Albums
Un Viaje Mistico ... A Mystical Journey
released June 2013
released June 2013
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The Journey
The album was recorded in early 2013 at Pughouse Studios in Melbourne.
All tracks were recorded on a Greg Smallman & Sons 2013 with D'Adarrio EJ45 (nylon) strings.
Funds were raised through PledgeMusic, a crowdfunding website. Massive thanks to everyone who donated!
The recording engineer was Blake Stickland, who used a number of microphones and I'm sorry to say I can't name them. He's a fantastic engineer and great person, I highly recommend him for recording jobs.
The producers were my father Luigi, my teacher at the time Tonié Field, and my mate Michael McManus - huge thanks to them!
The artwork was done by my good buddy Scott Morton - I totally love what he did!
I did the mixing myself on ProTools. That was a nightmare...
The mastering was done by Adam Dempsey at Jack the Bear's Deluxe Mastering. They have amazing speakers and equipment.
The CD Launch took place at Nando's in Northcote, Melbourne. The event was organised by Judith So and Maria Semple - big thanks to them!
The album was recorded in early 2013 at Pughouse Studios in Melbourne.
All tracks were recorded on a Greg Smallman & Sons 2013 with D'Adarrio EJ45 (nylon) strings.
Funds were raised through PledgeMusic, a crowdfunding website. Massive thanks to everyone who donated!
The recording engineer was Blake Stickland, who used a number of microphones and I'm sorry to say I can't name them. He's a fantastic engineer and great person, I highly recommend him for recording jobs.
The producers were my father Luigi, my teacher at the time Tonié Field, and my mate Michael McManus - huge thanks to them!
The artwork was done by my good buddy Scott Morton - I totally love what he did!
I did the mixing myself on ProTools. That was a nightmare...
The mastering was done by Adam Dempsey at Jack the Bear's Deluxe Mastering. They have amazing speakers and equipment.
The CD Launch took place at Nando's in Northcote, Melbourne. The event was organised by Judith So and Maria Semple - big thanks to them!
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Album Review on Classical Guitar n Stuff by Nicole Neal
About the Music
(notes written by Daniel)
(notes written by Daniel)
Mazurka Appasionata & La Catedral by Agustin Barrios
Born in Paraguay, child musical prodigy Agustin Barrios was one of the early 20th century's leading guitarist/composers. Barrios wrote a vast number of works in varying styles, including music inspired by his own Paraguayan and South American folk origins, such as the Milonga and the Maxixe. Barrios also composed several Waltzes and Mazurka Appasionata, all in a style influenced by the revolution of Chopin. Composed in 1919, Mazurka Appasionata, (or Impassioned Mazurka) also titled “The Soul of María Ester”, describes the relationship Barrios had with María Ester.
Another style of composition identifiable with Barrios is his Bach inspired neo-baroque style, clearly evident in La Catedral. The first movement, Preludio “Suadade” was written after the following two movements. “Suadade” is a Portuguese word that denotes deep sadness. This “Suadade” quality is prevalent in many of the works of Barrios. Andante Religioso was inspired by an organist playing the music of Bach and this organ quality and power can be heard in the dense repeated chordal passages. The work concludes with the hustle and bustle of the streets in the Allegro Solemne, demonstrating the incredible virtuosic writing that displayed Barrios' abilities on the guitar. His playing can be heard on recordings, as in fact Barrios was the first guitarist to record.
Born in Paraguay, child musical prodigy Agustin Barrios was one of the early 20th century's leading guitarist/composers. Barrios wrote a vast number of works in varying styles, including music inspired by his own Paraguayan and South American folk origins, such as the Milonga and the Maxixe. Barrios also composed several Waltzes and Mazurka Appasionata, all in a style influenced by the revolution of Chopin. Composed in 1919, Mazurka Appasionata, (or Impassioned Mazurka) also titled “The Soul of María Ester”, describes the relationship Barrios had with María Ester.
Another style of composition identifiable with Barrios is his Bach inspired neo-baroque style, clearly evident in La Catedral. The first movement, Preludio “Suadade” was written after the following two movements. “Suadade” is a Portuguese word that denotes deep sadness. This “Suadade” quality is prevalent in many of the works of Barrios. Andante Religioso was inspired by an organist playing the music of Bach and this organ quality and power can be heard in the dense repeated chordal passages. The work concludes with the hustle and bustle of the streets in the Allegro Solemne, demonstrating the incredible virtuosic writing that displayed Barrios' abilities on the guitar. His playing can be heard on recordings, as in fact Barrios was the first guitarist to record.
Collectici intim by Vicente Asencio
Vicente Asencio was born in Valencia and undertook his musical training as a young child with his father. Asencio studied with Joaquin Turina and his early style shows clear influences from Manuel De Falla. Narciso Yepes, one of Spain's foremost 20th century guitarists, undertook musical studies with Asencio. According to Yepes Asencio “was a pianist who loathed the guitar
because a guitarist couldn't play scales very fast and very legato, as on a piano or violin.” Through dedicated practice and technical improvement, Yepes managed to match the rapid figures that Asencio demanded. Collectici íntim was a work dedicated to Yepes and the importance of their relationship is highlighted in the foreword of the work - “…[Asencio] was no guitarist,
but he was a great musician and an exceptional educationalist. I dare say that at the time he had little interest in the guitar. But day-by-day he showed more interest in the beauty and limitations of this instrument, until he decided to dedicate a good deal of his time to
my musical formation. Within me grew an unlimited enthusiasm for musical analysis and for the application of instrumental technique to the problems that music posed for me…”
Vicente Asencio was born in Valencia and undertook his musical training as a young child with his father. Asencio studied with Joaquin Turina and his early style shows clear influences from Manuel De Falla. Narciso Yepes, one of Spain's foremost 20th century guitarists, undertook musical studies with Asencio. According to Yepes Asencio “was a pianist who loathed the guitar
because a guitarist couldn't play scales very fast and very legato, as on a piano or violin.” Through dedicated practice and technical improvement, Yepes managed to match the rapid figures that Asencio demanded. Collectici íntim was a work dedicated to Yepes and the importance of their relationship is highlighted in the foreword of the work - “…[Asencio] was no guitarist,
but he was a great musician and an exceptional educationalist. I dare say that at the time he had little interest in the guitar. But day-by-day he showed more interest in the beauty and limitations of this instrument, until he decided to dedicate a good deal of his time to
my musical formation. Within me grew an unlimited enthusiasm for musical analysis and for the application of instrumental technique to the problems that music posed for me…”
Sonatina "after an Enchantress..." by John Anthony Lennon
John Anthony Lennon (not to be confused with the Beatles member, John Lennon!) was born in North Carolina and currently resides in Atlanta as a professor of composition and theory at Emroy University. Lennon is known for his lyrical compositional style that often contains evocative titles. The guitar has fascinated Lennon
since childhood. Lennon's first true understanding for the guitar came to him by none other than Andrés Segovia at a concert in San Francisco.This experience gave Lennon a deeper knowledge of the way the fretboard and it's patterns and symmetries created music
on the guitar. Further to the influence of Segovia, Lennon had also witnessed other legendary guitarists, Chet Atkins, Eric Clapton and Django Reinhardt, perhaps further deepening his knowledge, understanding and curiosity for the instrument. Concerning his compositions, Lennon says, “the best pieces spring from small ideas and follow a path as though they compose themselves.” Lennon's guitar works make effective use of the instrument's patterns and symmetries, producing a unique blend of sounds and effects. Sonatina is a fine example of late 20th cenury compositional style, within a fairly tonal system.
John Anthony Lennon (not to be confused with the Beatles member, John Lennon!) was born in North Carolina and currently resides in Atlanta as a professor of composition and theory at Emroy University. Lennon is known for his lyrical compositional style that often contains evocative titles. The guitar has fascinated Lennon
since childhood. Lennon's first true understanding for the guitar came to him by none other than Andrés Segovia at a concert in San Francisco.This experience gave Lennon a deeper knowledge of the way the fretboard and it's patterns and symmetries created music
on the guitar. Further to the influence of Segovia, Lennon had also witnessed other legendary guitarists, Chet Atkins, Eric Clapton and Django Reinhardt, perhaps further deepening his knowledge, understanding and curiosity for the instrument. Concerning his compositions, Lennon says, “the best pieces spring from small ideas and follow a path as though they compose themselves.” Lennon's guitar works make effective use of the instrument's patterns and symmetries, producing a unique blend of sounds and effects. Sonatina is a fine example of late 20th cenury compositional style, within a fairly tonal system.
Sevilla from Suite Espanola by Issac Albeniz
Spanish composer and pianist Isaac Albéniz was also a child prodigy making his first public appearance at the age of 5. As well as being
a gifted composer and pianist, Albéniz was also a prodigious improviser. Suite Espagnola began its existence in this way, being partly improvised in an 1886 recital. Like many other works of Albéniz, Sevilla and the remaining six movements of the Suite are evocative of different regions of Spain. The Sevillana is a vivid and lively folk dance in three that derives from the Seguidilla dance. Sevillana often contain lyrics based on country life, love and pilgrimage. In this particular case, Sevilla contains two main contrasting sections, where one could attribute the first rhythmical, lively one as being dance and the second slower, lyrical section as being song. Sevilla and the remaining movements from Suite Espagnola have been transcribed for guitar and are widely played today. Upon hearing Spanish guitarist Francisco Tárrega play these works on the guitar, Albéniz is reputed to have said that he thought his works suited the guitar more than the piano.
Spanish composer and pianist Isaac Albéniz was also a child prodigy making his first public appearance at the age of 5. As well as being
a gifted composer and pianist, Albéniz was also a prodigious improviser. Suite Espagnola began its existence in this way, being partly improvised in an 1886 recital. Like many other works of Albéniz, Sevilla and the remaining six movements of the Suite are evocative of different regions of Spain. The Sevillana is a vivid and lively folk dance in three that derives from the Seguidilla dance. Sevillana often contain lyrics based on country life, love and pilgrimage. In this particular case, Sevilla contains two main contrasting sections, where one could attribute the first rhythmical, lively one as being dance and the second slower, lyrical section as being song. Sevilla and the remaining movements from Suite Espagnola have been transcribed for guitar and are widely played today. Upon hearing Spanish guitarist Francisco Tárrega play these works on the guitar, Albéniz is reputed to have said that he thought his works suited the guitar more than the piano.
Kinkachoo, I Love You by Phillip Houghton
Australian composer Phillip Houghton has written many solo and chamber works for guitar. Houghton was originally trained as an artist; a clear influence of his incredible sensitivity to colour and timbre on the guitar. Houghton was self taught as a composer, being influenced by a variety of genres including classical, jazz, rock and world music. Houghton's scores are notoriously marked with fascinating advice as to the types of sounds to be achieved. On the score of Kinkachoo, I Love You, Houghton writes “with a sense of weightlessness; to hover and glow.” The score itself, only 2 pages long, is heavily peppered with expressive indications and markings, demonstrating Houghton's musically colourful understanding of the guitar. Houghton's works are often inspired by myths and nature.
Underneath the title Houghton writes, “ … the Kinkachoo, a mythical bird, once wounded in the Spirit-Realm, heals and flies into the world.” This almost semi-programmatic dialogue can be interpreted in the musical structure, where the climax towards the end could be interpreted as being the mythical bird flying into the world. This kind of programmatic story telling is usually a special feature in Houghton's music, and is often done with very minimal compositional resources, but with maximum effect.
Australian composer Phillip Houghton has written many solo and chamber works for guitar. Houghton was originally trained as an artist; a clear influence of his incredible sensitivity to colour and timbre on the guitar. Houghton was self taught as a composer, being influenced by a variety of genres including classical, jazz, rock and world music. Houghton's scores are notoriously marked with fascinating advice as to the types of sounds to be achieved. On the score of Kinkachoo, I Love You, Houghton writes “with a sense of weightlessness; to hover and glow.” The score itself, only 2 pages long, is heavily peppered with expressive indications and markings, demonstrating Houghton's musically colourful understanding of the guitar. Houghton's works are often inspired by myths and nature.
Underneath the title Houghton writes, “ … the Kinkachoo, a mythical bird, once wounded in the Spirit-Realm, heals and flies into the world.” This almost semi-programmatic dialogue can be interpreted in the musical structure, where the climax towards the end could be interpreted as being the mythical bird flying into the world. This kind of programmatic story telling is usually a special feature in Houghton's music, and is often done with very minimal compositional resources, but with maximum effect.
This Morning in Omagh the Sun Rose Again by William Lovelady
William Lovelady has written works for guitarists Slava Grigoryan, Craig Ogden and Amanda Cook. Cook describes his music as evocative and atmospheric, resulting in a style that responds well to audiences. His use of clever techniques and unusual harmony results in music of great poignancy and nostalgia. The title of this work serves as a tribute to the devastating 1998 car bomb attack that occurred in the town of Omagh, Northern Ireland, killing 29 people and injuring 220. This work is an exemplary example of Lovelady's expressive harmonic language. It opens with an introductory section that displays a very unique writing style for the guitar.It combines spaciousness with rapid flourishes that I find reminiscent of the
ornamental figurations of an Irish Bagpipe. This section concludes with a thrice- repeated figure and transitions into a bass line that serves as the main motivic material for the rest of the work. Here Lovelady demonstrates a wonderful understanding of the tremolo which, combined with his expressive harmonic vocabulary, creates a work that is easily appealing but still contains musical, aesthetic and expressive depth.
William Lovelady has written works for guitarists Slava Grigoryan, Craig Ogden and Amanda Cook. Cook describes his music as evocative and atmospheric, resulting in a style that responds well to audiences. His use of clever techniques and unusual harmony results in music of great poignancy and nostalgia. The title of this work serves as a tribute to the devastating 1998 car bomb attack that occurred in the town of Omagh, Northern Ireland, killing 29 people and injuring 220. This work is an exemplary example of Lovelady's expressive harmonic language. It opens with an introductory section that displays a very unique writing style for the guitar.It combines spaciousness with rapid flourishes that I find reminiscent of the
ornamental figurations of an Irish Bagpipe. This section concludes with a thrice- repeated figure and transitions into a bass line that serves as the main motivic material for the rest of the work. Here Lovelady demonstrates a wonderful understanding of the tremolo which, combined with his expressive harmonic vocabulary, creates a work that is easily appealing but still contains musical, aesthetic and expressive depth.
Chopin for Guitar
To be released in 2021
To be released in 2021
