With many recitalists gravitating toward programs whose main purpose seems to be to excite the listener, it is refreshing to find one like the Brazilian guitarist Edelton Gloeden, who, for his North American debut on Thursday at the 92d Street Y, fashioned an appealing program out of selections more notable for their musical interest than their flashiness, and played as if the audience weren't even there. Gloeden's approach was marked by a mixture of modesty and sensitivity that delighted more often than it dazzled, and seemed particularly well suited to the program's all-English first half, devoted to short works by Peter Philips and John Dowland and to Benjamin Britten's absorbing Nocturnal after John Dowland Op. Although a memory lapse in the galliard to Philips's Chromatic Pavane and a few poorly executed passages in the Britten marred the guitarist's performance, his accounts were colorful and evocative. The program's second half included works of Granados, de Falla and Villa-Lobos, as well as an intricate and rhythmically challenging piece by the Cuban composer Leo Brouwer titled ''Elogio de la Danza,'' the last movement of which treats the sound of the guitar a bit like Braque and Picasso treated its shape. Gloeden, despite a few troubles with rhythm, gave it a vivid reading.

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To learn more, view our Privacy Policy. Log In Sign Up. Add Social Profiles Facebook, Twitter, etc. Edelton Gloeden. Unfollow Follow Unblock. Other Affiliations:. XIX more. Abstract: Mauro Giuliani, a famous guitar player from 19th Century, was one of the main composers, along with Fernando Sor, responsible for raising the status of the guitar during this century. This paper aims to demonstrate nine stylistic aspects from Giuliani via musical examples, elucidating the dialogue with the actual style.

Thereby, it is possible to observe that Giuliani's virtuosic style is connected with the style of Rossinian opera. Lastly, his works became the basis for later composers and are considered 'mandatory' pieces for the study of modern guitar.

View on anppom. Save to Library. Mozart more. Sor required, even for historical purposes the compositions were created 35 years apart , a change in the concept of instrumental writing.

For Sor, it was a question of translating the essence of the musical thought conceived in an operatic way and presenting it under a sonorous concept of an emerging, solo instrument as had been the case of the guitar in the late 18th century and in the first decades of the 19th century. From the instrumental perspective, therefore, elements such as texture, style of accompaniment and the voice leading concept, to name but a few, have undergone conceptual changes, resulting almost in a new composition and ev View on embap.

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Edelton Gloeden



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