Composed by Jean-Maurice Mourat. Guitar scores. Classical. Score. 58 pages. Editions Combre #C06199. Published by Editions Combre (LM.C06199).
ISBN 9790230361996.
New version, published in 2002
It is at the request of numerous regular users of Volume D that, with the encouragement of the Editions Combre, I have undertaken to revise the contents. As the call has been for fewer suites and more short, varied pieces, I have withdrawn certain works that are easily found in other editions, but retaining the Brescianello suite, which is less well-known than those by Weiss and Baron. Music from the Iberian peninsula is always well-loved, and this guided my choice of new pieces. Much of the problem in transcription lies in trying to keep too closely to the originals, especially when they are taken from the piano repertoire. In order to avoid falling into this trap, I concentrated chiefly on the style which, above all in this type of music, can prove the major stumbling block for many players. To this end I avoided studying recordings of guitarists (many of whom are excellent), and steeped myself instead in the superb performances of pianists such as Alicia de Larrocha and Esteban Sanchez, to name but two. The other main problem concerning transcriptions concerns the ?ngering. The concert works in this album require ?ngering that will ensure a ?owing performance which affects neither the phrasing nor the timbre of the music. As in the other volumes, the ?ngering given is no more than a suggestion, which each guitarist will adapt according to his or her personal ability without, however, losing sight of the phrasing which anchors the piece in its context.
Composed by Jean-Maurice Mourat. Guitar scores. Classical. Score. 58 pages. Editions Combre #C06199. Published by Editions Combre (LM.C06199).
ISBN 9790230361996.
New version, published in 2002
It is at the request of numerous regular users of Volume D that, with the encouragement of the Editions Combre, I have undertaken to revise the contents. As the call has been for fewer suites and more short, varied pieces, I have withdrawn certain works that are easily found in other editions, but retaining the Brescianello suite, which is less well-known than those by Weiss and Baron. Music from the Iberian peninsula is always well-loved, and this guided my choice of new pieces. Much of the problem in transcription lies in trying to keep too closely to the originals, especially when they are taken from the piano repertoire. In order to avoid falling into this trap, I concentrated chiefly on the style which, above all in this type of music, can prove the major stumbling block for many players. To this end I avoided studying recordings of guitarists (many of whom are excellent), and steeped myself instead in the superb performances of pianists such as Alicia de Larrocha and Esteban Sanchez, to name but two. The other main problem concerning transcriptions concerns the ?ngering. The concert works in this album require ?ngering that will ensure a ?owing performance which affects neither the phrasing nor the timbre of the music. As in the other volumes, the ?ngering given is no more than a suggestion, which each guitarist will adapt according to his or her personal ability without, however, losing sight of the phrasing which anchors the piece in its context.
Jean-Maurice Mourat Translated by Mary Criswick
Preview: La Guitare classique Vol.D
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