Morgana Rudan, Roberto Guarnieri - Marchelie, Pereira, Tisserand, Sidney, Lewis, Pujol: Originals (Contemporary Music for Harp and Guitar) (2024) [Hi-Res]

• Title: Marchelie, Pereira, Tisserand, Sidney, Lewis, Pujol: Originals (Contemporary Music for Harp and Guitar)
  
• Year Of Release: 2024
  
• Label: Da Vinci Classics
  
• Genre: Classical
  
• Quality: flac lossless (tracks) / flac 24bits - 96.0kHz
  
• Total Time: 01:09:33
  
• Total Size: 279 mb / 1.4 gb
  
• WebSite: Album Preview
  

Tracklist

01. Le bal des Sirènes et des Naïades
02. Suite Logique: I. Prélude
03. Suite Logique: II. Interlude
04. Suite Logique: III. Postlude
05. Fantasia Concertante: I. Moderato
06. Fantasia Concertante: II. Vivo
07. Fantasia Concertante: III. Lento e malinconico - Ad libitum, rubato - Vivo
08. Arabesques: No. 1
09. Arabesques: No. 2
10. Arabesques: No. 3
11. From a Chinese Waterfall
12. Trois Préludes: No. 1, Hypnotique
13. Trois Préludes: No. 2, Mystique
14. Trois Préludes: No. 3, Énigmatique
15. Suite Mágica: I. Preludio
16. Suite Mágica: II. Vals
17. Suite Mágica: III. Tango
18. Suite Mágica: IV. Candombe

The harp and the guitar have the quality of perfectly blending their sound together, due to the many similarities of two instruments that both belong to the plucked-string family. If there is good understanding between the two musicians, the effect seems like that of a single instrument; this is the case with the Duo formed by Morgana Rudan and Roberto Guarnieri, who manage to unite the sounds so much that they often merge into a perfectly created timbral combination.
Apart from the harpist Nicanor Zabaleta and the guitarist Narciso Yepes, there were few performers who dedicated themselves to this type of instrumental ensemble, just as there were few composers who wrote for it. This seems indeed strange, because this duo is full of possibilities of musical intertwining and nuances.
The ClaroScuro Duo was formed in 2018 and, after only four years of activity, it has already stimulated various composers to write for this ensemble, and others will certainly follow. Indeed, this duo offers numerous musical opportunities: a kaleidoscope of sounds, sometimes ethereal and clear, sometimes veiled and clouded, and always rich in nuances. The phrasing is also shaped with great flexibility, creating moments that are lyrical and suspended, in contrast with others that are rhythmically intense.
The compositions presented in this CD are all original, written specifically for this instrumental ensemble by living authors from various American and European countries. They are different from each other, but all are very fresh, lyrical, with some hints of traditional elements. The diversity between the various compositions requires the performers to pay great attention to immersing themselves deeply in the different styles, which Rudan and Guarnieri do admirably, with easiness.
There are many references to established genres of traditionally free interpretation, such as the Fantasia, the Arabesque, and the Prelude. These are usually employed as formal archetypes and reinterpreted in a rhapsodic way, with a result that is well constructed and well executed. The rhythm is generally plain and the harmonic range is tonal. Formally, each piece is well balanced and the interaction between the two instruments is finely conceived.
The sound, the overall musical result is very pleasant. In particular, the musical mastery and emotional attention that the two instrumentalists convey is truly remarkable.
This CD is a major step forward not only for the Rudan-Guarnieri Duo, but for harp and guitar music in general and chamber music, which is enriched with new perspectives. Thus, these two excellent interpreters deserve to be praised for their skill and musical sensitivity.

Listening Guide
by Chiara Bertoglio
The duo of harp and guitar, prior to the 20th century, was rarely encountered in the chamber music landscape. The few examples of compositions intended for this combination were primarily transcriptions, for instance, from the guitar and fortepiano duo. It was thanks to the legendary duo of Zabaleta and Yepes that attention was directed towards this unusual formation.
In the harp and guitar repertoire there is a recurring pattern observed among nearly all composers, ranging from the more experimental ones to those more inclined towards tradition, in terms of the use of timbral combinations. On one hand, there is a desire to blend the timbres of the two instruments, often blurring the lines for the listener, who is not always able to discern the origin of a sound. This results in the creation of a sound amalgamation that aims at fashioning an almost single instrument. This tendency may be accentuated in performance, as exemplified in this CD, partly due to the choice of placing the microphone very close to the instruments.
Conversely, both compositions and interpretations can choose to emphasize the distinctions between the two timbres, fully exploiting the resonance of the harp and the sharper sound of the guitar. The complexity of the interaction between these instruments is further enhanced by the similarities and differences in their plucked attack of sound. In passages featuring unison or homophony, this aspect presents a captivating challenge from a chamber music perspective.
In Marchelie’s compositions, a notable feature is the extensive use of modules, a recurring element that manifests itself in various forms throughout all of his works. In “Le bal des Sirènes et des Naïades,” we encounter an illustrative style of writing. It comprises moments of frenetic dance, a strong rhythmic impulse, sudden openings and closures, with abrupt gestures leading from one section to another.
The “Suite Logique,” humorously named in reference to its composition consisting solely of a prelude, interlude, and postlude, heavily relies on a modular style of writing, with themes emerging from rhythmically denser modules. The central movement is comparatively simpler, where the harp and guitar alternate in accompanying a very pleasant and melodious theme. In the suite, there is a frequent occurrence of elements closely exchanged between the two instruments.
Pereira’s composition stands as the most substantial piece within this album, both in terms of its technical demands on the performers and its length. Comprising three movements with a concluding recapitulation, the piece commences with a character that is placid and moderate, featuring a rich accompaniment of arpeggios that exhibit only minor variations in harmonic modules. The two instruments take turns in roles of accompaniment and melodic exposition.
In the second movement, there is a complete shift in character, which becomes highly rhythmic and energetic, demanding significant technical prowess from the performers. The third movement explores the fusion of the two timbres, featuring a simple and melancholic melody simultaneously presented by both instruments. They both sing and accompany, a unique compositional choice within the repertoire. Towards the conclusion of the third movement, a brief cadenza-like moment reprises the character of the first movement; then, the vivacious nature of the second movement is reintroduced, and culminates in a rhythmic closure with a final tightening in a Coda that intensifies the rhythmic element.
From an emotional and affective perspective, Tisserand’s compositions are particularly captivating and profound, characterized by notable aesthetic exploration and refined craftsmanship. Evident in these works are references to rhythms and elements from folk and dance music, featuring syncopations and pronounced rhythms. The author’s knowledge of the guitar is apparent from the solo section dedicated to this instrument at the beginning of the piece, infusing a somewhat melancholic character into the first movement. Here, we find an accompanying module introduced by the guitar, and then transformed by the harp. The guitar’s arpeggios emphasize the more pronounced notes, while the harp takes up the module with chords. Abundant embellishments of melodic elements, variations, and the overlay of different rhythms are present. This movement is harmonically linked to the third one, echoing both in harmony and linguistic exploration, creating a sort of melancholic flamenco atmosphere.
The second movement represents a distinct shift, notably more lively, rhythmic, and forceful, with pairs of repeated notes creating a pressing effect and a playful and whimsical character.
Sidney – another guitarist – is of American origins, but a long-time resident of Florence: he is an eclectic musician who has ventured not only into classical music, but also into various other genres. As a guitarist, he has shown a keen interest in the harp and its repertoire. His composition carries a pronounced programmatic character, depicting the natural element of waterfalls in a story set in the legendary China. The musical realisation mirrors the narrative with an extensive use of orientalisms and exotic elements, abundant pentatonic scales, and melodic aspects that, to Western ears, evoke Chinese music. The rapid sixteenth notes and fast-paced rhythms evoke the flow of water. It is a composition with almost “cinematic” qualities, employing fade-ins and fade-outs, as well as “scene changes” between sections, accompanied by auditory evocations of waves, storms, and ebb and flow.
The inspiration for some compositional ideas is drawn from famous musical depictions of water. Additionally, there are allusions to Ireland, motivated by the narrative. As the composer writes: “This is the musical story of a watercolour painting of a Chinese waterfall that enclosed in a bottle in China travelled by rivers and seas and was found by two lovers on the coasts of Ireland many years later.”
Among these composers, Lewis is the only one not originally trained as a guitarist, and is primarily interested in the world of the harp. The three musical moments of his composition describe characters; the first one fulfills the promise of “hypnotizing” with its undulating accompaniment, smooth harmonies, generally tranquil progression, and a central moment that serves as a unique moment of contrast in the interplay between the instruments. In “Mystique,” the writing is quite different, characterized by sound clouds and a strong emphasis on harmonic and timbral exploration, giving rise to embellishments from both instruments and moments of magic, suspended and undefined. “Énigmatique,” the final movement, highly rhythmic in 7/8 time, is ironic and brilliant, featuring a series of musical sections punctuated by sudden glissandos of the harp.
Pujol, also a guitarist and composer, bases his suite on a Prelude and three dance moments linked to the Argentine tradition to which he belongs. The Prelude possesses a mysterious character and serves as an overture; the second movement is a light and melodious waltz with a more pressing central moment; the third movement is a captivating tango with instrumental effects and a muted, playful harp accompaniment. After a sudden crescendo that halts abruptly into silence and a melodious central section, the tango resumes. The suite concludes with the “Candombe,” a dance that combines South American and African influences with a highly energetic and unstable rhythm. Following the guitar’s soft and melodic cadenza, the music regains momentum with a lively rhythmic accompaniment from the opening section that envelops the “Candombe” melody until the final climax. It is in this finale that the “magic” of the suite is found, as Pujol explains: “”Suite Mágica” is a composition in four movements, created from the musical material of a phrase that presented itself ‘magically,’ almost without thinking, and I immediately decided to analyse and dissect it to build the rest of the piece. The phrase in question is the guitar solo found in the fourth movement, the “Candombe”.”

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Year 2024 | Classical | FLAC / APE | HD & Vinyl

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