Pricemate

Cuna

Cuna is the Spanish word for cradle. This work was inspired by Cuna from F. Mompou's Suite Compostelana. The work is of medium difficulty and is not very long. Cuna is dedicated to one of my graduate students.

DKK 78.00

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Selected Works, vol. 1

The present collection is around the idea of paying homage to the people that each piece is dedicated to. El Colibrí (Hummingbird): A meaningful bird within Central American indigenous mythology. Dedicated to my good friend and co-author Federico Sheppard, a very special human being with whom I have walked a long journey in a short time, to produce and publish the work of the great Agustín Barrios Mangoré. El Faro refers to the guidance of a lighthouse for the those navigating the sea, the light to point travellers in the right direction. This piece is dedicated to maestro Antonio Rodríguez Delgado, for his unconditional friendship, light, and guidance with the complex journey of our beloved instrument, so that it be used as a tool for self realization. Gratitude is dedicated to maestro Elias Barreiro for his tireless work and contribution to the global guitar practices, additionally, for his genuine friendship. Canción de Cuna is a piece that pretends to reflect the awakening of a new consciousness for humanity, the title (Lullaby) refers to the little person we all have inside.

DKK 142.00

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Appassionatango

Appassionatango is a work written in the style of tango nuevo. It lasts approximately 8'30" and consists of 4 interconnected episodes that reflect the various passionate characteristics of this music: fiery and rhythmic (episode 1), fast-paced and captivating (episode 2), nostalgic and melancholic (episode 3), a synthesis and amalgamation of themes explored throughout the piece culminating in a virtuosic and explosive finale (episode 4). It's a piece filled with emotion, energy, and changes in character that wonderfully capture the essence of tango nuevo passion!

DKK 126.00

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Masquerade

Composing for solo flute is a challenge. The only way to come out victorious is to turn limitations into possibilities, to leave to the listener's imagination what the sound cannot return, to play on the strengths-and there are many-of the instrument to which the score is destined. The flute, so archaic and close to human vocality, lends itself perfectly to music that alludes to theatrical aspects. So I decided to take up the request of the talented Italian flutist Michela Podera, and compose a short piece for her, all centered on recitative-flavored etchings, sometimes whispered and sometimes declaimed in a stentorian manner. The immediate source of inspiration was a painting by the Neapolitan painter Vincenzo Laricchia, to whom I owe the poetic mood and title of this work of mine: Masquerade.

DKK 78.00

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Suite No. 1 Giorgio Mirto

Following a recent experience on the jury of a guitar competition, I noted with great pleasure that Giorgio Mirto, with whom I had shared the role of juror, wanted to celebrate the experience of the competition - during from which we discovered that we had had a great affinity of thought - with something which could endure over time and not evaporate as often happens in short and occasional meetings between musicians. He did it as a true composer, which he is, and dedicated to me a very beautifully crafted Suite to which I allowed myself to collaborate at least formally, by suggesting titles for the four movements. This is how Suite n.1 was born, a piece that does not strictly respect the formal rules of the Baroque era, but reinterprets and reuses them in a new key. The work's obvious late Baroque inspiration led me to find titles that invited the performer to delve deeper into the work's aesthetic inspiration. So I suggested to Giorgio that he title the four movements with something that linked their content to four greats of the 18th century. German masters. The prelude has thus become "from Eisenach" because of its sometimes improvised Bach-like atmosphere, the second movement, vaguely toccata, speaks an organ language in the manner of Buxtehude (who lived in Lübeck), the slow movement has a Handelian quality - and Handel was born in Halle - and the last movement, far from being a true Chaconne, undoubtedly has the latter's taste for variation and ostinato, typical traits of Telemann who lived in Magdeburg. The cities that appear in the titles are therefore indelible to the authors cited. Furthermore, one should not think that the style of the work is in any way "German", given that Giorgio Mirto expresses himself in a very joyful language that synthesizes modality with minimalism, all seasoned with a a nod to Pink's progressive rock Floyd. or a Mike Oldfield... The result of this mixture of ideas, inspirations and styles is a work that personally I never tire of reading and rereading, for the freshness that emanates from it and for the climate expressive which rises, nourishing itself with full efficiency. We ultimately cannot ignore that the note B, the one which marks in a minor way some of the most expressive works of the guitar repertoire, from the study of Sor which made generations of students fall in love with the guitar, until to that of Frank Martin's Four Pieces via La Catedral di Barrios, is the modal fulcrum of the entire Suite: it is true that the Prelude begins with a clear chord in E minor and lingers on an open ending in A minor , but it almost seems that the initial E serves as a launching pad for a continuation of the work in which the dominant, that is to say the B, is the true musical North, the pole star which guides us in the other three movements until the end of the Chaconne de Magdebourg. I wish Giorgio and “our” Suite great longevity and a favorable destiny in the complex and complex world of contemporary guitar composition. And I thank him again, flattered by his very kind dedication. FRANCESCO BIRAGHI

DKK 166.00

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À vos guitares, prêts, jouez! Vol. 4

This fourth booklet is dedicated to ensemble playing through five trios and three quartets of various styles (tango, ballad, rock, etc.) appropriate for the end of primary school with a few years of experience and the beginning of secondary school. Some pieces are written in a homorhythmic manner and can constitute an introduction to ensemble music, while others are rather polyrhythmic. They can constitute a first contact with the following techniques and effects: staccato, pizzicato, accent, louré, natural harmonic, percussion or crossed strings. This volume is therefore intended for guitarists who already know the notes in first position. Two pieces include a more advanced part with an introduction to playing in 5th position. These are short pieces that do not present technical challenges other than those allowing you to achieve the effects and play expressively. You will find in the scores indications of nuances, timbre, attack and fingerings which constitute suggestions for work and not prescriptions. Teachers and students are therefore invited to make interpretation choices different from those proposed or to try to convincingly render those already written. The pieces were composed or arranged by UQAM music education students as part of a course aimed at equipping musicians for teaching guitar in the school system. Many of them are musicians from different backgrounds (composition, performance, world music, etc.), which explains the creativity found in the pieces. All the pieces have been the subject of an audio recording available on the Productions d’Oz website and on YouTube. Search for À vos guitares, prêt, joue! Vol. 4. Isabelle Héroux, editor, professor, Department of Music, UQAM. Louis-Edouard Thouin-Poppe, assistant editor, arranger and engraver.This fourth booklet is dedicated to ensemble playing through five trios and three quartets of various styles (tango, ballad, rock, etc.) appropriate for the end of primary school with a few years of experience and the beginning of secondary school. Some pieces are written in a homorhythmic manner and can constitute an introduction to ensemble music, while others are rather polyrhythmic. They can constitute a first contact with the following techniques and effects: staccato, pizzicato, accent, louré, natural harmonic, percussion or crossed strings. This volume is therefore intended for guitarists who already know the notes in first position. Two pieces include a more advanced part with an introduction to playing in 5th position. These are short pieces that do not present technical challenges other than those allowing you to achieve the effects and play expressively. You will find in the scores indications of nuances, timbre, attack and fingerings which constitute suggestions for work and not prescriptions. Teachers and students are therefore invited to make interpretation choices different from those proposed or to try to convincingly render those already written. The pieces were composed or arranged by UQAM music education students as part of a course aimed at equipping musicians for teaching guitar in the school system. Many of them are musicians from different backgrounds (composition, performance, world music, etc.), which explains the creativity found in the pieces. All the pieces have been the subject of an audio recording available on the Productions d’Oz website and on YouTube. Search for À vos guitares, prêt, joue! Vol. 4. Isabelle Héroux, editor, professor, Department of Music, UQAM. Louis-Edouard Thouin-Poppe, assistant editor, arranger and engraver.

DKK 150.00

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Two Hymn Tune Settings

These two anthems are among my favorites. “Be Still My Soul” originates from the penultimate chorale section of the tone poem, Finlandia, that Jean Sibelius composed in 1899. Perhaps the best known work by him, Finlandia is a series of six scenarios drawn from the history of the composer’s homeland, Finland. The chorale section took on a life of its own as a vocal piece with patriotic lyrics supplied by the Finnish poet V.A. Koskenniemi. Sibelius created a version for choir in 1948. The religious words sung in English today in many Christian churches are from a translation by Jane Borthwick (1813-1957) of a text by German hymn writer Katharina von Schlegel (b. 1697). My setting is fairly straight forward with an intro, verse, interlude, verse, coda, and a recap of the intro. In contrast to the reflective tone of “Be Still My Soul,” “Come Thou Fount of Every Blessing” is to be played with more energy in keeping with the tenor of the lyrics that celebrate God’s grace and continually-outstretched hand. The melody is based on the hymn tune Nettleton, published by John Wyeth (1735-1790). In this setting, I present the exposition of this memorable tune over a persistent rhythm in the bass that is established in the intro. What follows is a series of variations of the melody, texture, and mood, being contrapuntal at times, homophonic at others, with forays to other tonal centers. Along with the introduction and coda, there are four sections that state the melody and then fragment it while following the original harmonization, but also departing from it at various points. For the final statement of the melody beginning in measure 81, the performer should feel free to play the recap more slowly and deliberately than the first time through. This is an especially effective approach heard in some choral renditions that bring a feeling of grandness to the final section.

DKK 110.00

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Mærke

Butik

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