Omaggio ad Alvaro Company
\n<\/b>musica di<\/i> Alvaro Company<\/b><\/p>\n
Album Monografico<\/b> – artista principale:<\/i> Alvaro Company<\/b><\/p>\n
Tracce:<\/p>\n
1. Ballo per il barone di Casalotto (Alfonso Borghese)<\/p>\n
2. Notturno (Alfonso Borghese)<\/p>\n
3. Suite per Flavio (Flavio Cucchi)
\nI. Le campanelle in letizia
\nII. Exotique
\nIII. Pulsating<\/p>\n
4. Suite ritrovata (Nuccio D\u2019Angelo)
\nI. Die Welt von Gestern
\nII. Metamorfosi
\nIII. Hinting at a sarcastic waltz<\/p>\n
5. A new ballad (Ganesh del Vescovo)<\/p>\n
6. Las Seis Cuerdas<\/p>\n
7. Anima Fluens (Silvano Mazzoni)<\/p>\n
8. Fugato dalla suite No. 1 per due chitarre (Alvaro Company, Paolo Paolini)<\/p>\n
9. Corni da caccia (Vincenzo Saldarelli)<\/p>\n
10. Fuga a tre chitarre (Trio Chitarristico Italiano, Alfonso Borghese, Vincenzo Saldarelli, Roberto Frosali)<\/p>\n
Organico<\/i> Chitarra classica:<\/p>\n
Alfonso Borghese, Flavio Cucchi, Nuccio D\u2019Angelo, Ganesh Del Vescovo, Roberto Frosali, Silvano Mazzoni, Paolo Paolini Vincenzo Saldarelli,Trio Chitarristico Italiano, Duo Company – Paolini
\n\u00abUn capolavoro unico nel suo genere:
\n<\/i>otto allievi storici omaggiano il proprio maestro ricordando alcune composizioni che il maestro stesso aveva a loro dedicato.<\/i>\u00bb<\/p>\n
Produzione<\/i>\u00a0 <\/span>EMA Vinci service – Fibbiana – Montelupo (FI) AMAZON<\/a>
\nEMA Vinci service
\nData di Uscita<\/i> 8.07.2018
\n<\/b>Formato Principale<\/i> CD<\/b> Altri Formati<\/i> Album Digitale
\n<\/b>\u2117<\/i> 2018 EMA Vinci records<\/b> 40071<\/b> \u00a9<\/i> EMA Vinci<\/b> – Etichetta<\/i> EMA Vinci contemporanea
\n<\/b>Linea<\/i> SIAE-Classici di Oggi<\/b> \u2022 Genere – Contemporanea<\/p>\n
\nAlvaro Company<\/b> <\/span>Alvaro Company (Florence, Italy, 1931) studied composition at the \u201cCherubini\u201d conservatory of Florence under P. Cicionesi, L. Dallapiccola, P. Fragapane, V. Frazzi and C. Prosperi, obtaining diplomas in Choral Music and Composition (1955\/56).\u00a0 <\/span>He studied guitar under Andr\u00e9s 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 \u201cO. Vecchi\u201d Musical Lyceum of Modena in 1965; in 1961 at the invitation of the director he taught the same course at the \u201cC. Monteverdi\u201d Conservatory of Bolzano and in 1967, again at the invitation of the director, he taught at the \u201cS. Cecilia\u201d Conservatory of Rome.\u00a0 <\/span>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 \u00d6tvos. 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 \u201cTeatro alla Scala\u201d 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.\u00a0 <\/span>Since 1968 he has held numerous master classes at Italian and foreign universities.\u00a0 <\/span>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 \u201cMusical Biodynamics\u201d: 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\u2019s sound world, springing from atonal roots as in \u201cFantasia\u201d op.1 for piano (1948), adopted the twelve-tone technique beginning with his op.3 (\u201cPreludio e Sarabanda\u201d for violin and piano, 1953), and continued in that vein until \u201cLas Seis Cuerdas\u201d, op. 8 for guitar (1963) \u2013 a work which symbolizes the meeting point between his compositional and performing interests, opening up new paths in modern guitar technique.\u00a0 <\/span>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 \u201cimages\u201d of composers he admires.\u00a0 <\/span>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\u2019s. If on the one hand long personal and didactic practice of his \u201cMusical Biodynamics\u201d had influenced the manner in which he perceived and performed music (now experienced as a \u201cflowering\u201d 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.\u00a0 <\/span>Alvaro Company is a member of the \u201cAccademia nazionale Cherubini\u201d. 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 \u201cMassimo Mila\u201d prize \u201cfor his exemplary lifelong didactic commitment\u201d. In 1996 at the First National Guitar Convention in Pesaro, he was awarded the \u201cDidactic prize for guitar\u201d and in 1999 at the Fourth National Guitar Convention in Alessandria, he was awarded the \u201cGolden Guitar\u201d prize for composition. In 2010 he received the \u201cGolden Guitar\u201d prize for \u201cA life dedicated to the guitar\u201d. (Translated by Milan Vetter)<\/p>\n","protected":false},"excerpt":{"rendered":"
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