Xuefei Yang CLASSICAL GUITAR BY YANG XUEFEI

CLASSICAL GUITAR BY YANG XUEFEI

Dale Kavanagh 20th CENTURY GUITAR

Dale Kavanagh is one of the most prominent classical guitarists of her generation. As a soloist and a member of the acclaimed Amadeus Guitar Duo she has performed all over the world and is the dedicatee of numerous compositions. Domeniconi’s ‘Variations’ are based on a famous Anatolian folk song, while the highly original language of Britten’s evocative ‘Nocturnal’ has its starting point in a song by John Dowland. Cooperman’s Walking on Water was inspired by Peter Sellers’ last film ‘Being There,’ and Ponce’s ‘Folia de España’ is often considered one of the most magnificent guitar pieces ever written. Between 1986 and 1988 Canadian-born Dale Kavanagh was a top prizewinner in Spain’s Segovia Competition, Italy’s Gargnano Competition, Switzerland’s Neuchatel Competition, and first and special prizewinner in Finland’s Scandinavian International Guitar Competition. She performs internationally as a soloist and in the Amadeus Guitar Duo with German guitarist Thomas Kirchhoff and has given recitals in more than 70 countries.

Zsófia Boros LOCAL OBJECTS

Vienna-based Hungarian guitarist Zsófia Boros brings remarkable interpretive clarity and a uniquely unifying touch to a diverse collection of pieces in her second recording for ECM, Local Objects. Phrasing in distinct ways while staying faithful to the spirit of the music, she offers new perspectives on standards of the concert repertoire such as Carlo Domeniconi’s “Koyunbaba” and Jose Cardoso’s “Milonga”, differently flavours Egberto Gismonti’s harmonically-inventive “Celebração de Núpcias”, and reveals a highly observant musical eye in the choice of contemporary guitar pieces such as Mathias Duplessy’s “Nocturne”, Alex Pinter’s “Gothenburg”, and the epic “Fantasie” by Franghiz Ali-Zadeh.

Gismonti’s “Celebração de Núpcias” appeared on the 1976 recording Dança das Cabeças (a duo with late percussionist Nana Vasconçelos), the Brazilian master’s first ECM album. Zsófia’s version highlights the trance-like qualities of Gismonti’s original: “I couldn’t stop playing it,” she says.

“I just wanted to hear those harmonies.”

On “Milonga" by Argentinian Jorge Cardoso and Brazilian Anibal Augusto Sardinha (Garoto)’s exquisite, lyrical “Inspiração”, Boros adds introductions of her own. On the latter, harmonics suggest glass stars over a distant shore, before the melody arrives. “Like a film director, you focus on a small thing and it creates a feeling before you know what the film is about. Water droplets, droplets on a flower, a flower garden … I don’t want to go straight into the room where the story takes place, I want to go first into the garden, to see the flowers.”

With Italian composer Domeniconi’s four-part “Koyunbaba op. 19”, about a thirteenth century hermit who lived in a cove by the Aegean Sea, Boros puts each of the various sections and elements of the piece in an explicit light, creating an enlarged vision of the whole. After climactic chords, soft paper placed on the guitar strings helps produce the muffled, quasi-sordino passage...

... that opens Zsófia ’s building rendition of the “volcanic” presto, as she describes it, played fast but light.

Another extended offering on the album is “Fantasie” by Azerbaijani composer Franghiz Ali-Zadeh, an open-ended instrumental and compositional showpiece (in the positive sense of the term). Inside its complexity, Zsófia says her challenge was to “find the story”. “I need to make a piece my own for it to be authentic. And I can only be authentic if I’m honest, honest if I’m free.”

Short pieces by composer-instrumentalists bookend the album. The opening “Nocturne” by Frenchman Mathias Duplessy evokes, if unconsciously perhaps, the nocturne in its original Italian denomination describing a type of serenade. “I can hear it a thousand times and it still touches me,” she says. 

“Gothenburg”, by Austrian guitarist Alex Pinter, is about the end of a relationship. “Everybody knows how when a relationship ends, you have all these questions,” says Zsófia , for whom Pinter is a friend. She plays his lament liberally, empathetically, as an “object of local insight” to borrow from the Wallace Stevens poem that lends its title to this recording and is published in the CD booklet. (ECM Records)