11/14/2022 0 Comments Bachianas brasileiras guitar pdf file![]() ![]() In three movements from Alberto Ginastera’s 1941 “Danzas” from his ballet “Estancia,” again arranged by Duarte, the first movement featured aggressive staccato chords, knocking on the instrument bodies, snapping and slapping the guitar strings and foot stomps. It was a magical experience of pulsing, ebbing and flowing. The sound flowed in wave patterns with the sound level rising and lowering while at the same time the voices moved from one side to the other. The players on one side of the group initiated a phrase, followed by the players opposite them playing a kind of echo, producing the effect of a dynamic sense of depth. Duarte encouraged the audience to move around the auditorium during the piece to get different listening perspectives on the music. Davis’ “Floating Cities,” commissioned by IU Guitar Ensemble. One of the most interesting pieces on the program was Craig M. Originally written for soprano and cellos, Variego’s clarinet had mellow vocal qualities that were smooth and lyrical. 5, written over a span of seven years, 1938-1945. UT faculty composer and clarinetist Jorge Variego joined the ensemble for a performance of Duarte’s arrangement for clarinet and guitar ensemble of the “Aria” from Villa-Lobos “Bachianas Brasileiras No. The third movement was bold and assertive. Played relatively softly in the orchestral parts, the first two movements created an effect akin to standing in the middle of a flower bed while musical bees hummed tunes as they buzzed around one’s head moving from flower to flower, especially in the “Andantino” second movement. ![]() The ensemble’s director and founder, Daniel Duarte, arranged several of the pieces, including his charming arrangement of three movements from Heitor Villa-Lobos’ 1951 “Concerto for Guitar and Small Orchestra.” Eleven of the guitarists played 11 different orchestra parts, with the solo guitar part moving around the ensemble. That’s what the Indiana Guitar Ensemble brought to the University of Tennessee School of Music Saturday afternoon.Ĭomposed of both undergraduate and graduate students at Indiana University’s Jacobs School of Music, the ensemble played a program of all 20th-century works, with several of the pieces written for them.Īs in much new music, the performance techniques went beyond the traditional fingers strumming or plucking strings to using the guitar body as a drum, making eerie sounds by sliding the fingers up the strings on the fret board, and stomping feet. A classical guitar ensemble with 12 musicians playing guitars that range from high soprano to low contra-bass guitars, ukuleles and mandolins is very special indeed. Classical guitar music is always special. ![]()
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