Rafael Andia
Freedom and Determinism of the Guitar. From Baroque to Avant-garde
- Editore: Ut Orpheus
- Codice: LB 46
- Disponibile
-
€ 16,50
Debussy wrote to his friend Pierre Louÿs: “Above all, bring me a guitar from which will escape, when sometimes struck, like a fine dust of sound from what it once contained of barbaric melancholy.”
Rafael Andia proposes here a look at the techniques and writings that have created the guitar and continue to determine the very particular history of his instrument: the flamenco or classical guitar, as well as that of the twentieth century or that of the Habsburgs of 1600. The guitar dreamt of by the musicians of Impressionism or that of the Gypsies of the Tobacco Factory in Seville. He can thus weave links between the chitarra spagnuola of the Counter-Reformation and the “Spectral School” (École spectrale) of the 1970s. He reveals an instrument sometimes hesitating between a determinism imposed by other languages and the rediscovered freedom of its gestures, a guitar between submission to models and its own identity.
Rafael Andia proposes here a look at the techniques and writings that have created the guitar and continue to determine the very particular history of his instrument: the flamenco or classical guitar, as well as that of the twentieth century or that of the Habsburgs of 1600. The guitar dreamt of by the musicians of Impressionism or that of the Gypsies of the Tobacco Factory in Seville. He can thus weave links between the chitarra spagnuola of the Counter-Reformation and the “Spectral School” (École spectrale) of the 1970s. He reveals an instrument sometimes hesitating between a determinism imposed by other languages and the rediscovered freedom of its gestures, a guitar between submission to models and its own identity.
Autore: Rafael Andia
Data pubblicazione: 27/4/2023
Pagine: pp. 112
Formato: 140x210 mm
Rilegatura: Brossura (copertina morbida)
ISBN: 978-88-8109-534-6
Codice: LB 46
Rafael Andia ha registrato opere di Falla, Turina e Albéniz, tra gli altri, e ha proposto tecniche originali, a volte ereditate dal flamenco e orientate verso la musica contemporanea. Ha creato e registrato opere per chitarra sola che vanno da André Jolivet a Tristan Murail. Ha inoltre esplorato i territori della chitarra barocca nell’ambito di un gruppo di lavoro presso il CNRS (Centre National de la Recherche Scientifique) e ha inciso l’opera completa di Robert de Visée per Harmonia Mundi.
Ha pubblicato due saggi sulla chitarra (Libertés et déterminismes de la guitare, 2015; Labyrinthes d'un guitariste, 2016) e due romanzi (Rasgueados, 2018; Guitarre royalle, 2019).
Ha pubblicato due saggi sulla chitarra (Libertés et déterminismes de la guitare, 2015; Labyrinthes d'un guitariste, 2016) e due romanzi (Rasgueados, 2018; Guitarre royalle, 2019).
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