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Angelo Gilardino : Quatuors de guitares. Quartetto Santorsola.
Format : 1 CD

Recording : 13-30/12/2008
Location : Conversano
Country : Italie

Label : Brilliant Classics
Catalog No. : BRIL95911
EAN : 5028421959115
Price Code : DM009A

Publishing Year : 2019
Release Date : 05/06/2019

Genre : Classical
Angelo Gilardino (1941-)
Feste Lontane, Sinfonietta pour 4 guitares
Sonetti Giuliani, Dedicated to the "Quartetto Santorsola"

Ernesto Lecuona (1895-1963)
Andalucia, version pour 4 guitares de A. Gilardino

Quatuor Santorsola
Antonio Rugolo, guitare
Angelo Gillo, guitare
Vincenzo Zecca, guitare
Livio Grasso, guitare

Si la guitare se prête volontiers à la musique de chambre, le quatuor de guitares reste peu fréquenté. Au programme de ce disque du quatuor Santorsola, trois pièces inédites pour quatre guitares du guitariste et compositeur Angelo Gilardino, né en 1941, auteur par ailleurs d'un abondant corpus pour l'instrument. Les trois mouvements de la « Sinfonietta » « Feste lontante » (2017) « Danubiana », « Veneziana » et « Vesuviana » (dédiées respectivement à Ferenc Farkas, Alexandre Tansman et Teresa de Rogaris) mélangent dans une même évocation paysages et souvenirs, visions et ressentis. Parfois la mémoire se trouble, la tonalité bascule et l’œuvre de facture néo-classique, rythmiquement très carrée, glisse parfois vers d'imprévisibles précipices harmoniques. Basée sur des études de Mauro Giuliani, « Sonetti Giuliani » (2008), commande du quatuor Santorsola, donne lieu à un subtil travail de re-création des partitions d'origine, et matière à de prompts et délicats échanges complices entre cordes, même si à l'écoute, il est quasiment impossible d'isoler chaque membre du quatuor, les quatre avançant systématiquement groupés. La Suite « Andalucia » écrite par le compositeur cubain Ernest Lecuona (1895-1963) fut composé pour le piano, Gilardino en offre une version pour quatuor. Intéressant compromis entre Granados et Albeniz, romantisme et modernisme, l’œuvre est une succession de tableaux (Cordoba, Alhambra, Guadalquivir, Malaguena) et de thèmes à inspiration populaire savamment arrangés. (Jérôme Angouillant)

Premiere recordings of original music and transcriptions, all imbued with the Mediterranean colour and flamboyance of the guitar quartet genre and played with polish by a renowned Italian ensemble. Born in 1941, Angelo Gilardino enjoys an extensive discography on Brilliant Classics, which has won international acclaim both for the beauty of the music and the authority and sensitivity of the performances. 'Listen with confidence,’ said the online-jazz.net journal of a trio of guitar concertos (BC94747): ‘Here is transparent art, which does not feel the need to raise its voice: art masterfully built, but in which vitality springs forth. His prime expressive vehicle is the guitar, and he is an absolute master of all its secrets. The album may be enjoyed with uninterrupted pleasure. It represents a perfect introduction to the world of this remarkable composer, who has enriched the Italian tradition with music of real inspiration and high craftsmanship.’ In 2008 Gilardino arranged a set of his solo studies based on the music of Mauro Giuliani and dedicated them to the ensemble on this album, the Quartetto Santórsola. They comprise seven brief pieces, with a dashing tarantella at their heart. The year previously, he had written a three-movement Sinfonietta expressly for guitar quartet, in which each movement pays tribute to an inspirational figure in the history of the instrument from the early part of the last century: Ferenc Farkas, Alexander Tansman and finally Teresa de Rogatis, evoking their musical personalities and playing styles within a fast-slow-fast design that makes for a substantial work in its own right. Gilardino’s own work is complemented here by his transcription of ‘Andalucia’, a piano cycle by the Cuban composer Ernesto Lecuona. As Gilardino himself observes in a booklet essay, the cycle belongs to the Spanish heritage of Albéniz and Granados. ‘It seemed appropriate to make this version for four guitars that, while not competing with the dynamic range of the piano original, nonetheless lives up to the colour and brilliance of Lecuona’s inspiration.’

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