Monthly Archives: February 2017

Folks, Marco Oppedisano is from Brooklyn and he writes guitar music. Listen:

recorded in December 2016 by the Quarto Ensamble.

Marco Oppedisano

Quarto Ensamble

Score and parts are available for purchase/streaming at:
Music by Marco Oppedisano
Out Your Ear (ASCAP)


Two very out of print albums on ECM records, probably never released on CD. Maybe some kind of re-release is in order?

ECM 1206
David Samuels – vibraphone, marimba
Paul McCandless – oboe, english horn, soprano saxophone
David Darling – cello
Ratzo Harris – upright bass
Michael DiPasqua – drums, percussion
Double Image – Dawn
ECM 1146
David Samuels – vibraphone, marimba
David Friedman – vibraphone, marimba
Harvie Swartz – bass
Michael DiPasqua – drums, percussion

Not a jazz guitarist in any conventional sense, but an improviser of eloquence and imagination, nor strictly a classical guitarist, Ralph Towner is a category unto himself. originally a pianist, he has always sought to access on guitar the piano’s harmonic potential…

As a guitarist who specialises in solo concerts of original compositions and improvisation, I often think of myself as a raconteur of the abstract. It’s my contention that music unfolds to the listener as does a work of literature, only without the specific meanings of written or spoken words.

Each time I plant myself on stage before an audience, I proceed from the first sound to attempt to develop a musical continuity that will draw the listener into a world populated with a cast of sonic characters playing out an existence replete with all the emotions that could be suggested in a play or any work of literature.

Before a concert I choose from a list of pieces that I have composed, each of which has a unique quality that establishes a particular atmosphere that I can develop further with improvisation. I always begin with an improvised introduction to a composition, feeling out the sound of the room and the energy in the audience. An advantage of being an improvising soloist is that you are free to alter, or depart from, the form of a piece at any point if you sense that the ‘story’ needs a turn of events. In this respect, I consider myself as part of the audience, and if all is going well, I am swept along with everyone as to the shape and course the music takes.

Music, in my opinion, is a social art that combines the energies and contributions of multiple musicians and listeners. Being a soloist seems antithetical to this notion, but I feel the cultivation and imaginative use of a broad variety of musical colours and techniques invest the music with an orchestral aura that transcends the audience’s perception that it is being produced by a single player. Once the music has begun, it ceases to be a matter of how many are playing and what instruments are being played, and becomes rather a passage into a world of infinite sounds that are completely personal to each listener. The less self-conscious the audience and performer become, the better the concert. The most drastic difference for the solo player is that at the conclusion of the concert, the pleasure of discussing the concert you just played with the other musicians in the group isn’t possible. It is ironic that much of my sense of musical interaction in a solo piece has been cultivated by playing in group situations.

So far I haven’t felt any loss of fascination for the art of music. The guitar, for me, has always been an instrument with a bottomless reservoir of musical colours and possibilities. It continues to be a passport into a wondrous realm, and I am grateful for this.

– Ralph Towner, “‘Horizons Touched”

Ralph Towner
Osunbruck, Germany
May 22 & 23, 1998.

Leo Brouwer
Kleine Zaal, Concertgebouw – Amsterdam
1976-10-09 (FM)

Cuban guitarist and composer Leo Brouwer plays a solo recital in the hall of the Concertgebouw in Amsterdam. The works on the program are all exemplary of Leo Brouwer. Arrangements of Baroque music, his own work and as a final piece of work for guitar and electronics. Due to an injury to his right hand in the early 1980’s, Leo Brouwer stopped performing and switched to composing full-time.

00:00 Six Lute Pieces of the Renaissance 6.55
Anonymous – Transcribed by Oscar Chilesotti
– I. Vaghe belleze et bionde treccie d’oro vedi che per ti moro.
– II. Bianco Fiore.
– III. Danza.
– IV. Gagliarda
– V. Se io m’accorgo
– VI. Saltarello

06:55 Johan Sebastian Bach 13.38
Chaconne from Violin Partita No. 2 BVW 1004

20:33 Domenico Scarlatti 24.12
Six sonatas for harpsichord
– Uknown Title
– Uknown Title
– Uknown Title
– Uknown Title
– Uknown Title
– Uknown Title

Leo Brouwer
44:43 – Parábola 6.43
51:26 – Canticum 4.30
55:54 – La espiral eterna 8.12

1:04:05 Tres piezas populares argentinas 8.12
– Astor Piazzolla – Uknown Title
– Astor Piazzolla – Uknown Title
– Astor Piazzolla – Uknown Title

1:12:16 Tres piezas populares cubanas 8.26
– Leo Brouwer – Berceuse (Cancion de Cuna)
– Uknown Title
– Uknown Title

1:20:41 Tres piezas populares brasileiras 8.42
– Uknown Title
– João Pernambuco – Sons De Carrilhoes
– Antonio Carlos Jobim – Samba de Uma Nota Só

1:29:21 Leo Brouwer 11.36
Metáfora del amor (guitar and tape)


Bardsdale for solo guitar, is “an evocation of the tranquil California landscape around the groves of Fillmore.” The three movements are titled Early Morning: A Deep Rain, Mid-day and Evening: Dusk, Luminous Streaks Of.

Ishmael Wadada Leo Smith (born December 18, 1941) is an American trumpeter and composer, working primarily in the fields of avant-garde jazz and free improvisation. He was one of three finalists for the 2013 Pulitzer Prize for Music for Ten Freedom Summers, released on May 22, 2012 (Wikipedia)

Thrilled to find a new performance by Christophe Dejour on yerTube this morning…

performers notes:

Johann Sebastian Bach: Chromatic Fantasia and Fugue (BWV 903)
originally written for the Harpsichord,
but here in an arrangement for solo guitar made by Christophe Dejour.

Pdf-file of the guitar score for sale (price 15$ – 14€ – 100 DKR.)
Please contact me at:

Fantasia: 0.08
Fugue: 7.35

Bach probably composed it during his time in Köthen from 1717 to 1723. The piece was already regarded as a unique masterpiece during his lifetime. It is now often played on piano.

It´s not the first time the work has been transcribed for the guitar but this is my modest attempt. The work has a.o. also been transcribed for viola solo by Zoltán Kodály in 1950 and Busoni made two transcriptions for both solo piano and cello and piano, which are catalogued as BV B 31 and 38, respectively.
I play on my brand new Behnam Shirazi guitar (2014) on this video.
I hope you will enjoy the music and the video.

Best regards
Christophe Dejour

Béla Bartók: Sonata for Guitar, transcription by Christophe Dejour
Alban Berg: Opus One, transcription by Christophe Dejour


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