Category: Reviews

New Release of Andrew Violette’s Hour Long Sonata for Guitar Featuring Daniel Lippel

Nicole Neal2 Comments

I once again find myself in the super-privileged position to be able to be invited to listen to, review and share with you some wonderful music written for our wonderful instrument.

This week I’ve been listening to the very first recording of a work by an American contemporary composer I’ll admit to being completely unfamiliar with, Andrew Violette. This work is his Sonata for Guitar written in 1997 and what an epic it is! The fact that has remained, until now, unrecorded is no slight on the music – it’s a very interesting, well thought out, exploration of harmony and melody. I would imagine it is because it clocks in at just a couple of minutes over the 1 hour mark – that’s a heck of an undertaking for a solo guitarist when we normally see 20 to 25 minutes as a lengthy piece of work!

The guitarist that committed to taking on and recording this mammoth work (and I am so glad that he did) is US guitarist Daniel Lippel.  Lippel recorded and released the Sonata through his own label New Focus Recordings (co-founded with compose Peter Gilbert in 2004 to release recordings with maximum creative control). To date Lippel’s recordings have garnered him critical acclaim from Gramophone, American Record Guide, Classical Review of North America, American Record Guide, Guitar Review, Music Web International, Sequenza21, and several other publications.

The Sonata, inspired by the hazy memories of being enthralled by Benjamin Britten’s Nocturnal and making thematic references to that piece, is divided into six movements:

(1) Moderato – setting the melodic and harmonic outlines for the piece. There are some beautiful melodic lines in this movement, some beautiful musical shapes, that I could imagine singing. Rhythmically, like the rest of movements in the piece, this is very straightforward with the interest very much coming from the melodic shapes and treatment of the harmonies – a harmonic rhythm if you will – and interweaving of lines.

(2) Colorfield – my joint favourite of the movements, which surprised me when I read that it was all based on the one harmony. 25 minutes of the one harmony. “Hmmm interesting” I thought and interesting listening it certainly is. This is all about meditating on one musical colour, really understanding and getting to grips with what can be achieved with just one part of the palette, a true musical exploration. In Violette’s words it makes use of “subtly shifting accents and syntax to produce similar lines with different semantic and metric meaning“. Spellbinding.

(3) Intermezzo – This lush and beguiling little Intermezzo opens the second half of the sonata and re-introduces harmonic movement, which is gently refreshing on the ear following the hypnotic harmony of the Colourfield, before moving on quickly into the Fuga.

(4) Fuga a 3 voci: Homage to Joaquin Rodrigo – my other joint favourite movement. We still hear the same harmonic and melodic themes here, but the Spanish elements reminiscent of Rodrigo add a spicy flavour and new aural twist to material we’ve experienced to date. A really nice nod to the type of material that sits so well on the instrument too. Possibly the most guitaristic of the movements.

(5) Chaconne after Britten (Andante) – The penultimate movement references the Passcaglia from Britten’s Nocturnal, and makes use of some very beautiful melodic lines that sing so well on the guitar. Actually I retract my statement above about the Fuga being the most guitaristic of the movements – this is highly guitaristic music and would have to be next in line in order of preference of the movements. Wonderful stuff.

(6) Lullaby –  I love the hypnotic feel of the descending thematic material with supporting background arpeggios, and final ascending and descnding harmonics lulling you into a dream world, in a spellbinding fashion reminiscent of the Colourfield. A wonderful way to end the piece.

Just one tiny thing mars the recording a little for me – I think perhaps also having each movement of the Sonata as a separate track , for me personally, would allow a great accessibility to the piece and explore each movement in isolation. Just a suggestion however, but perhaps not what Lippel nor Violette intended for the listener. In that case, perhaps time indications of where each movement begins?

Anyway, this is all just very minor stuff and these things aside this is a simply marvellous demonstration of some masterful playing, sensitive to the subtle nuances of the music wending and winding its way, developing over time through the various movements. It is also a marvellous recorded debut of what is a fantastic (and epic!) piece of the modern repertoire that undoubtedly deserves to be heard far and wide. Hats off to both Lippel and Violette!

Be sure to check it out for yourself. Head on over to the New Focus Recordings website where you can download the album for the very low price of just USD$8.99 – a bargain!

http://www.newfocusrecordings.com/catalogue/andrew-violette-sonata-for-guitar

 

Alternatively, you can also download through iTunes: https://itunes.apple.com/sg/album/andrew-violette-sonata-for/id890025619

Or Amazon:  http://www.amazon.com/Andrew-Violette-Sonata-Daniel-Lippel/dp/B00L1XZY0G

Johannes Möller In Concert

Nicole NealLeave a comment

I’ve seen a lot of guitar recitals in my time – some good, some not so good, some average, some spectacular. Well folks, let me tell you that the recital that I saw on a cold and foggy Tuesday evening here this week in Melbourne is one of those that I will remember for the rest of my life. It was exciting, enthralling and enchanting all at the same time.

Netherlands-based, Swedish guitarist and composer, Johannes Möller (who I had the enormous pleasure of interviewing a couple of weeks ago – check it out here if you missed it), held the audience captive with the weaving of a truly astounding display of guitar playing virtuosity, authentic and generous musicianship and some of the most imaginative (yet least contrived) use of the guitar as a musical medium I have witnessed. I know I’m prone to using superlatives rather freely on this blog, but please believe me when I say that this concert was simply breathtaking. Guitar playing of the highest order. Möller, dare I say it, could possibly be one of the best guitarists currently actively playing…..

And this wasn’t just my opinion either it seems. The reception from the audience all round was one of amazement and excitement. My friend sitting next to me turned to me on a couple of occasions and we just smiled and nodded at the simply fantastic playing and beautiful original music presented. No words necessary.

I was impressed by his super sensitive and well-thought out dynamics in the classic pieces presented (including Barrios’ Un Sueno en la Floresta and Albeniz’s Asturias (Leyenda)), his super soft (and masterfully controlled) pianissimo  playing that drew you in and urged you to pay close attention and his vigorous and refreshing approach to these classic pieces.

I was even more impressed by his original material. The first of these was a piece called From Her Source To The Sea – an effective musical reflection on the journey of the River Ganges from it’s source in the Himalayas, picking up speed and size before flowing out gracefully to the Bay of Bengal. This piece is one of Johannes many pieces inspired by north Indian classical music, with re-tuning of various strings on the guitar, to create an impressive sitar-esque sound. At one point during the performance of this piece I had to do a double-check of his right hand fingers – I couldn’t quite believe the masterful strumming and simultaneous rapid arpeggios. Incredible. This piece was followed by the incredibly beautiful and moving Song To The Mother, a particular favourite of mine and no less spine-tingling in the flesh (I just love the harmonics in this piece).

We were treated to some new works too, including 8 beautiful little Preludes (which will eventually turn into 24 Preludes in each of the musical keys) and a gorgeous Nocturne, apparently completed just two weeks ago (can’t wait for that one to be published as I’d love to play it myself). And we were also treated to a lovely, little-heard Regondi Nocturne and an inspiring original piece A Star in the Sky, a Universe Within…an exquisitely elegant philosophical reflection and musical exploration of the night sky – and an impressive exploration of the capabilities of the instrument including the highest pitches I think I’ve ever heard play on a standard classical guitar.

The standout piece in the concert for me was The Night Flame – a piece based on an Indian night raga (a raga is an Indian classical scale or mode). This was not only a fantastic display of Johannes’ outstanding capability as a composer, but also as a true virtuoso of the guitar. The passion and 100% commitment to the music and its delivery was awe-inspiring stuff. An intensely, energetic musical performance that is very hard to put into words. You have to see, hear and experience for yourself.

Overall I was really impressed with the incredible creativity and imagination that Johannes infuses into his pieces – use of harmonics, alternate tunings and non-Western classical influences, use of capo across half the fretboard, a number of different left and right hand techniques, tone colours, rhythmic interest and beautiful melodies.

What I was most impressed with was the authenticity, dedication, passion and love for the guitar that was evident in this concert. This is 5 star stuff. It doesn’t come much better.

 

If you’re in Australia, Johannes’ remaining tour dates are: the Araluen Arts Centre today (24th July), Sydney (25th July), Canberra (26th July) and Perth (23rd August). He has a number of tour dates lined up this year in the USA and Europe and I strongly encourage you to head along to your nearest show. Check out Johannes website for more details: http://johannesmoller.com/tour/

In summary, Johannes presented the audience with some stunning, mind (and technique) expanding playing that can only inspire players and guitar aficiondos of all types. The future of the guitar and its repertoire is very safe in the hands of this maestro. Bravo Johannes! 10 out of 10!