Flavio Nati - Works for Solo Guitar - COMPACT DISCS [CD]

The music for CHOROS made for texts from the 7th to 5th centuries BC came about through an intensive approach to the ancient world of sound the instruments reconstructed by Paul J. Reichlin formed the basis of the music. These are the result of over 20 years of intensive collaboration between an instrument maker and a music archeologist. Instrument parts in various museums, countless vase paintings and reliefs from the period 700 to 500 BC served as sources, as well as literary documents. Another important source of knowledge as to how ancient Greek music might have sounded are the peculiarities of the ancient Greek language, which allow conclusions to be drawn about the music. This extraordinary album for the revival of dramatic choirs of Greek classical music follows earlier projects by the Ensemble Melpomen such as Olympionikais (Pindar's Olympian Odes) for the closing ceremony of the Olympic Games in Athens or Sappho and Melpomen, music for an Athens symposium, which have already been released on album.

Cesar Guerra-Peixe (1914-1993) was a Brazilian composer, violinist, and musicologist whose work reflects a deep engagement with both European classical traditions and the rich diversity of Brazilian folk music. Initially influenced by modernist and serialist techniques, Guerra-Peixe later shifted toward a nationalist style, incorporating rhythms, melodies, and structures derived from regional traditions across Brazil. This transition marked a significant phase in his career, as he sought to create a distinctly Brazilian voice within the concert music tradition.Although Guerra-Peixe is not primarily known as a guitar composer, his contributions to the instrument are notable for their craftsmanship and cultural authenticity. His complete works for solo guitar are relatively few compared to major guitar composers, yet they hold an important place in the Brazilian guitar repertoire. These pieces reflect his ethnomusicological interests, often drawing on northeastern Brazilian musical idioms, such as baiao, maracatu, and frevo. Through these influences, Guerra-Peixe infused his guitar music with rhythmic vitality and expressive nuance.His guitar works demonstrate a clear understanding of the instrument's technical and expressive possibilities. Rather than treating the guitar merely as a harmonic accompaniment, he explores it's capacity for polyphony, timbral contrast, and rhythmic complexity. The writing is idiomatic, making effective use of open strings, varied articulations, and dynamic contrasts, while remaining accessible to skilled performers.Played with great feeling for the idiom by Flavio Nati, one of Italy's foremost guitarists, winner of the Golden Guitar. He played in Carnegie Hall New York as soloist in the guitar concerto of Castelnuovo-Tedesco.

Georges Migot (1891-1976) authored a vast oeuvre founded on two principles that in various ways pervade all of his work a nationalist aesthetic and a link to the past. This emerges and is r einforced in repeated references to the French lutenists of old, as well as troubadours and trouveÌres, folk song and ancient monodic forms, particularly plainchant. Rather than limit himself to copying their external structure, however, Migot sought to extract the spirit, sensitivity, grace and sense of freedom from these historic forms, which he believed better suited the infinite nature of human sensitivity. Despite strong and professed ties to his contemporaries Faureì and Debussy, Migot cannot be placed in any school or branch of 20th-century music. Pour un Hommage aÌ Claude Debussy (composed May 1924) coincided with the Paris debut of Andreìs Segovia and is dedicated to him. Migot composes lines with a modal flavour supported by rich and resonant arpeggiated chords, with densely packed notes providing a thorough exploration of all the instrument's colours. His four-movement Sonate pour guitare, two PreÌludes pour 2 guitares dedicated to the Argentinian Duo Pomponio-ZaÌrate, and a substantial and tricky Sonate pour 2 guitares date to the early 1960s. These pieces have a more clearly defined and linear style, and feature a profound musical idiom, brimming with emotion. The three movements of the Sonate pour flu te et guitare - dedicated to Brazilian guitarist Turíbio Santos - are stylistically similar to the above compositions. Migot gives both instruments various solo opportunities, and the two accompany each other, both during the more evanescent passages, where the writing is extremely sparse, and in more densely notated sections. The 3 Chansons de joye et de souci originate in a cycle of 6 PoeÌmes setting Pierre Moussarie for voice and piano. They were arranged for voice a