Alessandro Spazzoli
A Guitar Notebook. 6 Pieces for Guitar
- Editor: Piero Bonaguri
- Publisher: Ut Orpheus
- Code: CH 136
- In Stock
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€ 9.95
Preludio; Corale; Interludio; Ave, speranza nostra; Postludio; Nunc dimittis
Author: Alessandro Spazzoli (*1964)
Editor: Piero Bonaguri
Publication Date: 9/5/2011
Series: Piero Bonaguri Collection
Pages: pp. 12
Size: 230x310 mm
Binding: Saddle stitching
ISMN: 979-0-2153-1933-2
Code: CH 136
Alessandro Spazzoli was born in Forlì in 1964 and studied composition with Leonardo Lollini, Claudio Josè Boncompagni and Gilberto Cappelli graduating “full honours” at the Conservatorio of Cesena. A number of his compositions, which have won prizes in international competitions, have been published by Carisch, Ut Orpheus and Habanera, recorded by Tactus, Dotguitar and Bottega Discantica and performed in Italy, France, Spain, Germany, Austria, Romania, Estonia, Lithuania, Mexico, USA and Japan.
He received the “Golden Guitar” award for his guitar compositions at the 27th International Guitar Convention in Milan.
After obtaining a diploma in flute at the Conservatorio of Bologna, he specialized with Severino Gazzelloni and Mario Ancillotti and has since then collaborated with a number of orchestra and chamber groups. He holds the chair of flute at Istituto Musicale “A. Masini” in Forlì, and is bandmaster of the city band.
Guitart n. 70 (aprile-giugno 2013)
Un notebook di sei piccoli brani che gravitano attorno a un progetto di ieratica sacralità, e che, nonostante la lorosemplicità costruttiva (possiedono la freschezza degli appunti appena abbozzati), offrono all'esecutore suggestivispunti interpretativi ... (G. Giglio)
Un notebook di sei piccoli brani che gravitano attorno a un progetto di ieratica sacralità, e che, nonostante la lorosemplicità costruttiva (possiedono la freschezza degli appunti appena abbozzati), offrono all'esecutore suggestivispunti interpretativi ... (G. Giglio)
Classical Guitar Magazine (08-2012)
Here is a set of six short pieces, which are characterised by certain richness in voicing or counterpoint. Often one gets the feeling of almost vocal lines and indeed three of the pieces feel often as if they are transcriptions of choral pieces, as we find in lute or vihuela music. So there is a mix of the modern and the archaic all at the same time ... I liked this little set a great deal. It was very unusual and not too hard to play. It had a great deal of individuality to it, and I was continually intrigued by the juxtaposition of styles it presented. It is definitely worth a look. (Chris Dumigan)
Here is a set of six short pieces, which are characterised by certain richness in voicing or counterpoint. Often one gets the feeling of almost vocal lines and indeed three of the pieces feel often as if they are transcriptions of choral pieces, as we find in lute or vihuela music. So there is a mix of the modern and the archaic all at the same time ... I liked this little set a great deal. It was very unusual and not too hard to play. It had a great deal of individuality to it, and I was continually intrigued by the juxtaposition of styles it presented. It is definitely worth a look. (Chris Dumigan)
