Bradley Colten - Ernst Bacon: The Complete Works for Solo Guitar (2014)
BAND/ARTIST: Bradley Colten
- Title: Ernst Bacon: The Complete Works for Solo Guitar
- Year Of Release: 2014
- Label: Azica Records
- Genre: Classical Guitar
- Quality: flac lossless
- Total Time: 00:56:02
- Total Size: 199 mb
- WebSite: Album Preview
Tracklist
01. 4 Pieces for Guitar: No. 1. Parting
02. 4 Pieces for Guitar: No. 2. Fulfillment
03. 4 Pieces for Guitar: No. 3. Quiet Hallelujah
04. No. 4. The Morning Star
05. Toro
06. Nuka, for Guitar
07. Coon Hollow
08. 2 Cambiataria: I. Moderato
09. 2 Cambiataria: II. Comodo
10. 3 Canons: No. 1. A Christmas Canon
11. 3 Canons: No. 2. Anniversary Canon
12. 3 Canons: No. 3. Marinio
13. Just Wondering
14. The Erie Canal
15. Bothin Street
16. Allegro
17. Episode
18. 2 Pieces: No. 1. Anything
19. 2 Pieces: No. 2. A Walk in the Hills
American composer Ernst Bacon (1898-1990) studied with Ernest Bloch and Viennese-born Karl Weigl, but he was mostly self-taught. When he was 19, before he had ever composed a note, he created an exhaustive compilation of possible musical harmonies. These guitar pieces, completely unknown and written for the use of the composer's own family, reflect that background, and if they aren't quite the lost treasure guitarist Bradley Colten makes them out to be, they're intriguing in the way that the work of autodidacts often is. They are tonal in orientation, but the harmonic progressions seem to follow their own rules. The most interesting aspect of the music is the guitar language, which does indeed justify exhuming these pieces. A few pieces have the expected Spanish flavor (Toro, track 5), and a few allude to American vernacular styles (the fascinating The Erie Canal, track 14, which could serve as an introduction to Bacon's idiom). But for the most part Bacon does not treat the guitar as a link to popular or folk traditions. Instead it becomes something of a personal chamber instrument, something like the clavichord in the 18th century, where problems such as canons (tracks 10-12), novel genre ideas (tracks 8-9), or unusual programmatic techniques can be worked out. One can understand the appeal of this for Colten, who delivers admirably clean performances, and other guitarists might check this out as well. The small Azica label of Cleveland, Ohio, working in an unspecified location, deserves credit for rendering clear, natural guitar sound, something that eludes even engineers with much more experience.
01. 4 Pieces for Guitar: No. 1. Parting
02. 4 Pieces for Guitar: No. 2. Fulfillment
03. 4 Pieces for Guitar: No. 3. Quiet Hallelujah
04. No. 4. The Morning Star
05. Toro
06. Nuka, for Guitar
07. Coon Hollow
08. 2 Cambiataria: I. Moderato
09. 2 Cambiataria: II. Comodo
10. 3 Canons: No. 1. A Christmas Canon
11. 3 Canons: No. 2. Anniversary Canon
12. 3 Canons: No. 3. Marinio
13. Just Wondering
14. The Erie Canal
15. Bothin Street
16. Allegro
17. Episode
18. 2 Pieces: No. 1. Anything
19. 2 Pieces: No. 2. A Walk in the Hills
American composer Ernst Bacon (1898-1990) studied with Ernest Bloch and Viennese-born Karl Weigl, but he was mostly self-taught. When he was 19, before he had ever composed a note, he created an exhaustive compilation of possible musical harmonies. These guitar pieces, completely unknown and written for the use of the composer's own family, reflect that background, and if they aren't quite the lost treasure guitarist Bradley Colten makes them out to be, they're intriguing in the way that the work of autodidacts often is. They are tonal in orientation, but the harmonic progressions seem to follow their own rules. The most interesting aspect of the music is the guitar language, which does indeed justify exhuming these pieces. A few pieces have the expected Spanish flavor (Toro, track 5), and a few allude to American vernacular styles (the fascinating The Erie Canal, track 14, which could serve as an introduction to Bacon's idiom). But for the most part Bacon does not treat the guitar as a link to popular or folk traditions. Instead it becomes something of a personal chamber instrument, something like the clavichord in the 18th century, where problems such as canons (tracks 10-12), novel genre ideas (tracks 8-9), or unusual programmatic techniques can be worked out. One can understand the appeal of this for Colten, who delivers admirably clean performances, and other guitarists might check this out as well. The small Azica label of Cleveland, Ohio, working in an unspecified location, deserves credit for rendering clear, natural guitar sound, something that eludes even engineers with much more experience.
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