Cristiano Porqueddu: Trascendentia

Trascendentia. Last recording path

Fri, 11 Jan 2008 14:19:36 GMT

The fifth volume of Trascendentia - Angelo Gilardino studies complete recording has been published.

For the first time there are five compact discs containing the registration of sixty "Studi di Virtuosità e di Trascendenza".

The work was tiring and lasted 3 years but with a lot of satisfaction and pleasure to open a window on a world of the guitar repertoire that digs into the soul of the instrument.

From Jan 30, 2008 all volumes also in mp3 format will be available here: www.trascendentia.com, www.guitarscd.net, www.amazon.com and www.ebay.com and for all subscribers of italian classical guitar magazine Seicorde

Trascendentia CD Review on Soundboard

Mon, 24 Dec 2007 23:29:46 GMT

In the last issue of the classical guitar magazine "Soundboard" there is a big review on the Trascendentia CDs Voll. 1 - 4.
Al Kunze have sent me today the page in PDF format. I hope to receive soon my copy.

The full review here in PDF format. (You need Adobe Reader 6.0 or higher)

Trascendentia - Gilardino Studies Complete Recording

Mon, 26 Feb 2007 10:10:23 GMT

The series of the Studi di virtuosità e di trascendenza was composed by Angelo Gilardino during 7 years, since 1981 to 1988. A forefront guitarist.
on 1981 Gilardino suddendly decided to give up with his concert activity and to devote his work to composition and musicology. The Studi are the first result of such a change in his artistic life.

The series is made of 60 concert Studies, divided into five books of 12 Studies.

The idiomatic writing for the instrument – a natural feature for a composer who is also a virtuoso of the instrument – is represented in a series of “gestures” which appear as the remote source of each piece. However, these gestures are immediately connected to a musical purpose, which makes of them the bricks of rather elaborated forms. In the series there are continuos, three section forms lied-like, theme and variations, episodic successions with a more or less evident connection, and also a four movement Suite.

Their poetic nature is mainly evocative. Conceived and entitled as “homages to…”, they do not aim to imitate any model, but to create a link between the composer’s memory and the worlds of those artists who are the dedicatees of the homages (mainly painters and poets, but also musicians).

Highly challenging for the interpreter, they make a unity among the idiom of the guitar – approached from a new perspective – the musical language – which conveys a lot of different suggestions in a very subtle and elaborated style – and the poetry – which displays all the evocative power of the guitar sound.