#castelnuovo-tedesco

[no-tritones-for-you]

Passacaglia on the “Dies irae” | Castelnuovo-Tedesco | Lorenzo Micheli

[denorteanorte]

Para escuchar “Las Guitarras Bien Temperadas” en la Fundación Beethoven de la CABA

El concierto estará a cargo de losreconocidos músicos argentinos, Carlos Groisman y Pablo Carballo. Y los ejecutarán en dos partes, dos días distintos. La paradigmático obra para dos guitarras, Las Guitarras Bien Temperadas, de Mario Castelnuovo-Tedesco, es un homenaje a, El clave bien Temperado, una serie de preludios y fugas que Johann Sebastian Bach (1685-1750) compiló entre 1722 y 1744. Será…

[lesser-known-composers]

Mario Castelnuovo Tedesco (1895-1968) - Capriccio Diabolico

Marcin Dylla, guitar

Recorded on Antonio de Torres 1886, from Dr Wolfgang Kieser's collection.

[elmartillosinmetre]

Mi crítica del concierto de Amelia Marín y la Asociación Musical CODICE esta noche en el Espacio Turina.

[thewarmestplacetohide]

Dread by the Decade: The Return of the Vampire

👻 You can support me on Ko-Fi! ❤️

★★½

Plot: During WWII, a vampire believed to have been defeated returns to terrorize a doctor and her family.

Review: Unique ideas are left by the wayside in favor of familiar cliches, with any potential mystery being given little time to breathe.

Year: 1943 Genre: Vampires, Werewolves Country: United States Language: English Runtime: 1 hour 9 minutes

Director: Lew Landers Writers: Randall Faye, Griffin Jay Cinematographer: L. William O'Connell Editor: Paul Borofsky Composer: Mario Castelnuovo-Tedesco Cast: Frieda Inescort, Nina Foch, Miles Mander, Roland Varno, Bela Lugosi, Matt Willis, Gilbert Emery

-----

Story: 2/5 - There are fun concepts—such as German blitzkriegs disturbing interred monsters—but everything is comically rushed, with characters reaching ridiculous conclusions in mere seconds just to forward the plot.

Performances: 2/5 - Lugosi seems to be phoning it in and Willis is outright rough to watch at points.

Cinematography: 4/5 - The film's most memorable feature. Very striking use of shadow.

Editing: 3/5

Music: 3/5 - Sometimes overbearing.

Choreography & Stunts 2/5 - Very stage-esque.

Effects & Props: 3.5/5 - Heavy fog lends a great deal to the atmosphere.

Sets: 3.5/5 - The cemetery sets are standouts.

Costumes, Hair, & Make-Up: 3/5 - Willis' werewolf make-up is quite decent.

Trigger Warnings:

Mild violence

Classist portrayal of working class British people

Child harm (off-screen)

[bttrflyblu]

Capriccio Diabolico (Omaggio a Paganini) Op. 85 - Mario Castelnuovo-Tedesco

[pargolettasworld]

https://www.youtube.com/watch?v=OQIMqi8qKgY

Mario Castelnuovo-Tedesco was a twentieth-century Italian composer known largely for his compositions for guitar.  But, of course, he did not limit himself to just the guitar, as this lovely piano and cello duet proves.  He was also what Wikipedia, in one of its more entertainingly convoluted efforts to avoid describing anyone as “Jewish” describes as:  “descended from a prominent banking family that had lived in Tuscany, specifically in Siena, until the latter half of the 19th century, since the expulsion of Jews from Spain in 1492.“

“Since the expulsion of Jews from Spain in 1492.”  Everyone got that?  (Also, the “Tedesco” in his name refers to the Ashkenazi Jews of Italy.  Kind of a giveaway, that.) Castelnuovo-Tedesco managed to escape Europe in 1939.  The anti-Jewish racial laws in Italy banned him and his music from an increasing number of venues, and he figured out what was happening.  Fortunately for him, he could write to his friend the violinist Jascha Heifetz, who was an American citizen, and who sponsored his emigration to the US.

This piece is a 1930 adaptation of Castelnuovo-Tedesco’s 1928 Vocalise-Étude for Medium Voice.  It was done by the cellist Gaspar Cassadó, with Castelnuovo-Tedesco’s permission.  It’s not a setting of any particular Jewish song, but it is heavily influenced by Castelnuovo-Tedesco’s appreciation of Jewish history.  The first part mourns the oppression of the Jewish people through history, but it contrasts with the second part, a lively folk dance that expresses our emotional resilience in the face of all we’ve been through.

[pixelizedprince]

tagged by @cell-from-hell to put my music on shuffle and list the first 10 songs it plays! youtube links if you'd like to give any of them a listen :3

Every Note - Mystery Skulls Hear My Cries - Danielle Parente Dirty Harry - Gorillaz Good Now - Phangs I Know That He Loves Me - Autoheart Home - Edward Sharp & The Magnetic Zeros Genghis Khan - Miike Snow Sonatina, Op. 205 - Mario Castelnuovo-Tedesco Pink Matter - Frank Ocean Literal Legend - Ayesha Erotica

a nightmare collection i am so jazzed with tbh

tagging @songofthestorms @distortionincarnate @varrics @dogboylesbian

[racingtoaredlight]

Saturday Night Recap

Jason Vieaux on the left coming out for an encore, the headliner of the night Lorenzo Micheli on the right...Lorenzo's reaction is how most classical guitarists react when they're around Vieaux.

Rarely have I had the feeling of being the worst guitarist in whatever room. Even in college, whenever I felt like I couldn't keep up, it was more due to experience or practice than being outclassed. Which is why it was such a treat to feel like a little piece of shit on Saturday night.

***

My main guitar teacher invited me to go with him, and my other teacher was there as well. I looked around in the surprisingly packed audience (prob north of 150 people), and saw the entire guitar faculties of the Cleveland Institute of Music, Cleveland State and there were probably facutly from the other surrounding schools too. There were guitar cases from students coming from practice rooms (Saturday night, party night, am I right?).

I can confidently say, with exceptions to the unfortunate spouses and friends dragged along to this, that I was probably the worst guitarist there.

Listen, I'm no slouch, I recorded this earlier inthe day...

...but CIM is a globally elite classical guitar program led by arguably the best active classical guitarist the world (Vieaux). I have doubts whether or not the playing in the above video would have been good enough to get a sniff, let alone a scholarship, for freshman undergrad. These aren't normal students (let alone the faculty, of which my main teacher was part for 20+ years before retiring).

These are freak people. And I mean that as a compliment.

***

It really shouldn't be a surprise that the guy playing for all this was a boss. A weird, unorthodox boss, but a boss nonetheless. Micheli is a winner of the Guitar Foundation of America's international competition...the most cutthroat competition in this little niche of the world.

And I'm going to be honest...my guitar teacher certainly was, bailing halfway through...half of the program I did not like. It was well performed and I learned a bunch (more in a second), but the material was so far out of my wheelhouse I just couldn't dig it. The half I liked was the Castelnuovo-Tedesco stuff.

But man, this guy...listen I know what I'm doing and know where I'm going...but fuck. Humbling isn't even accurate. I spent the drive home and rest of the evening contemplating why do I even bother? The standard he set was so far beyond things I can...not conceive or relate to...but like, I can't ever run a metaphorical four-minute mile here. I'm not built or wired right.

I'm not talking speed...I could keep up with him just fine. It wasn't necessarily technique either, but it kinda was? I know that doesn't make sense...but the way he manipulated the guitar to take advantage of dynamic ranges I just can't even fathom, was jaw dropping.

Let me try to explain here...the absolute softest played notes of mine are barely audible...yet somehow, he can barely brush his fingers on the strings and produce this pillowy soft note that is full and rich and projects to the back of the room. That's not the guitar, that's technique.

Here's another thing I...just...can't.

When you move your right hand closer to the bridge, you get a brighter, more distinct tone. Closer to the soundhole, warmer and richer, yet less clear. It's a spectrum.

Personally, I can't control my volume well at moderate distances from the middle point. If I'm closer to the bridge, it's gonna be loud...just loud, the whole time. If I'm by the soundhole, it's either gonna be really loud or really quiet because my touch just isn't anywhere, anyhwere, close to his...which should be obvious given he's played more professional classical guitar concerts in his career than I've played classical guitar days in my life.

His mastery of dynamics, and I'm talking at extreme ends here, was just breathtaking. You might be thinking this is some meaningless shit, but it's not...not only was he taking advantage of the whole instrument, he was doing so with mastery. It just sounded...it just sounded better, man.

His right hand technique was incredibly unorthodox, but that allowed him to do things that most orthodox guitarists (like myself) couldn't really think of, let alone master. I'm really rambling here so I won't go too far into shit like attack angles BUT MAN HIS ATTACK ANGLES WERE WILD.

To sum it up, this guy's program might not have been up my alley, but his playing sure was.

***

I'll speed this along so I don't spend hundreds of words explaining things I can't explain again.

My teacher and I were sitting directly behind this woman, who I'm seeing tonight (Sunday - EDIT: she was awesome). I highly, highly recommend watching two minutes of this video above, played on a 1926 harp guitar.

She's one of the world's finest guitarists. She's also quite small in stature, and after seeing her in person, I have absolutely no idea how she's able to do this stretch at 4:45.

If any of you have a guitar laying around, try putting your hand in that position. Just try it, you'll get it. It'll probably feel like you're putting some effort into holding all those strings down while stretching, but just give it a try to see how it feels.

Now watch 4:45-4:52 and see how she gets there. That's not a chord that she's spending a few seconds getting into...that chord is a passing note. She breezes by it like it wasn't even an obstacle, chopping down a bunch of convoluted shit that you would think require NFL WR sized hands.

And that's one example...just look at some of this shit.

These next two pics are the exact same chords...

...I've got big hands, and me getting into this chord takes some effort. It doesn't feel natural, you have to cover a good amount of real estate while barring multiple strings at the same time. Note, I could probably comfortably hit the next fret by the way my pinkie is curved (and the next one too if I supinated my wrist like she's doing), but that's not the point...

The point is, if this chord takes me considerable effort to get into with large hands laying in a natural position, for her it's much more of one. And yet, she handles shit like this with more than just ease...it's routine ease.

She has such extremely gifted dexterity and flexibility, I can't really physically relate to it. From a horse's mouth...chords like that? It takes a day or two of practice to get those down. Those are the types of chords that get pencil all over them from notes and fingerings, the types of chords even the metronome is sick of hearing over and over. For her, they're just another dead body.

Whatever you want to call the notion of God, they gave her some of most gifted pairs of hands I've ever seen.

***

Lets finish this up.

Then this guy...

...came out for the encore to do a duet of a song by this guy.

***

Anyways...

[barbaragronchi]

Giovedì 9 maggio 2024 alle ore 17.30

presso il Salone monumentale della Biblioteca Marucelliana, via Cavour 43, Firenze

verrà inaugurata la mostra

Arco Teso. La musica a Firenze al tempo dei «Canti Orfici»

I curatori, Silvia Castelli Roberto Maini, Gregorio Nardi, Maria Beatrice Sanfilippo, attraverso l’esposizione di documenti, autografi, lettere, disegni, manoscritti musicali, partiture, libri, riviste, fotografie, spesso inediti, si propongono di interpretare il dialogo, talvolta inesplorato, esistente fra il mondo letterario e quello musicale nella Firenze negli anni 1907-1917.

Interverranno i Curatori, i Presidenti del Centro Studi Campaniani Gianna Botti e Walter Scarpi, e gli Autori dei saggi presenti nel catalogo edito da LoGisma.

A seguire alle ore 18.30, Gregorio Nardi interpreterà al pianoforte un programma di autori dei primi due decenni del Novecento: F. Boghen, F. Busoni, M. Castelnuovo Tedesco, S. Copertini, E. Del Valle de Paz, G. Maglioni, G. Modona, R. Nardi, I. Pizzetti, G. Puccini, A. Savinio, E. Scarlino.

Venerdì 10 maggio alle ore 17.30 verrà presentata la Trilogia campaniana per violino, viola ed elettronica, composta appositamente da Alessandro Magini

Preludio scordato della sera

Interverranno l’autore e il violinista Alberto Bologni.

La Biblioteca Marucelliana conserva dal 2005, grazie alla Fondazione CR di Firenze, il manoscritto di Dino Campana Il più lungo giorno. Con la mostra Arco Teso. La musica a Firenze al tempo dei «Canti Orfici» e col relativo catalogo, continua l’impegno a promuovere e valorizzare le pagine del poeta marradese.

La mostra, ad ingresso libero, sarà visitabile fino al 20 settembre, il lunedì, mercoledì, venerdì dalle 8.30 alle 14.00 ed il martedì e giovedì dalle 8.30 alle 17.00.

[operaportugues]

Vinícius Atique (barítono) e Fabio Zanon (violão) - Sala Cecília Meireles, RJ, 01/outubro/2022

Concerto completo com legenda em português: link.

Manuel de Falla (1876-1946) Siete Canciones Populares Españolas (versão para violão de Miguel Llobet) I – El paño moruno II – Seguidilla murciana III – Asturiana IV – Jota V – Nana VI – Canción VII – Polo

Joaquín Turina (1882-1949) Fandanguillo, op.36

Mario Castelnuovo-Tedesco (1895-1968) Cinco canções: -Arise! -Seals of Love -La Ermita de San Simon -Romance del Conde Arnaldos -Ballata Dall’Esilio (poema de Guido Cavalcanti, c.1300)

Vicente Arregui (1871-1925) Duas Peças Líricas: – Confidencia – Campesina

Mario Castelnuovo-Tedesco (1895-1968) Vogelweide, op. 186 (poemas de Walther von der Vogelweide) Estreia brasileira I – Schlimme Zeiten II – Magdeburger Weihnacht III – Die Römische Opfersteuer IV – Gott Unergründlich V – Unnatur VI – Reimar, der Mensch und der Künstler VII – Preislied VIII – Wahre Liebe IX – Der Traum X – Unter der Linde

[personal-reporter]

Festival delle Nazioni 2023 a Città di Castello

Dal 23 agosto al 7 settembre a Città di Castello e in Valtiberina protagonista della cinquantaseiesima edizione del Festival delle Nazioni sarà l’Italia, come seconda tappa d’un progetto triennale iniziato lo scorso anno e dedicato al rapporto che i tre paesi europei ebbero con i territori in cui hanno lasciato una forte eredità culturale. Il concerto inaugurale del 23 agosto sarà dedicato alla musica del periodo tra Quindicesimo e Sedicesimo secolo, in occasione dei cinquecento anni della morte del Perugino e del Signorelli, che hanno lasciato diverse opere a Città di Castello e nel territorio limitrofo e l’Ensemble Micrologus, uno dei migliori gruppi esperti nella musica di quel periodo, accosterà autori anonimi al sommo Josquin Desprez. È molto attinente al tema del festival Inquietudini ruggenti,  un nuovo spettacolo di parole e musica, che il 24 racconterà gli anni dell’inizio del colonialismo italiano, con testi a cura di Caterina Casini e Fabio Mangolini e musiche composte per l’occasione da Mattia Novelli. Il giorno successivo l’Umbria Ensemble eseguirà musiche strumentali del periodo tra le due guerre mondiali,  tra futurismo e passatismo, con brani notissimi di Puccini e Mascagni, poco noti di Alfredo Casella e rarissimi di Balilla Pratella e Franco Casavola. Il 26 agosto è in programma un concerto in collaborazione con l’Accademia internazionale d’arte lirica di Osimo, che proporrà romanze da camera e canzoni d’autore di quello stesso periodo, alternando grandi musicisti quali Pizzetti, Respighi e Castelnuovo-Tedesco a canzoni dialettali ricche di ironia nei confronti della politica coloniale italiana. Nella sera del 30 si potrà riascoltare la musica leggera italiana degli anni Trenta, Quaranta e Cinquanta nell’interpretazione della Papillon Vintage Swing Band, da Quel motivetto che mi piace tanto  a Nel blu dipinto di blu,  passando per Baciami piccina  e Bellezza in bicicletta. Il concerto dell’1 settembre sarà un omaggio a  Casella nella vita musicale italiana nei primi decenni del Novecento, dove il duo pianistico Alberto Miodini - Pierpaolo Maurizzi eseguirà i suoi Quattro film musicali e la sua trascrizione per pianoforte a quattro mani della Sinfonia n. 7  di Mahler, a testimonianza della precoce intuizione di questo compositore. Il giorno seguente l’Orchestra Filarmonica Italiana diretta da Stefano Seghedoni farà ascoltare alcuni brani sinfonici di Elena Barbara Giuranna, Adriano Lualdi, Guido Pannain e Francesco Santoliquido, inneggianti alle imprese coloniali italiane e il 29 agosto l’Atse Tewodros Project e la scrittrice e performer italiana di origine etiope Gabriella Ghermandi presenteranno brani della musica tradizionale etiope, in stile jazz, includendo canzoni della resistenza etiope contro l’esercito invasore italiano. A chiudere il festival sarà il 7 settembre la prima esecuzione di Ciondolino,  opera da camera di Stefano Garau, su un libretto di Enrico Paci liberamente ispirato al racconto del giornalista ed educatore Luigi Bertelli, noto con lo pseudonimo di Vamba, che coinvolgerà musicisti professionisti ma anche il sistema scolastico musicale di Città di Castello, offrendo ai giovani la possibilità di inserimento in una produzione di teatro musicale. Read the full article

[lesser-known-composers]

Guitarist Tariq Harb plays Mario Castelnuovo-Tedesco's (1895-1968) Capriccio Diabolico "Omaggio a Paganini", Op.85.

[dzismis]

MARIO CASTELNUOVO-TEDESCO: MORE THAN JUST A COMPOSER OF GUITAR WORKS

Napisala i przyslala Basia Jaworski Mario Castelnuovo-Tedesco (Florence, 3 April 1895 – Beverly Hills, 16 March 1968) was born into a Jewish family of Sephardic descent (Jews expelled from Spain in 1492). He was extraordinarily creative, to his credit he worked on all sorts of things: piano works, concertos, operas…. His compositions were played by the great: Walter Gieseking, Gregor…

[edisonblog]

Mario Castelnuovo-Tedesco (1895-1968) was an Italian composer, known mainly for his compositions for guitar and film music.

Was born in Florence and began studying composition at the Florence Conservatory at an early age. He later moved to Milan to continue his studies with the famous composer Ildebrando Pizzetti. In 1939, due to his Jewish ancestry, he had to flee Italy and immigrate to the United States, where he settled in Hollywood and began composing film scores.

Throughout his career, wrote a wide variety of music, including chamber music, opera, ballet, and concertos, but he is best known for his works for guitar. Among his compositions for guitar are two concertos for guitar and orchestra, numerous works for solo guitar, as well as chamber music including guitar.

In the world of cinema, composed music for more than 200 films, including Walt Disney's "Cinderella" and Orson Welles' "The Merchant of Venice." He was also a professor of composition at the Los Angeles Conservatory and had a significant influence on the Los Angeles music scene during his time there.

Mario Castelnuovo-Tedesco's "Capriccio Diabolico" performed by Doris Ćosić on a 2020 Eric Sahlin

source: 10:17min - https://www.youtube.com/watch?v=wPc-1sayNuY

#edisonmariotti

bit.ly/43c0xDX

.br

Mario Castelnuovo-Tedesco (1895-1968) foi um compositor italiano, conhecido principalmente por suas composições para violão e música para cinema.

Nasceu em Florença e começou cedo a estudar composição no Conservatório de Florença. Mais tarde mudou-se para Milão para continuar seus estudos com o famoso compositor Ildebrando Pizzetti. Em 1939, devido à sua ascendência judaica, teve que fugir da Itália e imigrar para os Estados Unidos, onde se estabeleceu em Hollywood e começou a compor trilhas sonoras para filmes.

Ao longo de sua carreira, escreveu uma grande variedade de música, incluindo música de câmara, ópera, balé e concertos, mas é mais conhecido por seus trabalhos para violão. Entre suas composições para violão estão dois concertos para violão e orquestra, numerosas obras para violão solo, bem como música de câmara, incluindo violão.

No mundo do cinema, compôs músicas para mais de 200 filmes, incluindo "Cinderela" de Walt Disney e "O Mercador de Veneza" de Orson Welles. Ele também foi professor de composição no Conservatório de Los Angeles e teve uma influência significativa na cena musical de Los Angeles durante seu tempo lá.

"Capriccio Diabolico" de Mario Castelnuovo-Tedesco interpretada por Doris Ćosić em um Eric Sahlin 2020