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ProduitsPartitions pour guitare3 guitaresDomus de Janas

Domus de Janas
  • I

  • II

  • III

Domus de Janas

Compositeur: MIRTO Giorgio

DZ 2084

Avancé

ISBN: 978-2-89737-001-5

3 guitares

28 p. + parties séparées

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Description

Domus de Janas (House of the Fairies or of the Witches) are a type of pre-historic chamber tombs found in Sardinia, built between 3400 and 2700 BC, more than 1000 of which are known on the island. This latest work of Mirto's is in three movements beginning with La Caccia (The Hunt) which begins in 5/4, (metres are changing constantly) with a slightly bizarre, or even comic tinge to it with the sudden change of mood, and the piece's fluctuating rhythms. All the three parts are of the same difficulty and written for a trio of very competent players. After the initial ideas have made their presence felt, the music evens out more into a 3/4-6/8 idea over all three parts set in even quavers until a meno mosso section where part three spends most of the time playing a constant set of staccato minor seconds, bringing back the comic/bizarre touch again. The tempo changes four more times over the next 30 odd bars before a rush of semiquavers results in a fortissimo final chord of open strings on all three guitars. Jana (Witch, or Fairy) is a larghetto set in B minor with sustained chords atop a sonorous melody in Guitar 3. After 14 bars the key slides up a semitone to C minor with a new melody introduced over the previous idea, and then moves after a few bars to A minor with a new theme altogether. An accelerando leads one back to the opening speed with new rocking motif on Guitar 3. This is another complex movement with speeds often changing and themes and ideas in constant flux. Eventually after a considerable length the opening idea returns to close the movement. The final Volo Sull'aquila (The flight of the eagle) is a rollicking presto of 192-crotchets-a-minute, mostly consisting of quavers; so speed is definitely of the essence here. A complex arpeggio pattern on Guitar 3 begins proceedings, followed swiftly by a similar pattern on Guitar 2, and then Guitar 1. Again, keys and musical ideas change very quickly indeed and players have to be really up to the challenge for this final movement. After much musical deliberation the opening speed returns for a final rush to the finishing line on an E minor chord. This is a complex but tonal piece that requires an extremely good set of players to achieve what the composer demands but that said, it is worth investigating if you have a trio physically up to the mark.

Chris Dumigan (Classical Guitar Magazine)

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