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ProduitsPartitions pour guitareGuitare et un autre instrumentAires de Sefarad, vol. 1

Aires de Sefarad, vol. 1
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Aires de Sefarad, vol. 1

Compositeur: LIDERMAN Jorge

DZ 1370


ISBN: 978-2-89655-269-6

Guitare et violon

102 p. + parties séparées


46 Sephardic songs
révision et doigtés Matt Gould et Beth Ilana Schneider
L'enregistrement complet de cette ouvre par Duo46 est disponible sur le site web d'Albany Records.

At just over 100 pages in length and containing 46 works for violin and guitar duo, this is quite a substantial new offering from these ever-prolific Canadian publishers. The pieces are classified in fact as «songs without words«, having their origins in the songs of the Sephardic Jews who were chiefly concentrated around southern Spain until many were expelled through the effects of the Inquisition in the late 15th century.
The author states that many of these 46 pieces are love songs, a fact which cannot really be garnered through just a reading of the titles and it is at this point that one wishes to see the original lyrics, which unfortunately are not supplied, however, the music in general and where applicable, does give this amorous notion. Stylistically, the music varies tremendously; at times there are passionate and emotive slow and gentle airs, contrasting at other times with «flamenco-styled« fiery pieces. The harmonies are never dull, the melodies are mostly of an attractive and intoxicating nature, and due to the music progressing through various rhythmic metres, there are many contrasts contained within.
The complete 46 are presented as a song cycle which can be split into two groups of 23 pieces in both sets. These sets are then sub-divided into even smaller groupings of 3, 4, 5, 6 and 7 pieces in each sub-division. Liderman's plan has been to make the works progress in a logical harmonic pattern so that each of the 23 pieces cycle through the circle of fifths, and unless just a selection of songs are chosen, the arranger suggests that the music be performed in the order presented in the album.
So, if the entire works were to be included in a programme (or even just half of this material) we are looking here at a major portion of any recital. As this music is of a very striking and at times unusual nature, the inclusion of this song cycle is one which could well be one of the highlights of any recording or concert.
For any advanced violin and guitar duo seeking to include new material into their repertoire, this is well worth considering.
Steve Marsh (Classical Guitar Magazine)

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