Sunday, December 28, 2014

List of famous classical guitarist



Baroque (17th & 18th century)

19th century

20th century

This article is a list of notable classical guitarists. For a complete list see the Category classical guitarists.

Modern

****** Wikipedia*******
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Monday, November 18, 2013

Indonesian Classical Guitar Competition 2013




Kompetisi Gitar Klasik Nasional II
13, 14, 15 Desember 2013


Pendaftaran : 4 November - 8 Desember 2013
 
Biaya pendaftaran Senior : Rp. 350.000,00
Biaya pendaftaran Junior : Rp. 300.000,00

Formulir dapat di minta melalui contact person dengan mengirimkan alamat email anda dan akan kami kirimkan melalui email.
Formulir yang telah diisi secara lengkap di kirimkan ke email kgknunj@yahoo.co.id

Schedule:
13 Desember 2013 : Seminar Gitar Zakki Luthier & Tecmit seluruh peserta\
14 Desember 2013 : Audisi Kategori Junior & Senior
15 Desember 2013 : Final Kategori Junior & Senior

HADIAH
Kategori Senior :
Juara 1 : Zakki Guitar ( Grand Concert Series ) senilai Rp.17.500.000,00 + Uang Tunai Rp.2.000.000,00 + Sertifikat
Juara 2 : Uang Tunai Rp.1.500.000,00 + Sertifikat
Juara 3 : Uang Tunai Rp.1.000.000,00 + Sertifikat

Kategori Junior :
Juara 1 : Zakki Guitar ( Student Series ) senilai Rp.8.500.000,00 + Uang Tunai Rp.1.500.000,00 + Sertifikat
Juara 2 : Uang Tunai Rp.1.000.000,00 + Sertifikat
Juara 3 : Uang Tunai Rp.500.000,00 + Sertifikat

Biaya pendaftaran bisa di transfer ke rekening :
0296081254 a/n Aris Priambodo (BNI)
1200004877721 a/n Hilman Arifa Azhar (Mandiri)

NB: Juara I kategori Junior & Senior Kompetisi Gitar Klasik Nasional Periode I, TIDAK di PERBOLEHKAN untuk mengikuti Kompetisi Gitar Klasik Nasional Periode II. 

*Juara I kategori Junior Kompetisi Gitar Klasik Nasional Periode I di PERBOLEHKAN untuk mengikuti Kompetisi Gitar Klasik Nasional Periode II jika telah mencukupi umur untuk mengikuti kategori Senior.*

SEGERA DAFTARKAN DIRI ANDA..!! Kami berhak menutup pendaftaran peserta lebih awal, jika KUOTA yang telah kami tetapkan sudah tercapai.

-Panitia KGKN II-
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Monday, September 2, 2013

Matteo Carcassi

Matteo Carcassi (Florence, 1792 – Paris, 16 January 1853) was a famous Italian guitarist and composer. Carcassi began with the piano, but learned guitar when still a child. He quickly gained a reputation as a virtuoso concert guitarist.
He moved to Germany in 1810, gaining almost immediate success. In 1815, he was living in Paris, earning his living as a teacher of both the piano and the guitar. On a concert tour in Germany in 1819, he met his friend Antoine Meissonnier for the first time. Also a famous guitarist, Meissonnier published many of Carcassi's works in his Paris publishing house.
From 1820 on, Carcassi spent the majority of his time in Paris. In 1823, he performed an extremely successful series of concerts in London that earned him great fame, both as a performing artist and as a teacher. However, in Paris, a long time passed before his talents were truly recognised, partly because of the presence of Ferdinando Carulli, 'adored' by his audience.
Carcassi was in Germany again during the fall of 1824. Afterwards he performed in London, where his reputation now gave him access to more prestigious concert halls. Finally he returned to Paris. For several years, he made concert trips from here to the most important cultural towns of Europe, including London. After a short return to performing in 1836, he quit his concert practice around 1840 and died in the French capital in 1853.
Carcassi wrote a method for guitar (op. 59) that remains valuable, relevant and interesting. His most famous works are collected in his 25 Etudes op. 60. In these, he managed to blend technical skills and brilliant romantic music. This is the reason his music is still played by so many classical guitarists today.
His works have been published and recorded by numerous well known guitarists. Of note; Peter LaVine's complete performance of Carcassi's Opus 60: http://itunes.apple.com/us/artist/peter-lavine/id499318725?ign-mpt=uo%3D4

List of Compositions by Matteo Carcassi
Op. 1, 3 sonates - 3 sonatas
Op. 2, 3 rondos - 3 rondos
Op. 3, 12 petites pieces - 12 small pieces
Op. 4, 6 valses - 6 waltzes
Op. 5, Le nouveau papillon, ou choix d'airs faciles et soigneusement doigtes - The new butterfly, or choice of easy and carefully fingered airs
Op. 6, Introduction, variations, et finale sur un duo favori - Introduction, variations, and finale on a favorite duo
Op. 7, "Au clair de la lune", varie - "Under the moonlight", with variations
Op. 8, Etrennes aux amateurs, ou nouveau recueil de 6 contredanses francaises, 6 valses, et 3 airs varies - Gifts for enthusiasts, or new collection of 6 French contradances, 6 waltzes, and 3 airs with variations
Op. 9, 3 airs italiens varies - 3 Italian airs with variations
Op. 10, Amusement, ou choix de 12 morceaux faciles et soigneusement doigtes - Amusement, or choice of 12 easy and carefully fingered pieces
Op. 11, Recueil de 10 petites pieces - Collection of 10 small pieces
Op. 12, 3 themes varies - 3 themes with variations
Op. 13, 4 potpourris des plus jolis airs des operas de Rossini - 4 medleys of very pretty airs from operas by Rossini
Op. 14, Melange de 22 morceaux faciles et soigneusement doigtes - Mix of 22 easy and carefully fingered pieces
Op. 15, "Tra la la", air varie - "Tra la la", air with variations
Op. 16, 8 divertissements - 8 divertimentos
Op. 17, "Le songe de Rousseau", air varie - "Rousseau's dream", air with variations
Op. 18, 6 airs varies d'une execution brillante et facile - 6 airs with variations with a brilliant and easy execution
Op. 19, Fantaisie sur les plus jolis airs de l'opera Robin Des Bois (Der Freischütz) - Fantasy on the very pretty airs of the opera Robin of the Forest (Der Freischütz)
Op. 20, Air suisse varie - Swiss air with variations
Op. 21, Les recreations des commencans, ou choix de 24 petites pieces - The recreation for the beginners, or choice of 24 small pieces
Op. 22, Air ecossais de l'opera La Dame Blanche - Scottish air from the opera The White Lady
Op. 23, 12 valses - 12 Waltzes
Op. 24, Air des Mysteres d'Isis, varie - Air from Mysteries of Isis with variations
Op. 25, 2me recueil de 8 divertissements - 2nd collection of 8 divertimentos
Op. 26, 6 caprices - 6 capriccios
Op. 27, Variations Brillantes sur un Theme Allemand
Op. 28, 2 airs de ballets de l'opera de Moise de Rossini[2][3] - 2 ballet airs from the opera Moses by Rossini
Op. 29, lost?
Op. 30, Ouverture de Semiramide du celebre Rossini
Op. 31, Variations brillantes pour la guitare, sur un thême [Non più mesta] de la Cenerentola [by G. A. Rossini] ...
Op. 32, lost?
Op. 33, 6 fantaisies sur des motifs d'operas favoris: No. 1. La Muette De Portici - 6 fantasies on motives from favorite operas: Nr. 1. The Mute Girl of Portici
Op. 34, No. 2. Le Comte Ory - The Count Ory
Op. 35, No. 3. La Fiancee - The Bride
Op. 36, No. 4. Guillaume Tell - William Tell
Op. 37, No. 5. Fra Diavolo - Fra Diavolo
Op. 38, No. 6. Le Dieu Et La Bayadere - The God and the Bayadere
Op. 39, Douze Galops et Six Vals
Op. 40, Fantaisie sur des motifs de l'opera Zampa - Fantasy on the motives from the opera Zampa
Op. 41, Rondoletto sur l'air favori "Clic clac" - Rondoletto on the favorite air "Clic clac"
Op. 42, Fantasie sur les motifs du "Philtre" de Auber pour la Guitare
Op. 43, Mélange sur des motifs de Zampa, pour piano et guitare
Op. 44, 3 airs suisses varies - 3 Swiss airs with variations
Op. 45, Fantaisie sur des motifs de l'opera Le Serment - Fantasy on the motives from the opera The Oath
Op. 46, FANTAISIE Pour la Guitare Sur les motifs de La Médecine sans Medecin DE F. HEROLD
Op. 47, lost?
Op. 48, Fantaisie sur des motifs de l'opera Le Pre Aux Clercs - Fantasy from the motives from the opera The Clerks' Meadow
Op. 49, Fantaisie sur des motifs de l'opera Gustave - Fantasy on the motives from the opera Gustav
Op. 50, Récréations Musicales (Suite 1-4)
Op. 51, lost?
Op. 52, Valse favarite "Duc de Reichstadt" variee[4] - Favorite waltz "Duke of Reichstadt" with variations Op. 53, 2 quadrilles de contradanses, 2 walses, et 2 galops[5] - 2 square dances of contradances, 2 waltzes, and 2 galops
Op. 54, Recreations Musicales: Rondeaux, Variations et Fantasie
Op. 55, Valses brillantes à l'espagnole, Meissonier, Paris, 1835
Op. 56, Adieux à la Suisse: Tyrolienne de Bruguière, Variée
Op. 57, Fantaisie sur des motifs de l'opera Le Cheval De Bronze - Fantasy on the motives from the opera The Bronze Horse
Op. 58, lost?
Op. 59, Methode complete. Divisee en trois parties[6] - Complete method. Divided in three parts
Op. 60, 25 etudes melodiques et progressives. 1re suite de la methode - 25 melodic and progressive studies. 1st suite of the method
Op. 61, Variations sur la romance de Greisar "Las Lavenses...
 Op. 62, Melange sur des motifs de l'opera Sarah - Mix on the motives from the opera Sarah
Op. 63, lost? (Fantaisie sur Les Puritains)
Op. 64, Fantaisie sur des motifs de l'opera Le Postillon De Lonjumeau - Fantasy on the motives from the opera The Coachman of Lonjumeau
Op. 65, lost?
Op. 66, Melodie Italienne
Op. 67, Mosaique sur de motifs favoris de l'opera Le Domino Noir - Mosaic on the favorite motives from the opera The Black Domino
Op. 68, Choix des plus Jolies Valses de Strauss et de Labitzky arrangéespour la guitare ...
Op. 69, Melange sur les airs favoris du Lac Des Fees[7] - Mix on the favorite airs from The Fairy Lake
Op. 70, Melange sur des motifs de l'opera Zanetta - Mix on the motives from the opera Zanetta
Op. 71, Fantaisie sur des motifs de l'opera Les Diamants De La Couronne - Fantasy on the motives from the opera The Diamonds of the Crown
Op. 72, lost? (Fantaisie sur Le Duc d'Olonne)
Op. 73, Fantaisie sur des motifs de l'opera La Part Du Diable - Fantasy on the motives from the opera The Part of the Devil
Op. 74, Melange sur des themes favoris de La Sirene[8] - Mix on the favorite themes from The Siren
Op. 75, lost?
Op. 76, Fantaisie (La Barcarolle)
Op. 77, Fantaisie pour La Guitare Sur de Motifs de Robert Bruce Opera de G. Rossini
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Saturday, March 9, 2013

The world classical guitar competition 2013

The 4th edition of WGC has started!

The World Classical Guitar Competition is open for the guitarists between 18 and 30 years all over the world, without limitations based on nationality, gender, or religion. Submit your performance recorded on video and be one of the guitarists who will compete in the Great Final in Novi Sad!
Keep in touch with the latest news about the Vojvodina Guitar Festival 2013 on www.agv.org.rs

Dear friends and classical guitar fans, welcome to the updated version of our website! Since the site is technically and visually completely changed, please re-register to be able to access all content and information. We hope that you will  like this new look and enjoy the World Guitar Competition. Sincerely, WGC Team


Composition Competition for Classical Guitar

  1. Composition submitted should never have been published or performed in a public concert. Work will have to be written for 6 (six) strings guitar solo.
  2. Duration of the composition should not be less than 3 min. and not longer than 6 min. 
  3. Composition must not contain in any way а known theme оr a part of any known theme or a motive. 
  4. The competition is open to composers of any nationality, without any age limit. Any composer can take part in the contest with several works.
  5. For the application, the contestants have to send an e-mail to the WGC e-mail address
    composer@worldguitarcompetition.com
    with the following requirements :
    a) The score in PDF form which must not contain any information or reference that might allow identification of the author. Instead of name, the score must display a pseudonym, and must indicate the approximate length of the piece. The score should be written in one of the following programs: Finale or Sibelius. Handwritten scores will not be accepted.
    b) – audio recording of the composition played either by guitarist or computer generated, converted in MP3 form. These MP3’s will be placed on the WGC website for visitors to rate and comment. The jury decision, however, will relay only on PDF scores. MP3 recording will not affect in any way the judgment of  the jury but will help them for easier understanding of the piece.
    c) – curriculum vitae; together with: first name, last name, complete address (telephone, fax, e-mail); telephone number for any communication;
    – one recent photo of the composer, not less than 600 pixels on longer side and not larger than 1 mb
    – a scanned copy of any valid document of identification ( passport, ID card, etc.) to confirm the identity
    – a scanned copy of a signed declaration that the composition is unpublished. Download declaration here
    – a scanned copy of the payment document of the entry fee.
    The e-mail must arrive by 10th of March 2013.
    Failure to observe any of the regulations mentioned above may result in exclusion from this competition. All e-mails should be written clearly in English or Serbian language.
    After a complete application the audio file will be placed in the WGC website on a dedicated page for all visitors to listen and comment.
  6. The entry fee for the competition is € 25 (twenty five euros) for the first score and € 10 (ten euro) thereafter for each of the successive scores, payment can be made as follows:
    With these instructions (download pdf here) printed, contestant should go to any bank and make the payment. Competitors from Serbia only: Takmičari iz Srbije kotizaciju uplaćuju u dinarima (po višem kursu Narodne Banke Srbije na dan uplate) na račun broj: 160-929755-46 Svrha: Kotizacija za World Guitar Competition 2012. Korisnik: Asocijacija gitarista Vojvodine, Novi Sad
  7. The entry fee is not refundable.
  8. The jury is consisting of internationally renowned guitarists, composers and publishers:
Nikita Koshkin
Vojislav Ivanović
http://vojislavivanovic.com/
David Pavlovits
Michael MacMeeken
https://chanterelle.com/
 
The names of the three finalists, chosen by the jury, will be announced on the WGC website. 

The announcement of the order of the three winners will be made on 13th of April 2013 at the Concert Hole in City of Novi Sad. On this occasion the works of all three finalists will be performed by composers themselves or a guitarist chosen by the WGC board. After a short session the jury will announce the order of the winning compositions i.e. the first, the second, and the third.

The three finalists will be invited to be present at the ceremony. They will be offered accommodation fee by the WGC board and in addition as a part of the prize they will have master classes with the composers, members of the jury.

The author of the winning composition will receive a prize of $ 500 (five hundred USD). The first prize cannot be divided. Amount of prize money will be reduced to the corresponding taxes (19,04%).
In addition the winning composition will be published by Chanterelle, the major publisher and distributor of classical guitar music, unless there are exclusive agreements with other editors. The works will be brought to the attention of concert artists, teachers, guitar competitions, and specialized magazines in the field.
8.  The jury reserves the right not to award the prizes. The jury may award all or part of the prizes previously indicated in paragraph 7. The decision of the jury is final.
9. The application to participate in the competition confirms that the contestants unconditionally accept all the rules and regulations currently established.
10. The rules and regulations of the competition are subject to change by the competition board without previous announcement.

Listen composition: Click here





http://finearts.illinoisstate.edu/magef/index.shtml



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Wednesday, February 20, 2013

Leon Kudelak: Classical Guitar Maestro

The best place for classical guitar  school


Leon Koudelak classical guitarist.
Leon Koudelak has toured internationally in most parts of Europe, Asia and the Americas. He inspired famous composers such as Tom Pegram, Apostolos Paraskevas or Michael Buchrainer to write guitar music. In addition to his notable concertcareer, he founded the Liechtenstein Guitar Festival (Ligita), the Asia International Guitar Festival (AIGF) in Bangkok and the Pattaya Classical Guitar Festival. Among many in the international music scene he is known as "La mano santa de la guitarra" ('the holy hand of the guitar'). 1996 he released a CD with the major Guitar Solo Works by Joaquin Rodrigo] which brought him worldwide recognition. Maestro Rodrigo wrote him a letter expressing great enthusiasm after listening to his CD about his interpretation. On the following concert tour, Koudelak played a complete program with works by Joaquin Rodrigo. Leon Koudelak entered in 2011, the ranker list of "the most famous classical guitarists of all time".
When Leon was six years old, his family moved to Algeria from the former Czechoslovakia. His father, who was a medical doctor and musician, got a three years work contract at the general hospital in Skikda. Leon was brought up on American jazz as his father appreciated the likes of Duke Ellington and Louis Armstrong. His father also exposed Leon to a lot of classical music, especially those of Slavic extraction such as Antonín Dvořák, Leoš Janáček and Bohuslav Martinů.
When his father's work contract expired in Algeria in 1970, he opted to return to Switzerland rather than eastern Europe due to the Prague Spring and the ensuing 1968 invasion. During his time in Switzerland as a nascent classical guitarist, Koudelak heard Andres Segovia for the first time. This would galvanize, at quite an early age, his desire to be a musician.

In his later teenage years, he studied with the most famous guitarists and teachers such Karl Scheit (Leon Koudelak was one of his last students) at the University of Music and Performing Arts, Vienna, at the Zurich University of Music and Arts with Konrad Ragossnig and was one of the few students of Julian Bream in Liechtenstein. He obtained the Bachelor's degree, the Master of Art Education degree, the Masters of Arts degree and the Magister (degree) in Vienna and Zurich . During his time in Vienna he studied as well Contemporary Music with Roman Haubenstock-Ramati. Shortly after he became a prize winner of the prestigious guitar competition “Fundation Jacinto e Inocencio Guerrero” in Madrid, he was contacted by a Swiss concert agency with which he signed a long-year contract as well an exclusive contract with Tyrolis Music. 1989 He has recorded his first album with Tyrolis Music called : "Guitar Music from Spain, Mexico and Brazil" and 1993 the following CD “Modern Trend of Factories for Guitar". At this time he performed on music festivals and concerts in Europe, in countries like such Germany, Great Britain, Spain, Portugal, Czech Republic and Slovak Republic, Austria, Switzerland, Italy, Belgium, the Netherlands, Hungary, France, Greece or Liechtenstein. He did the premieres in Vienna of works by composers such as Roman Haubenstock-Ramati, Karlheinz Stockhausen, Michael Buchrainer.

In 1996 the albums “Joaquin Rodrigo - Guitar Music" and 1997 “Pavana Triste" were released by Tyrolis Music and led him to major music festivals and concert halls around the world. The album “Joaquin Rodrigo – guitar music" becomes one of the best selling CD in classical guitar music, highly praised by critics around the world. 1998 he did an interview with the guitar magazine "Gitarre & Laute". which earned criticism because of this statement about the classical guitar repertoire, which actually was misunderstood.
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Saturday, February 9, 2013

Musical composition for any instrumen music

Musical composition can refer to an original piece of music, the structure of a musical piece, or the process of creating a new piece of music. People who practice composition are called composers.

A piece of music exists in the form of a composition in musical notation or as a single acoustic event (a live performance or recorded track). If composed before being performed, music can be performed from memory, through written musical notation, or through a combination of both. Compositions comprise musical elements, which vary widely from person to person and between cultures. Improvisation is the act of composing during the performance, assembling musical elements spontaneously.

Piece is a, "general, non-technical term [that began to be] applied mainly to instrumental compositions from the 17th century onwards....other than when they are taken individually 'piece' and its equivalents are rarely used of movements in sonatas or symphonies....composers have used all these terms [in their different languages] frequently in compound forms [e.g. Klavierstück]....In vocal music...the term is most frequently used for operatic ensembles.....etc.

Important in tonal musical composition is the scale for the notes used, including the mode and tonic note. In music using twelve tone techniques, the tone row is even more comprehensive a factor than a scale. Similarly, music of the Middle East employs compositions that are rigidly based on a specific mode (maqam) often within improvisational contexts, as does Indian classical music in both the Hindustani and the Carnatic systems, gamelans of Java and Bali, and much music in Africa.

People who practice composition are called composers. Compositional techniques are the methods used to create music. Useful skills in composition include writing musical notation, music theory, instrumentation, and handling musical ensembles (orchestration). Other skills include extended techniques such as improvisation, musical montage, preparing instruments, using non-traditional instruments, and other methods of sound production.

Methods

One method to compose music is starting with a base series of chords. These chords could be selected arbitrarily or with specific purpose to reflect the tone of the emotion being conveyed. For example, selecting a minor key, but with mostly major chords (i.e. III, VI, VII) might convey a hopeful feeling. Once the series of chords is selected, additional lines are added to embellish, adding depth to the music. Usually this includes at least a lead melody line and often one or more harmony lines. Popular music is often written this way (see: Song structure (popular music)) where a selected series of chords forms the structure of each of a particular section of the song (ex. Verse, Chorus). The melody line is often dependent on the writer's chosen lyrics and can vary in detail from verse to verse.
Another method involves free playing of your desired instrument. For example, a pianist might simply sit and start playing chords, melodies, or random notes that come to mind in order to find some inspiration, then build on the discovered lines to add depth.
As technology progresses, new and inventive methods of music composition come about. One such method involves using computer algorithms to directly translate the phonetics of speech into digital sound.

Structure
Composers may decide to divide their music into sections. In classical music, one common form of songwriting is Sonata form. This form involves an Exposition, Development, and Recapitulation. The end speaks to the beginning, concluding things, while the development allows for deviations from the norm of the exposition. Many contemporary songs are organized into sections as well. These sections are usually alternating verse and chorus, often with a bridge before the last chorus. The differing verses will share chord progressions while the chorus is often exactly the same throughout.

 
The task of adapting a composition for musical instruments/ensembles, called arranging or orchestrating, may be undertaken by the composer or separately by an arranger based on the composer's core composition. A composition may have multiple arrangements based on such factors as intended audience type and breadth, musical genre or stylistic treatment, recorded or live performance considerations, available musicians and instruments, commercial goals and economic constraints. Based on such factors, composers or arrangers must decide upon the instrumentation of the original work. Today, the contemporary composer can virtually write for almost any combination of instruments. Some common group settings include music for Full Orchestra (consisting of just about every instrument group), Wind Ensemble (or Concert Band, which consists of larger sections and greater diversity of wind, brass and percussion instruments than are usually found in the orchestra), or a chamber group (a small number of instruments, but at least two). The composer may also choose to write for only one instrument, in which case this is called a solo.

Composers are not limited to writing only for instruments, they may also decide to write for voice (including choral works, operas, and musicals) or percussion instruments or electronic instruments. Alternatively, as is the case with musique concrète, the composer can work with many sounds often not associated with the creation of music, such as typewriters, sirens, and so forth. 

In Elizabeth Swados' Listening Out Loud, she explains how a composer must know the full capabilities of each instrument and how they must complement each other, not compete. She gives an example of how in an earlier composition of hers, she had the tuba above the piccolo. This would clearly drown the piccolo out, thus giving it no purpose in the composition. Each instrument chosen to be in a piece must have a reason for being there that adds to what the composer is trying to convey within the work

Arranging is composition which employs prior material so as to comment upon it such as in mash-ups and various contemporary classical works. The process first requires analysis of existing music, and then rewriting (and often transcription) for an instrumentation other than that for which it was originally intended. It often (but not always) involves new supporting material injected by the arranger. Different versions of a composed piece of music is referred to as an arrangement.

Musical form

The term musical form (or musical architecture) refers to the overall structure or plan of a piece of music,[1] and it describes the layout of a composition as divided into sections.[2] In the tenth edition of The Oxford Companion to Music, Percy Scholes defines musical form as "a series of strategies designed to find a successful mean between the opposite extremes of unrelieved repetition and unrelieved alteration."[3]

Musicologist Richard Middleton describes form through repetition and difference: difference is the distance moved from a repeat; a repeat being the smallest difference. Difference is quantitative and qualitative; how far different and what type of difference. According to Middleton, musical form is "the shape or structure of the work." In many cases, form depends on statement and restatement, unity and variety, contrast and connection.
 
Composer
Louis-Nicolas Clerambault
A composer (Latin com+ponere, literally "one who puts together") is a person who creates music, either by musical notation or oral tradition, for interpretation and performance, or through direct manipulation of sonic material through electronic media. The level of distinction between composers and other musicians varies, which affects issues such as copyright and the deference given to individual interpretations of a particular piece of music.[citation needed] In the development of European music, the function of composing music initially did not have much greater importance than that of performing it. The preservation of individual compositions did not receive enormous attention and musicians generally had no qualms about modifying compositions for performance. Over time, however, the written notation of the composer came to be treated as strict instructions from which performers should not deviate without good practical or artistic reason. Performers do, however, play the music and interpret it in a way that is all their own. In fact, in the concerto form, the soloist would often compose and perform a cadenza as a way to express their individual interpretation of the piece.

In as much as the role of the composer in western art music has seen continued solidification, in alternative idioms (i.e. jazz, experimental music) it has in some ways become increasingly complex or vague. For instance, in certain contexts - the line between composer and performer, sound designer, arranger, producer, and other roles - can be quite blurred.

The term "composer" is often used to refer to composers of instrumental music, such as those found in classical, jazz or other forms of art and traditional music. In popular and folk music, the composer is usually called a songwriter, since the music generally takes the form of a song. Since the mid-20th century, the term has expanded to accommodate creators of electroacoustic music, in which composers directly create sonic material in any of the various electronic media. This is distinct from instrumental composition, where the work is represented by a musical score to be interpreted by performers.

Famous composers have tended to cluster in certain cities throughout history. Based on over 12,000 prominent composers listed in Grove Music Online and using word count measurement techniques the most important cities for classical music can be quantitatively identified.
Paris has been the main hub for classical music of all times. It was ranked fifth in the 15th and 16th centuries but first in the 17th to 20th centuries inclusive. London was the second most meaningful city: eight in the 15th century, seventh in the 16th, fifth in the 17th, second in the 18th and 19th centuries, and fourth in the 20th century. Rome topped the rankings in the 15th century, dropped to second in the 16th and 17th centuries, eight in the 18th century, ninth in the 19th century but back at sixth in the 20th century. Berlin appears in the top ten ranking only in the 18th century, and was ranked third most important city in both the 19th and 20th centuries. New York entered the rankings in the 19th century (at fifth place) and stood at second rank in the 20th century.
 
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Wednesday, February 6, 2013

The classical guitar and composers

The classical guitar varies from the "Spanish Guitar" from its construction, size, weight, wood and the sound it produces. The common factor is that both guitars have six nylon strings against metal strings used in acoustic and electric guitars. In addition to the instrument, the phrase "classical guitar" can refer to two other concepts:
  • The instrumental finger technique common to classical guitar—individual strings plucked with the fingernails or, rarely, fingertips
  • The instrument's historic repertoire
The shape, construction, and material of classical guitars vary, but typically they have a modern classical guitar shape, or historic classical guitar shape (e.g., early romantic guitars from France and Italy). Strings are usually of nylon or other synthetic material, or fine wire wrapped around a nylon or other synthetic core. Historic guitars may have strings made of gut (sheep or pig intestine).
A guitar family tree can be identified. (The flamenco guitar derives from the modern classical, but has differences in material, construction and sound).

The term modern classical guitar is sometimes used to distinguish the classical guitar from older forms of guitar, which are in their broadest sense also called classical, or more specifically: early guitars. Examples of early guitars include the 6-string early romantic guitar (ca. 1790 - 1880), and the earlier baroque guitars with 5 courses.

Today's modern classical guitar was established by the late designs of the 19th century Spanish luthier Antonio Torres Jurado.

Eliot Fisk
Fisk was the last direct pupil of Andrés Segovia and is the holder of all reproduction rights to Segovia's music, given to him by Segovia's wife, Emilia. After attending Jamesville-Dewitt High School in Dewitt, New York, Class of 1972, Fisk also studied interpretation under harpsichordists Ralph Kirkpatrick and Albert Fuller at Yale University, where he graduated summa cum laude in 1976. After graduation, he was asked to form the Guitar Department at the Yale School of Music. He was the winner of the International Guitar Competition in 1980.
He is a professor at the Universität Mozarteum Salzburg in Austria, where he teaches in five different languages, and in Boston at the New England Conservatory. His students have come from many countries, and several have gone on to become important performers and teachers in their own right.
Fisk lives in Boston, Salzburg, and Granada, Spain with his wife, Zaira, and their 11-year-old daughter, Raquel. He uses a handmade Thomas Humphrey Millennium guitar and another by upcoming luthier Stephan Connor. He received the Grand Cross of Isabel la Cátolica on June 10, 2006, from King Juan Carlos of Spain. Earlier recipients have included Andrés Segovia and Yehudi Menuhin. Fisk earned the award for contributions to Spanish music as an interpreter and teacher.

Fisk is known for an adventurous repertoire and willingness to take art music into unusual venues, including schools, senior centers and even prisons. He has received critical acclaim in recital, as a soloist with major orchestras and in a wide variety of chamber music combinations. In 1996 he appeared in a command performance in the Palacio de los Cordova in Granada, Spain, for then U.S. President Bill Clinton and King Juan Carlos and their families.
Fisk is founder and director of Boston Guitar Fest, an annual event held in the month of June at the New England Conservatory. This workshop is dedicated to exploring new technical and musical possibilities of the guitar within an international cultural context. He has expanded the repertoire for the guitar through transcriptions of works by Bach, Scarlatti, Haydn, Mozart, Paganini, and others, as well as through commissions from various composers including Luciano Berio, Leonardo Balada, Robert Beaser, Wiliam Bolcom, Xavier Montsalvatge, Nicholas Maw, George Rochberg and Kurt Schwertsik. His transcriptions and editions are published by Universal, Presser, Ricordi and Guitar Solo Publications.

His recordings for the Musical Heritage Society, DGG, Arabesque, and EMI have been much praised and even entered the Billboard charts as bestsellers. Many of these recordings include repertoire never before performed on the guitar such as his reading of the 24 solo violin Capricci, Op. 1 of Paganini, and his recordings of contemporary works by Berio and Rochberg or his recording with Paula Robison of Robert Beaser’s Mountain Songs, which was nominated for a Grammy.
Fisk's efforts in unconventional musical territory have included collaborations with chanteuse Ute Lemper, Turkish music expert Burhan Öçal, jazz musician Joe Pass, and master of castanets Lucero Tena. Upcoming projects include the premiere of a new quintet for guitar and strings by Leonardo Balada with the Miro String Quartet, the premiere of a new guitar concerto by Robert Beaser, and a nationwide tour of the US resulting in a duo CD with flamenco guitarist Paco Peña.

John William
John Christopher Williams (born 24 April 1941) is an Australian classical guitarist and long-term resident of the United Kingdom. In 1973, he shared a Grammy Award win in the Best Chamber Music Performance category with Julian Bream for Julian and John (Works by Lawes, Carulli, Albéniz, Granados).

John Williams was born on 24 April 1941 in Melbourne, Australia to an English father, Len Williams, who was later the founder of the London Guitar School, and Malaan (née Ah Ket), an Australian-Chinese mother (a daughter of Melbourne barrister William Ah Ket). In 1952, the family relocated to England. Williams was taught initially by his father and educated at the Friern Barnet Grammar School, London. From the age of eleven he attended summer courses with Andrés Segovia at the Academia Musicale Chigiana in Siena, Italy. Later, he attended the Royal College of Music in London from 1956 to 1959, studying piano because the school did not have a guitar department at the time. Upon graduation, he was offered the opportunity to create such a department. He took the opportunity and ran the department for its first two years. Williams has maintained links with the college (and with the Royal Northern College of Music in Manchester) ever since.

Williams's first professional performance was at the Wigmore Hall in London on 6 November 1958. Since then, he has been performing throughout the world and has made regular appearances on radio and TV. He has recorded almost the entire repertoire for the guitar and has extended it by commissioning guitar concertos from composers such as Stephen Dodgson, André Previn, Patrick Gowers, Richard Harvey and Steve Gray. He has recorded albums of duets with fellow guitarists Julian Bream and Paco Peña.
Williams is a visiting professor and honorary member of the Royal Academy of Music[3] in London.
(sources: wikipedia.org)

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