These pieces, which have been composed for a wide range of guitar ability, have been at the bock of my mind for the past fifteen years (and three weeks, to be precise). And now they are ready.
Nevertheless - and here we come to the reason why it has taken so long - combining good quality music with relative ease of play has always seemed to me the most difficult thing in composition. While I cannot be sure that I have succeeded with these 20 Letters, at least I have the satisfaction of having made an attempt, in response to the many friends who, for many years, tried to persuade me to follow this path (which let it be said, is perhaps a greater challenge than a concerto!).
And now, after several weeks' work, I think what gives me the most pleasure is the thought that at last my music will be accessible to a large number of guitarists who, for obvious technical reasons, felt until now somewhat excluded from the majority of my work. I hope, therefore, that this gap will be consigned to past history.
More about Roland Dyens
The tango was born in Buenos-Aires in 1882. It was first played on the guitar and the flute. The piano was added later, followed by the bandoneon. It is music full of charm and vivacity, that gives the impression of the good spirits and volubility of the French, Italian and Spanish women who lived in these brothels, enticing the policemen, thieves, sailors and hoodlums who visited them. The tango is cheerful.
This is a different era of the tango. People no longer danced to it, as in the 1900s and became satisfied by just listening, which allowed for a more musical and romantic evolution. This was a radical transformation. The tango became slower, more melancholic, and incorporated new harmonies. Tango orchestras were made up of two violins, two bandoneons, a piano and a double bass. Sometimes it was sung.
A new evolution was witnessed during this period, in which international exchange increased considerably. Brazil and Argentina met in Buenos-Aires; bossa nova and the new tango were "same battle". The public flocked to the nightclubs to listen earnestly to the new tango; a revolution and profound disruption of certain forms of old tango.
Certain concepts join tango music with contemporary music, such as recollections by Bartok, Stravinsky and several others on a tango base. This is today's tango, the tango of the future...
The Historias sin palabras (Stories without Words) were inspired by the Colobian writer Gabriel Garcia Marquez's book Strange Pilgrims.
This work is a suite of pieces, each of wich corresponds to one of the stories.
They can also be played separately. In this work Idid not want to describe, but rather to reveal the emotions I felt while reading the stories.
El destierro del Jerarca / Bon voyage, Mr le président
La rosa eterna / La Sainte
Rojas rodillas muertas / Dix-sept anglais empoisonnés
Una senil illusion / L'avion de la belle endormie
Los suenos reales son / Un metier de rêve
El ultimo viaje / Je ne voulais que téléphoner
Flor de otono / Maria dos Prazeres
Paseo nocturno / Epouvantes d'un mois d'août
Vendaval de pavor / Tramontana
El destino del rigor / L'été heureux de Mme Forbes
Juego final / La lumière est comme l'eau
Muerta en primavera / La trace de ton sang dans la neige
More about Maximo Diego Pujol
8 Songs after Jacques Prévert :
After several years of uncertainty, while we waited for permission to be granted by the various publishers of the original works, this edition has finally made it, much to the satisfaction of the numerous guitarists who have been awaiting its publication. (As far as my memory serves me, none of my work has ever led to such a demand forgive me for mentioning this detail). The nine arrangements that make up this edition, all written at very different times, are extremely varied. Jazz rubs shoulders with classical music which in its turn, and without any undue navel-gazing, happily cohabits with a tango from the Argentine suburbs, and even a nylon-stockinged valse-musette. This album is a homage to a blend of styles. Would it perhaps be a foretaste of music of the new generation? I suspect this may be the case - fortunately for us.
Chopin : Mazurka op. 68 n°4, Valses op. 69 n°1 et 2 - Villoldo : El Choclo - Monk : Round Midnight - Satie : Gnossienne n°1 - Columbo/Murena : Indifférence - Reinhardt : Nuages - de Moraes/Jobim : Felicidade.
Original version for solo flute