliberately gives us an intimate execution of the Canci6n alone, in the famous transcription made by the Venezuelan guitarist Alirio Diaz.

    Mompou's short melody, slow and cadenced, acts as a dense and intense "opening theme· of the disc, full of warm instrumental colors enhanced by the guitar vibrato and deep tuning: as Mompou himself repeatedly reminds us of the the goal is to obtain "the maximum expressive farce with the maximum simplicity and economy of means, as well as a return to primitivism to present the bare and pure musical idea".

    As the French musicologist Vladimir Jankélévitch suggests "The mystery of Mompou escapes us as soon as we try to label it or attribute it to some conceptual category. Yet we are able to perceive this sensitive, inimitable voice, the very voice of silence… The desire of Mompou in seeking this solitude in sound, is to reach the unattainable point where music becomes the very voice of silence, where silence itself becomes music".

    Dionisio Aguado (1784-1849), famous guitarist-composer tram Madrid, is one of the greatest exponents of guitar classicism, a very fortunate season that the instrument went through in the first thirty years of the 19th century. Alter studying with M. Garcia (Padre Basilio), Aguado perfected himself at the school of Federico Moretti and subsequently embarked on a brilliant concert career: in Paris, where he settled from 1825 to 1838, he was a virtuoso appreciated by Paganini, Rossini, Bellini and Sor.

    The qualification of "brilliant" suits him perfectly: it is no coincidence that the Trois Rondos brillants pour guitare seule Op. 2, represent the culmination of Aguado's compositional art.

    The famous Ronda n. 2 present in this recording is characterized by Apollonian freshness and adamantine cantabilità, and is preceded by an inspired lntroduction: the execution of the numerous skill passages and cadenzas requires a sparkling technique and supreme instrumental contrai, flanked by the necessary expressive skills required by the more lyrical passages.

    Creator of a new vision of the guitar language, the Catalan composer and guitarist Miguel Llobet (1878-1938) intuits and values one of the peculiar characteristics of his instrument: the sound!

    As Angelo Gilardino, Llobet suggests, "he created in the specification of his new guitar language an arcane subli­ mation of the popular melodies of his homeland, Catalonia, anticipating the operation that, in the piano field, Federico Mompou would later carry out".

    Examples are the cycle of variations entitled Variaciones sobre un tema de Sor, op. 15 in which Llobet combines timbre research with the exaltation of instrumental virtuosity: composed in 1908, the author adopts the theme of Folly and the first two variations written just under a century earlier by the illustrious countryman Fernando Sor, adding eight other variations and an Intermezzo. Demonstration of technical prowess and ingenuity of writing, Llobet enhances the technical-expressive possibilities of the guitar without incurring the risk of acrobaticism as an end in itself and subjecting virtuosity to a noble and artistic musical thought.

    Rediscovered by the indefatigable Angelo Gilardino at the end of the 1980s, the Sonata para Guitarra by the Cas­ tilian composer Antonio José (Martinez Palacios) is probably the Spanish historical twentieth-century work that has become the most famous in the last twenty years.

    The composer born in 1902 and barbarously murdered by Franco's supporters in the Spanish Civil War in 1936, reveals himself in the Sonata (the only composition dedicateci to the guitar) as a prosecutor of the Ravelian and Debussian style, writing a powerful and broad composition inspired by European modernism, avoiding references to " spanishisms" and academicism. In the Sonata para Guitarra (in tour movements) we find above ali Rave!: as Angelo Gilardino reminds us "the Ravelian sign is very clear, in the refined irony and in the consummate tendresse of the Minueto, and in an almost mimetic way, in the lyrical pathos of the Pavana Triste. The first movement is an evaded sonata form, in which the so-called development is replaced by a series of rarefied evocations of the main theme, and the Finale is a crackling Rondo in which the Rasgueado is used, not to evoke the Cante Jondo and its heroes, bui to arouse flames of Schumann-like energy".

    The CD closes with the recordings, probably lor the first time in complete form, by the DuOn (Nicholas Nebuloni and Vanessa Bernardi) of the Seis Duos lor two guitars by the Zamora composer Fernando Ferandiere (1740-1816). A violinist by training, he is the author of numerous pieces of music also intended lor the guitar (unfortunately many that have not survived) and of a text of significant importance, the Arte de tocar la guitarra espafiola, dateci 1799. Coming from a manuscript dating back to around 1800 when Ferandiere was working in Madrid, the Seis Duos (ali in two movements) offer usa concertante writing full of elegant vitality and originality of the instrumental treatment: it is evident a writing that combines late Baroque stylistic features with now classic compositional attitudes , creating a wisely dosed formai balance and an impressive wealth of strongly characterized melodie cues with refined, and often sudden, modulations.

    Applause goes to this recording and to the performers lor the important work of disseminating a repertoire that reserves us scores of important artistic quality and sheds significant light on a season in the history of the guitar, the end of the eighteenth century, still little investigateci.

    Composers
    Aguado, Dionisio (1784–1849)
    Ferandiere, Fernando (1740–1816)
    Llobet, Miguel (1878–1938)
    Mompou, Federico (1893–1987)
    Palacios, Antonio José (1902–36)

    Works
    Aguado: Introduction and Rondo, Op. 2 No. 2
    Ferandiere: Duos (6) de dos Guitarras
    Llobet: Variaciones sobre un tema de Sor
    Mompou: Canción No. 6
    Palacios, A: Sonata para guitarra
    Palacios, A: Sonata Para: IV. Final
    Tracklist:
    01. Canción No. 6
    02. Rondò Brillante: Op. 2, No. 2
    03. Variaciones sobre un tema de Sor, Op. 15
    04. Sonata Para Guitarra: I. Allegro Moderato
    05. Sonata Para Guitarra: II. Minueto
    06. Sonata Para Guitarra: III. Pavana Triste
    07. Sonata Para: IV. Final
    08. 6 Duos de dos Guitarras: No. 1 in C Minor, Allegro - Minuetto
    09. 6 Duos de dos Guitarras: No. 2 in F Major, Rondò - Minuetto Alemanno
    10. 6 Duos de dos Guitarras: No. 3 in D Major, Allegro - Allegro Finale
    11. 6 Duos de dos Guitarras: No. 4 in D Major, Allegro - Rondò
    12. 6 Duos de dos Guitarras: No. 5 in E Major, Andantino - Minuetto
    13. 6 Duos de dos Guitarras: No. 6 in D Major, Andante assai

    –––––––––––-

    DON'T MODIFY THIS FILE

    –––––––––––-

    PERFORMER: auCDtect Task Manager, ver. 1.6.0 RC1 build 1.6.0.1
    Copyright © 2008-2010 y-soft. All rights reserved

    ANALYZER: auCDtect: CD records authenticity detector, version 0.8.2
    Copyright © 2004 Oleg Berngardt. All rights reserved.
    Copyright © 2004 Alexander Djourik. All rights reserved.


    FILE: 13 6 Duos de dos Guitarras_ No. 6 in D Major, Andante assai.flac
    Size: 8086698 Hash: 31DAF721D5408635EB66E94206A53D9F Accuracy: -m8
    Conclusion: CDDA 58%
    Signature: E457E416F2B88E7CE086EBE3867C85538EF57BC8
    FILE: 12 6 Duos de dos Guitarras_ No. 5 in E Major, Andantino - Minuetto.flac
    Size: 11885315 Hash: E2B0B886891CC08741EE6CE98C908EB4 Accuracy: -m8
    Conclusion: CDDA 49%
    Signature: E8EAE8E5BBA8085B621ED41D8B5B716568E18585
    FILE: 11 6 Duos de dos Guitarras_ No. 4 in D Major, Allegro - Rondò.flac
    Size: 13826803 Hash: A5857C10EC9162FFAE8742B0BB013AA1 Accuracy: -m8
    Conclusion: ???
    Signature: 056DBC086DC32B06CC77CBCDCC1251F1FA45F06F
    FILE: 10 6 Duos de dos Guitarras_ No. 3 in D Major, Allegro - Allegro Finale.flac
    Size: 11101741 Hash: E915D496C2391A49452E688DB090D014 Accuracy: -m8
    Conclusion: CDDA 43%
    Signature: 17BC95FE3FF97C19DB0E2B95A20D4180C4ED3488
    FILE: 09 6 Duos de dos Guitarras_ No. 2 in F Major, Rondò - Minuetto Alemanno.flac
    Size: 10885437 Hash: 3E065EF164DE14E2E0F7AA4BD1E74E7E Accuracy: -m8
    Conclusion: ???
    Signature: 00E1040B0AE4F30DAFA8676ED90146834A4CC5F9
    FILE: 08 6 Duos de dos Guitarras_ No. 1 in C Minor, Allegro - Minuetto.flac
    Size: 15898496 Hash: FB9E252DFA522246C728B8D8E94B18CE Accuracy: -m8
    Conclusion: ???
    Signature: 6F9B7170C82B6E6709B6DB3E54DB9A7870002E1E
    FILE: 07 Sonata Para_ IV. Final.flac
    Size: 16951329 Hash: DFE4D7A7CD2A7FDD7E832F8EF9C83E14 Accuracy: -m8
    Conclusion: CDDA 58%
    Signature: BD2FF7C78E8C99AC82FFCEA805002F604D85A6DA
    FILE: 06 Sonata Para Guitarra_ III. Pavana Triste.flac
    Size: 14416254 Hash: DF258EBDB112399679D07B0D5508AFF9 Accuracy: -m8
    Conclusion: CDDA 100%
    Signature: 86867E59EA98F2E236E541F80CEE4DF4E7810A46
    FILE: 05 Sonata Para Guitarra_ II. Minueto.flac
    Size: 9343571 Hash: 50071C04800F56EB169C84F49B28E4E4 Accuracy: -m8
    Conclusion: CDDA 100%
    Signature: FD7DAE03B915CDF5B979795D7F82B52219878200
    FILE: 04 Sonata Para Guitarra_ I. Allegro Moderato.flac
    Size: 22606891 Hash: 76DBA05AA4A03FD1B77EB4D712D25B4C Accuracy: -m8
    Conclusion: CDDA 85%
    Signature: CC663DC8F63626D1A43D362ACC0619130A8E97C3
    FILE: 03 Variaciones sobre un tema de Sor, Op. 15.flac
    Size: 27580663 Hash: DE6E317DAA9C967371EB9B3290233FC2 Accuracy: -m8
    Conclusion: CDDA 54%
    Signature: B20565CB0E10CBCEE81E9144FE3D05535AD56272
    FILE: 02 Rondò Brillante_ Op. 2, No. 2.flac
    Size: 30808082 Hash: 5FF1BA45D268FE17E3690890B20FB6A0 Accuracy: -m8
    Conclusion: CDDA 43%
    Signature: 95EA1B87F9B62B448B75A51559A54C42050BB88F
    FILE: 01 Canción No. 6.flac
    Size: 5536052 Hash: 43E2BFEAE74FB898F1C164A10E9660B1 Accuracy: -m8
    Conclusion: CDDA 100%
    Signature: D1A6AC7EE982DE383F4E9B4FED53144EE4C96C65