FREDERIC ZIGANTE VILLA LOBOS PDF

Not only is he a sensitive yet virtuoso performer but, since , he has been creating new editions of these works both well-known and often-unknown. He has returned to the manuscript sources where available, but the composer tended to leave several versions of some of the pieces and often the differences are striking. The first piece on this CD dates from and the last from so the composer had many years to tinker with his creations. This is highlighted by the Douze Etudes written between and

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Behind this desire for integrity hides no pathologically prolific mind, but a man who searches for profundity and who wants to use the power of interpretation to the good. The latter implies that Zigante eschews or may we even say "despises" the modern-day tendency to submit a Classical works to the arbitrariness of subjectivity, to change it, alter it or even leave out certain passages for more easy digestability. With a clear mind, he recognises current cross-over tendencies and hip genre-bending see his answers to our Festival-question!

And yet, he is by no means an anachronism. In essence, his tendency for established values and the ongoing fascination for the infinite possibilities within the purity of a piece is not a sign of conservatism - but rather of class. You need to see the whole picture here - after all, that is what Frederic Zigante is all about.

How are you? Where are you? I would probably be a medical doctor or a politician. What or who was your biggest influence as an artist? The hardest part about being a musician is to often be alone and the best is to get emotion during a performance.

Is there a crisis? I am a little bit annoyed by crossovers but I do realize that it is just a fashion that will pass without too many damages. What do you tell them? Oh, come on! There are still so many works to be discovered and recorded even for instruments like the guitar. What constitutes a good live performance in your opinion? A good live performance requires good technical standards and acceptable contents for the audience. If a perfomer has nothing to say and simply plays the music, he should stay home.

What really matters is to transmit emotions and feeling. Interpretation is a task: The one that mediates between the written text and the auditors. But his power can be negative and he can destroy music, modify it or misinterpret it. Just imagine what would happen if someone went to a museum and decided to change the colors on a painting: This is what some performers do sometimes, they even cut off some parts of the works!

How do you balance the need to to put your personal emotions into the music you play and the intentions of the composer?

This is how an interpreter and a composer can cope to "travel" together without any conflict. True or false: People need to be educated about classical music, before they can really appreciate it. False, the only thing about which people need to be educated is listening with curiosity: This is the way to discover beauty in all music, not only classical. You are given the position of artistic director of a concert hall.

What would be on your program for this season? First I need a contract then I shall begin thinking about it! What really makes the difference is the music that is written for it. Have you ever tried playing a different instrument? If yes, how good were you at it? I play both baroque and classic guitar and I consider them two different instruments.

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