Repertoire

"Well tempered guitars"

MFA duo arrangements

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JS Bach

The well-tempered book (1st book),

Prelude and fugue No. 2 in minor BWV 847

Second part of the first book of the well-tempered Clavier, this piece is composed of a prelude in the style of a virtuoso toccata and a fugue with three lighter voices whose subject is easily recognizable by the repeated notes. Formal organization is an example of the genre. At the crossroads of the main European musical traditions, Johann Sebastian Bach has made an eminently innovative synthesis for his time. Not famous during his lifetime outside Germany, he was rediscovered in the nineteenth century. His work, comprising more than 1000 compositions, is generally considered the culmination and crowning of the Baroque musical tradition.

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D. Scarlatti

Sonates K.141 et K.517

Compositeur et claviériste italien ayant passé la majorité de sa vie à la Cour d’Espagne, Domenico Scarlatti développe un répertoire considérable de sonates pour clavecin (555) modestement nommées « exercices ». Les sonates K.141 et K.517 sont éminemment virtuoses et toute la vigueur de l’imagination de Scarlatti s’exprime ici.

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P. Royer

Premier livre de pièces de clavecin 

La marche des Scythes 

Compositeur et claveciniste naturalisé français et contemporain de Jean-Sébastien Bach, Pancrace Royer fait montre d’une grande ouverture d’esprit dans l’écriture de ses pièces pour clavecin, avec une grande diversité de styles. Sa « Marche des Scythes », extraite de son Premier livre de pièces de clavecin, est un rondeau faisant se succéder un refrain vif et martial et des couplets tantôt poétiques et doux tantôt lyriques, tantôt emplis d’une fureur et d’une virtuosité nouvelle.

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C. Franck

Prelude, fugue and variation op. 18

Prelude, fugue and variation was initially composed for the organ for the benefit of his friend Camille Saint-Saëns by the Belgian composer, naturalized French in 1870. César Franck is one of the great figures of the French musical life of the second part of the nineteenth century, introducing in particular the principle of cyclic form. The Prelude presents a simple melody, like a slow waltz. A slow and very short movement is inserted before the Fugue and sounds like a protest. The final variation is the theme of the prelude developed on a background of fast arpeggios that gives it a great fluidity.

C. Schumann

Pianiste de renom, Clara Schumann est accueillie de façon triomphale dans les plus grandes salles de concert d’Europe où elle interprète Beethoven, Schubert ou les pièces écrites par son mari. En tant que compositrice, Clara Schumann montre une personnalité musicale très affirmée et laisse un répertoire constitué de nombreuses pièces pour piano, des lieder et un concerto.

 

Parmi les trois Préludes et fugues op.16 datés de 1845, le premier relève encore de l’influence de Mendelssohn avec son portique syncopé et sinueux et sa fugue au sujet fluide, rapide et plus autoritaire

Prélude et fugue Op.16 n°1

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E. Granados

Danzas Españolas 
Oriental (n°2) et Andalouza (n°5)

Le 20 avril 1890, Enrique Granados, pianiste, offrait à son public de Barcelone un ensemble original de douze « danses espagnoles », chacune affectée d’un titre évocateur d’une région ou d’un état d’esprit. Dans « Oriental », danse lente et méditative, c’est l’Espagne secrète et ambivalente qui se révèle avec ses arabismes stylisés, à la différence d’ « Andaluza », rythmiquement engagée dans l’irrésistible chorégraphie gitane.

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Manuel Ponce

Preludio y fuga sobre un tema de Haendel

Mexican composer and pianist Manuel Maria Ponce helped develop the guitar repertoire in the first half of the 20th century thanks to his collaboration with the Spanish guitarist Andrès Segovia (about fifteen pieces for solo guitar and a concerto). Composed in 1916, "Preludio y fuga sobre a tema de Haendel" was published only much later, in the 1970s. This youth work shows its great creativity to sublimate the genre of Prelude and Fugue with a melodic treatment and amazing harmonic.

Carlos 

Gardel

Por una cabeza

The invention of the gramophone and the disc in 1917 will be decisive in the history of tango. Its wide distribution, will reach the entire population and not only that which frequents cabarets and theaters. Carlos Gardel becomes the emblematic figure of the tango of the first half of the 20th century. Guitarist, actor in many films, but especially singer, he evolves the tango until then essentially musical and without words. In 1934, Carlos Gardel was in New York to play in the movie El Día Que Me Quieras. He meets a 13-year-old Argentinian living in New York and playing bandoneon: Astor Piazzolla

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Gyorgy

Ligeti

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Astor

Piazzolla

Tango apasionado

Troileana Suite , "Zita"

Argentine composer and bandoneonist, Piazzolla is considered to be the most important composer of tango music in the second half of the 20th century. Student of Alberto Ginastera, he participates in the emancipation of the genre and the renewal of his repertoire through his composition at the crossroads of classical and popular.

Musica ricercata (extracts)

Philip

Glass

Musica Ricercata is a set of 11 pieces for piano composed between 1951 and 1953. One of its main features is the extreme economy of means. Indeed he chooses to use only two notes in the first piece, then add a new one to each subsequent movement. The Hungarian composer is very eclectic in his way of composing. He composes with ideas more simple, more emblematic and more pedagogical than his contemporaries, and uses the form with a lot of clarity.

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Glassworks , "Opening"

A contemporary of Terry Riley and Steve Reich, Glass is one of the pioneers of repetitive and minimalist music. The Glassworks are a set of 6 pieces written in 1981 for flutes, saxophones, horns, piano, violas and cellos. "Opening" is the first movement of the Glassworks and is composed for piano solo. Emblematic of the minimalist style of Philip Glass, this piece creates a repetitive polyrhythm, almost hypnotic.