Carlo de Nonno
3 Little Suites for Guitar (2008)
- Publisher: Ut Orpheus
- Code: CH 106
- In Stock
-
€ 10.95
The first impulse to compose these 3 Little Suites for Guitar came from the desire to offer very young students compositions not framed by the usual features of ‘music for children’ but, rather, meant to introduce into their musical horizon sonorities, rhythms, and expressive modalities not generally experienced in the more ‘traditional’ courses of study.
As the compositions developed, the project underwent some slight modifications, so that in the end one could say that the three suites became progressively more difficult, though remaining, in their deep essence, quite ‘simple’.
I would recommend paying careful attention to the titles of the pieces and to the expressive markings. Although it was not my intention to write ‘descriptive’ music, I have tried to handle these pieces like stage scripts, giving each a specific ‘character’. For this purpose my long experience as a composer of theatre music has been very helpful.
It would give me great satisfaction if guitarists of every age would enjoy performing these suites. I would like teachers to find in them cues for proposing to their pupils further refinements concerning both technique and expression, never forgetting how inexpressible music truly is.
(Carlo de Nonno)
As the compositions developed, the project underwent some slight modifications, so that in the end one could say that the three suites became progressively more difficult, though remaining, in their deep essence, quite ‘simple’.
I would recommend paying careful attention to the titles of the pieces and to the expressive markings. Although it was not my intention to write ‘descriptive’ music, I have tried to handle these pieces like stage scripts, giving each a specific ‘character’. For this purpose my long experience as a composer of theatre music has been very helpful.
It would give me great satisfaction if guitarists of every age would enjoy performing these suites. I would like teachers to find in them cues for proposing to their pupils further refinements concerning both technique and expression, never forgetting how inexpressible music truly is.
(Carlo de Nonno)
Author: Carlo de Nonno (*1956)
Publication Date: 12/1/2008
Pages: pp. 16
Size: 230x310 mm
Binding: Saddle stitching
ISMN: 979-0-2153-1592-1
Code: CH 106
Carlo de Nonno (Naples, 1956), composer and guitarist, moving from harmony and composition studies, and a degree thesis about medieval musicology, he took part in the Eighty to the so-called “after Eduardo” wave, aiming to a renewal in the Neapolitan dramaturgy, and wrote incidental music for the plays of standing personalities as Mario Santella, Enzo Moscato and Annibale Ruccello. The long fellowship with the latter, in particular, resulted in the composition of the original themes for Ferdinando, the famous play awarded in 1983 by the Italian Drama Institute with its annual prize, and destined to become the most representative and ofter staged play of the so-called “New Neapolitan Dramaturgy”. Then, de Nonno’s career as a stage composer went on until today through scores of productions of national importance. Standing out among these are Ruccello’s Notturno di donna con ospiti interpreted by Giuliana De Sio, and Peter Quilter’s Gloriosa (about the life of the “soprano” Florence Foster Jenkins), interpreted by Katia Ricciarelli and produced by Enrico Maria Lamanna.
As a composer in a broader sense, he has recorded compositions of his own for the Cam Record and the Fonit Cetra, and has been performed on important festivals.
As a guitarist, he does perform original thematic recitals, exploiting his strong and constant cultural and musical exchanges of ideas, among others, with Sergio Notaro, Vincenzo Di Benedetto, Leo Brouwer and Bruno Battisti D’Amario. He has been member of the jury for the guitar-composition contest “Suoni Nuovi Autori” and for “Ciao Classica” award, in its collaboration with guitarist and teacher Adriana Tessier.
Moreover, he cultivates also the fields of literature and poetry: his short story “Beethoven’s Concert n° 5 for piano and orchestra” won in the year 2008 the first prize in the contest “Marcel Proust: music of the memory”, announced for an unpublished short story by “Florestano” publishers in Bari. He has translated important historical works of authors such as Paul Veyne, Jacques Le Goff, Giulia Sissa.
Detailed information on the site: www.carlodenonno.it
Soundboard n. 1 (2010)
Here’s a clever idea that should be done more often: extended multi-movement works written specifically for children and beginners. ... All in all, quite a fine book and a boon for teachers seeking new material. (David Norton)
Here’s a clever idea that should be done more often: extended multi-movement works written specifically for children and beginners. ... All in all, quite a fine book and a boon for teachers seeking new material. (David Norton)
Classical Guitar Magazine (02-2010)
... A couple of pieces are of particular interest: 'Nuvole' (clouds), with its expressive and poignant melody line, has a particularly attractive emotive quality to it and the joyful and dynamic 'Tarantatango' certainly gets the pulse racing. ... The presentation, it has to be said, is excellent throughout and the book does have a most eye-catching front cover. (Steve Marsh)
... A couple of pieces are of particular interest: 'Nuvole' (clouds), with its expressive and poignant melody line, has a particularly attractive emotive quality to it and the joyful and dynamic 'Tarantatango' certainly gets the pulse racing. ... The presentation, it has to be said, is excellent throughout and the book does have a most eye-catching front cover. (Steve Marsh)
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