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ProduitsPartitions pour guitare2 guitaresLook at the Big Birds

Look at the Big Birds
  • Sad Song

  • Baluchestan Dance

  • Ewe

  • Gander en he Pratie

  • Love to be

  • Muko

  • Rachel

Look at the Big Birds

Compositeur: BOGDANOVIC Dusan

DO 830

Intermédiaire

ISBN: 978-2-89503-605-0 

2 guitares

52 p.

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Description

BOGDANOVIC: Look at the Big Birds

World Music for Young Guitarists

Carmen Alvarez, Francisco Bernier,

Contrastes 1201403

What a delight! I’ve never encountered anything quite like this, and I welcome it. This is a set of works for student guitarists—or, more accurately, for teachers to perform with their students, so one part may be more demanding than the other. The music, all arranged by Dusan Bogdanovic, takes its sources from, well, everything. It opens with Ein Feste Burg, followed by an Azerbaijani folk song, then Korea, then Danemark, then Hawaii, Greece, Indonesia, Namibia, Ireland, Ecuador—you name it. 28 pieces in all, each more charming than all the others, none longer than a couple of minutes. He even includes the Epitaph of Seikilos from Ancient Greece; perhaps the world’s oldest preserved song. Performing demands are modest, but one still must work with asymmetrical rhythms, harmonics, tonal effects, percussion effects in the African pieces, and slide for the Hawaiian.

Bogdanovic is well known to guitarists, as a performer and as a composer whose work is strongly influenced by his Balkan roots. Here he goes beyond that to the whole world. Teachers with any sense of adventure will welcome this. I won’t even complain about the brief total time--there is just as much as needed and another different piece would break the spell. Francisco Bernier was reviewed under Abril earlier in this issue, and with his partner Carmen Alvarez performs with sparkle and joy (they are also president and managing director of this Contrastes label, which they co-founded).

Earlier this season I reviewed a wonderful recital by Thomas Hampson. He often performs songs from a wide variety of sources, and his philosophy is a simple one. “If we all knew each other’s songs, we’d be less likely to shoot at each other.” May Mr. Bogdanovic’s project bring that goal closer.

Keaton

American Record Guide, September/October 2015

 

1. A Mighty Fortress – Germany

2. A Sad Song – Azerbaijan

3. Anna Loved One by One... – Danemark

4. Arirang – Korea

5. Balinese Dance – Indonesia (Bali)

6. Baluchestan Dance – Iran

7. Epitaph to Seikilos – Greece

8. Ewe Songdance – Ghana

9. Farewell to You – Hawaii, USA

10. Fish Faronika – Slovenia

11. For He’s a Jolly Good Fellow – English

12. Gander in the Pratie Hole – Ireland

13. I’d Love to be a Farmer – Macedonia

14. I’m a Happy Swiss boy – Switzerland

15. In the Summertime – Russia

16. Little Monk – China

17. Look at the Big Birds! – Namibia

18. Mountain Harp – Ecuador

19. Mukô Yokochô – Japan

20. Navajo Song – Navajo, USA

21. Next to my Blonde – France

22. Old Folks at Home – USA

23. Rachel – Sepharad, Israel

24. Šano, Sweetheart – Serbia

25. Spring Song – Poland

26. Two Guys from Brac – Dalmatia, Croatia

27. Vaju me ‘nzuru – Italy (Calabria)

28. When I Went to Bembasa – Bosnia

 

"Although Haydn's transparent classical style has always appeared well-suited to guitar transcription/arrangement, examples have never been com-mon. Itself a setting of the Divertimento in C (Hob. I1/11), this modestly proportioned keyboard sonata proves the idea to be a good one. Adopting the key of D major, Bogdanovic offers a practical working arrangement with detailed but not excessive left-hand fingerings and several clues as to the realisation of the ornaments. Anyone requiring further guidance will find loads of piano footage on YouTube, the first I clicked on confirming that the trills starting at bar 22 of the opening Allegro needn't be executed as anything more fiddly than upper mordents. As is almost always the case, the technical bar is raised considerably in transit, the scale flourishes in the final Air and Variations ensuring that an intermediate keyboard work becomes the exclusive province of the fully-fledged gultarist. An inspired idea that's well worth exploring."

Paul Fowles (Classical Guitar Magazine)

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