Omaggio ad Alvaro Company – CD

Omaggio ad Alvaro Company
Album Monografico – artista principale: Alvaro Company

Tracce:
1. Ballo per il barone di Casalotto (Alfonso Borghese)

2. Notturno (Alfonso Borghese)

3. Suite per Flavio (Flavio Cucchi)
I. Le campanelle in letizia
II. Exotique
III. Pulsating

4. Suite ritrovata (Nuccio D’Angelo)
I. Die Welt von Gestern
II. Metamorfosi
III. Hinting at a sarcastic waltz

5. A new ballad (Ganesh del Vescovo)

6. Las Seis Cuerdas

7. Anima Fluens (Silvano Mazzoni)

8. Fugato dalla suite No. 1 per due chitarre (Alvaro Company, Paolo Paolini)

9. Corni da caccia (Vincenzo Saldarelli)

10. Fuga a tre chitarre (Trio Chitarristico Italiano, Alfonso Borghese, Vincenzo Saldarelli, Roberto Frosali)

Organico Chitarra:

Alfonso Borghese, Flavio Cucchi, Nuccio D’Angelo, Ganesh Del Vescovo, Roberto Frosali, Silvano Mazzoni, Paolo Paolini Vincenzo Saldarelli,Trio Chitarristico Italiano, Duo Company – Paolini

«Un capolavoro unico nel suo genere: otto allievi storici omaggiano il proprio maestro ricordando alcune composizioni che il maestro stesso aveva a loro dedicato.»

Produzione  EMA Vinci service – Fibbiana – Montelupo (fi)
Data di Uscita 8.07.2018
Formato Principale CD Altri Formati Album Digitale

2018 EMA Vinci records 40071 © EMA VinciEtichetta EMA Vinci contemporanea – Linea SIAE-Classici di Oggi • Genere – Contemporanea



Alvaro Company Alvaro Company (Florence, Italy, 1931) studied composition at the “Cherubini” conservatory of Florence under P. Cicionesi, L. Dallapiccola, P. Fragapane, V. Frazzi and C. Prosperi, obtaining diplomas in Choral Music and Composition (1955/56).  He studied guitar under Andrés Segovia at the Accademia Chigiana of Siena from 1950 to 1954; he established the classical guitar course at the Florence Conservatory in 1960, where he continued to teach until the end of 1997; he established the same course at the “O. Vecchi” Musical Lyceum of Modena in 1965; in 1961 at the invitation of the director he taught the same course at the “C. Monteverdi” Conservatory of Bolzano and in 1967, again at the invitation of the director, he taught at the “S. Cecilia” Conservatory of Rome.  In 1957 he undertook a brilliant concert career as a soloist and also in duo with violinist Sergio Dei and guitarist Paolo Paolini. He performed with internationally renowned soloists and chamber groups such as violist Dino Asciolla, flutist Severino Gazzelloni, oboist Lothar Faber, timpanist Leonida Torrebruno, the Berlin Philharmonic Soloists, La Scala Soloists, the Solisti Veneti, as well as with orchestras conducted by Piero Bellugi, Luciano Berio, Hans Werner Henze, Bruno Maderna, and Gabor Ötvos. He continued to perform until 1970, when a nerve injury in his right arm forced him to interrupt his career, with the exception of five concerts at “Teatro alla Scala” theatre of Milan in January 1973, at the invitation of conductor Bruno Maderna. Following a long period of medical treatment and psycho-physical therapies, he returned to performing at the Accademia Chigiana of Siena in 1987.  Since 1968 he has held numerous master classes at Italian and foreign universities.  Extensive research and long experience as a guitarist, teacher and composer (as well as editing works for contemporary guitar and works from the historical repertoire for guitar and lute) have enabled Company to enrich his technique and develop a personal approach to teaching the instrument. Furthermore, he has created a performance method aimed at musicians in general, which he has named “Musical Biodynamics”: this interpretative technique, based on the psycho-physical relationship between tempo, pulse, breathing and gesture, increases awareness of the body and its natural emotional energies and attunes contact with the instrument in a more intimate and complete participation in the musical performance; it also facilitates spontaneous integration with the different situations occurring in theatres and concert halls, promoting a sensitive and harmonious relationship with the audience. As a composer, Company’s sound world, springing from atonal roots as in “Fantasia” op.1 for piano (1948), adopted the twelve-tone technique beginning with his op.3 (“Preludio e Sarabanda” for violin and piano, 1953), and continued in that vein until “Las Seis Cuerdas”, op. 8 for guitar (1963) – a work which symbolizes the meeting point between his compositional and performing interests, opening up new paths in modern guitar technique.  In 1960, he began to compose a series of works for didactic purposes, an area that he continues to investigate, in which the technical problems tackled essentially represent the connective tissue into which another kind of research is inserted, aimed at exploring the interpretational dimension from the view point of structure, style and expressiveness. The need to confront students/players with a variety of musical characteristics and moods inspired him to write these works and dedicate almost all of them to intensely personal “images” of composers he admires.  After 1963, Company only composed didactic works for the following eleven years, resuming his main production of concert pieces in 1974. From that moment on, his style underwent a gradual transformation, becoming more evident after the 1980’s. If on the one hand long personal and didactic practice of his “Musical Biodynamics” had influenced the manner in which he perceived and performed music (now experienced as a “flowering” of the human body, in which gestures, rhythms and heartbeats, together with breathing, are integrated in a rich and constantly changing synthesis, generated by emotion and evolving feelings), this inner dimension had its effect on the way he writes music: thus his atonal and twelve-tone roots were fused, as in a crucible, with his images/archetypes of many composers. In his more recent and idiomatically freer compositions, modality, melisma, tonality, atonality and serialism reappear in a language, in which these vestiges, transfigured in a dreamlike manner, surface as though from an undersea world.  Alvaro Company is a member of the “Accademia nazionale Cherubini”. In 1991 a jury headed by Goffredo Petrassi and formed by Claudio Abbado, Gianandrea Gavazzeni, Carlo Maria Giulini, Riccardo Muti and Maurizio Pollini, as well as by the most important Italian music critics, awarded him the “Massimo Mila” prize “for his exemplary lifelong didactic commitment”. In 1996 at the First National Guitar Convention in Pesaro, he was awarded the “Didactic prize for guitar” and in 1999 at the Fourth National Guitar Convention in Alessandria, he was awarded the “Golden Guitar” prize for composition. In 2010 he received the “Golden Guitar” prize for “A life dedicated to the guitar”. (Translated by Milan Vetter)

DOCUMENTAZIONE

EMA Vinci contemporanea: Omaggio a Ganesh – Ganesh Del Vescovo chitarra – CD

Titolo Omaggio a Ganesh Del Vescovo
Compositori n.c.
Autori Ganesh Del Vescovo
Organico Chitarra
Tracce

Etereo
1. Flessibile
2. Energico

Sette Frammenti
3. Frammento N° 1
4. Frammento N° 2
5. Frammento N° 3
6. Frammento N° 4
7. Frammento N° 5: Con diapason
8. Frammento N° 6: A corde accavallate
9. Frammento N° 7: Introduzione e Rituale

10. Dhyana (nuova versione)
11. Scherzo

Suoni nella notte seconda
12. Fluttuazione per chitarra a 8 corde

Guru Purnima
13. Meditazione
14. Festa

Descrizione
Altro
Registrato  Ganesh Del Vescovo, Firenze
Masters Audio  2015, Giuseppe Scali e Marco Cardone per EMA Vinci records
Grafica  2015, Giuseppe Scali
 Copyright  @ 2015 EMA Vinci records 40031

foto-con-chitarra-300x300

Musiche di Ganesh Del Vescovo

Etereo
1 Flessibile
2 Energico 4.12
Sette Frammenti
3 Frammento N° 1 0.54
4 Frammento N° 2 0.58
5 Frammento N° 3 0.47
6 Frammento N° 4 1.11
7 Frammento N° 5: Con diapason 2.38
8 Frammento N° 6: A corde accavallate 2.05
9 Frammento N° 7: Introduzione e Rituale
10 Dhyana nuova versione
11 Scherzo 3.34 12
Suoni nella notte seconda 11.03 13
Fluttuazione per chitarra a 8 corde 6.57
Guru Purnima
14 Meditazione 8.54
15 Festa


carrellook

Registrato da Ganesh Del Vescovo in Firenze
Masterizzato da Giuseppe Scali e Marco Cardone per EMA Service

Progetto grafico e impaginazione Giuseppe Scali

Il libretto contiene la biografia dell’artista e testi di Mario Luzi, Alvaro Company, Eleonora Negri e Keiko Fujiie e Kazuhito Yamashita

Registrato con chitarre di Alan Wilcox Antonino Scandurra

© 2015 EMA Records 40031

InlayInlay Interno Label

Anche se Ganesh Del Vescovo è uno dei nostri migliori amici, viviamo lontani da lui e possiamo vederlo soltanto di tanto in tanto. Lui è diverso dalle persone ordinarie dei nostri tempi; la sua singolare figura ci fa immaginare che sia il personaggio di una fiaba o uscito dalla mitologia.
In origine il nome ‘Ganesh’ appartiene alla divinità indù della saggezza, con la testa di un elefante. Pare che il nostro Ganesh abbia ricevuto questo nome da uno yogi. Il suo cognome ‘Del Vescovo’ è molto raro in tutta Italia e significa ‘Of the Bishop’.

Egli compone, suona vari strumenti ed ascolta la musica in modo del tutto naturale, senza pretese e senza cercare di mostrare i suoi talenti e le sue conoscenze. La sua musica ha in sé un senso di profonda contentezza e noi crediamo che perfino i fiori si tendono per ascoltarla.
Egli nacque e crebbe in un bel villaggio contadino chiamato Ronzano, situato nell’Italia centrale e completamente sconosciuto ai turisti. Durante l’infanzia girava spesso con una gazza sulla spalla che, senza dare segni del suo arrivo, scendeva all’improvviso volando con gioia verso di lui, e passava le sue giornate a suonare la chitarra in uno spiazzo erboso che nelle sere d’estate si riempiva di lucciole.

Non abbiamo mai conosciuto altrove il genere di abbondanza che si trova nella sua musica. Non conosciamo nessun altro la cui vita è così assorbita nella quieta gioia della musica.
Keiko Fujiie e Kazuhito Yamashita

Although Ganesh Del Vescovo is one of our most treasured friends we see him rarely, living as we do so far from him. He is strikingly different from the norm; this difference almost allows one to imagine him as having stepped out of the pages of a fairy tale or mythology.
Originally “Ganesh” is the name of the Hindu god of wisdom, who has the face of an elephant – his name was bestowed to him by a yogi. His family name of “Del Vescovo” is very rare in all of Italy and means ‘of the bishop’. He composes, plays instruments and listens to music naturally and unassumingly, with no attempt to show off his talents and learning.

His music conveys a sense of deep self-contained satisfaction – we believe that even flowers strain their ears to hear it. He was born and brought up in a beautiful farm village in central Italy called Ronzano, unknown to any tourist. In his boyhood he walked around with a magpie perched on his shoulder, which flew down to him at a moment’s notice, and he spent his days playing the guitar in a grassy plain filled with fireflies in the summer. No where else have we encountered the generous riches that we found in his music. We don’t know anyone else whose life is so immersed in the quiet joy of music.

Keiko Fujiie e Kazuhito Yamashita


L’idea di una “chitarra senza confini” si rende spontaneamente presente incontrando la personalità di Ganesh Del Vescovo, musicista difficilmente inquadrabile nelle consuete categorie di genere, cultura e professionalità legate alla musica, se non ricorrendo al concetto che Quirino Principe chiama “musica forte”: una musica che travalica gli ambiti tradizionali di repertorio definito storicamente o geograficamente, per indicare la musica capace di “trasformarci” dentro in ragione della sua energia, della sua essenza profondamente legata alle ragioni dell’essere umano, al di là della standardizzazione di etichette come “classica”, “colta”, “popolare”, “folk” e via dicendo. E’ musica forte quella con cui Ganesh Del Vescovo identifica la “felicità” della propria esperienza artistica, scoperta all’età di 13 anni, quando rispondeva ancora al nome di Giuseppe, trovandosi in mano una chitarra semidistrutta, sulla quale era rimasta una sola corda, capace tuttavia di incuriosirlo, di incantarlo e di stimolarne lo spirito di sperimentatore.

Tratto dall’intervista per la rivista GUITART: “La chitarra senza confini di Ganesh Del Vescovo” di Eleonora Negri

Con Ganesh è stato l’incontro con una “forza della natura”. L’incontenibile sete di conoscenza, frenata solo dal sacrale rispetto verso una meta intuita, ma da scoprire e conquistare, hanno pervaso questi suoi dieci anni di studio di un’instancabile energia creativa, che si è nutrita solo del sentimento di una verità costantemente ricercata.

La rozza pietra che emanava ignote energie si è così spogliata progressivamente, scoprendo sostanze e forme adamantine che costituiscono la forza e la luce del suo temperamento di musicista.
Alvaro Company

An encounter with the personality of Ganesh Del Vescovo spontaneously brings to mind the idea of a “guitar without boundaries”. It is hard to fit this musician into any of the conventional categories of cultural, professional and musical genres, unless we refer to the concept which Quirino Principe calls “strong music”. This means music which transcends the context of traditional repertoires which have been defined by history and geography; music which thanks to its innate energy and essence that dwells at the source of man’s “raison d’être”, is capable of “transforming us” inside. It lies beyond the standardised labels of “classical”, “cultured”, “popular”, “folklore”, etc. The impact of Ganesh Del Vescovo’s music is strong and he associates it with the “happiness” found in his own artistic experience; an experience which he discovered at the age of 13 when he still answered to the name Giuseppe and came across a partly destroyed guitar, with only one string left, but which somehow managed to capture his curiosity, to enchant him and inspire his experimental nature.

Taken from the interview for the magazine GUITART: “The Guitar without Bounderies of Ganesh Del Vescovo” by Eleonora Negri

Meeting Ganesh was like encountering a “force of nature”. The ten years of his studies with me were pervaded by an uncontrollable thirst for knowledge and untiring creative energy which could only be curbed by the sacred respect for an aim which he intuitively felt but still needed to define and attain. This untiring creative energy was nourished only by an awareness of a truth which he constantly pursued.

In time the rough stone which radiated hidden energies progressively revealed the adamantine form and substance which today constitute the strength and luminosity of his temperament as a musician.
Alvaro Company


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