42 Estudios Violin

SKU: HL.14045603

ISBN 9788438700846. Spanish.

SKU: HL.14045534

ISBN 9788438700617. Spanish.

SKU: HL.14045754

ISBN 9788438700594. Spanish.

SKU: HL.14045701

ISBN 9788438706886. Spanish.

SKU: BO.B.3641

These Three Studies for Four-handed Piano were conceived of as a triptych whose unifying principles were to be the first-slow-fast movement order of the classical sonata and a symmetrical arrangement of tonalities with A major occupying the centre (F minor- A major- C minor). The term Studies alludes not so much to the 19th century pedagogical concept of pieces-as-exercises, as to an attempt to extend, investigate and study the possibilities of expression and texture of the piano for four hands.

The First Study is generated out of a single rhythmical motif whose development is modified by the intervention of two contrapuntual passages. A certain difficulty of execution arising from the need to cross hands in both sections of the keyboard conforms, in this case, to the traditional definition of study as an exercise focussed on a specific technical problem.

The second piece might be defined as a study of expression, being the explicit disposition of an ostinato accompaniment and two superior voices in conversation. I cannot help, listening to this study, being reminded of the texture of the slow Largo of Bach's Concerto for 2 violins and the manifest pathos of the Andante of Prokofiev's 2nd Violin Concerto.

The Third Study is an exercise in rhythmical interpenetration in which continual changes of accentuation and metre are combined with passages of a light and mellifluous character.

It is a long-standing ambition of mine to supplement this work with three more triptychs and, so, complete a set of twelve studies for four-handed piano.

SKU: HL.14045504

ISBN 9788438700600.

SKU: BO.B.3687

In recent years one of the guiding principals of my work as a composer has been the creation of a repertoire of chamber music in which the guitar is treated as a concert instrument and also provides the harmonic basis for the music.

Firstly, it is my belief that the special polyphonic capabilities of the guitar can lead to the creation of a unique chamber music repertoire in which the limitations of the instrument are surpassed by the musical dialogue being shared among the various instruments. Secondly, bringing the guitar together with other instruments historically used in chamber music not only benefits the guitar but also allows the guitar to bring to the music different harmonic qualities, distinctive melodies and rhythms and gives the music a unique expressive richness not found in traditional chamber music.

The trio Clover was inspired by the small and beautiful plant of the same name. The three movements of the work (the characteristic three clover leaves) are structured according to the classic form: lively-tranquil-lively. The first movement is full of robust determination, the second alludes to the subtle rhythm of a siciliana and the third movement is a scherzo. The work was premiered by Paganini Trio (Joseph Gold, Debbie Dare and myself) during a tour of California (USA) using a Stradivarius violin made in 1690.

Lastly, I would like to insist-yet again--on the importance of the fact that guitar technique must be geared to fully utilize the level of volume of which the instrument is capable. With an adequate technique (see Estudio y sistematizacion del conjunto de recursos que posibilitan el desarrollo de una buena tecnica guitarristica [Systematic Study of the Various Resources That Contribute to the Development of a Good Guitar Technique] by J. Torrent -Ed. Boileau), a guitarist is capable of controlling the volume of which the instrument if capable without renouncing the level of volume that is required. Thus, a guitarist may use a wide range of dynamics, giving the player greater expressive possibilities and is thus able to integrate easily within chamber music groups without forcing the other instruments to lower their normal level of volume.