This album photographs a historical moment – the early twentieth century – in which a series of deeply intertwined phenomena took place. The French composer was just sanctioning a matter of fact, establishing an implicit taboo which would be overcome only in the first years of the twentieth century. One should not be surprised, then, that Hector Berlioz, in his Grand Traité d’instrumentation et d’orchestration modernes, stated that it was impossible to write properly for the guitar without being able to play it. This last detail is non-negligible: when the guitar, in the last quarter of the eighteenth century, established its morphology with six single strings, its repertoire lived for a long time on the exclusive contribution of composers who were, at the same time, pre-eminent virtuosos of this instrument. Guitarist Antonino Ielo authors his debut album with a collection of solo guitar works from the early 1900s, written by composers from the Mediterranean area, all of whom were non-guitarists.
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