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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.
Lettre à Sydney - Lettre à la Seine - Lettre noire - Lettre à soi-même - Lettre française - Lettre mi-longue - Lettre latine - Vénézuelettre - Lettre à Claude et Maurice - Lettre à la vieille Angleterre - Lettre Nordestine - Lettre à demain - Lettre et le néant - Lettre au calme - Lettre à Jacques Cartier - Lettre à Isaac, Emilio et les autres - Lettre encore - Lettre à la Saudade - Lettre à Julia Florida - Lettre à Monsieur Messiaen
Born on the 19h of October 1955, the French performer, composer, arranger and improviser Roland Dyens began to study the guitar when he was nine years old. Later he studied with the Spanish master Alberto Ponce in a class where he obtained, in 1976, the "Licence de Concert" from l'Ecole Normale de Musique de Paris (France). [...]