CHITARRA LAMPO

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    LIBRI DI ELETTRONICA
    LIBRO DI AMPLIFICAZIONE E IL SETUP
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    MONOGRAFIE, BIOGRAFIE DI CHITARRISTI
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    LETTERATURA
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SPARTITI CLASSICA

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1252 BARRIOS, IN TABLATURE VOLUME 2. TAB

Euro 14,00

Quantità

BARRIOS, IN TABLATURE VOLUME 2. TAB

Disponibilità:

2475 BOCCHERINI: GUITAR QUINTET IN RE MAGGIORE N.4. CD

Euro 32,00

Quantità

BOCCHERINI: GUITAR QUINTET IN RE MAGGIORE N.4. Base con preascolto. CD

FANDANGO
Series: Music Minus One
Publisher: Music Minus One
Medium: Softcover with CD
Composer: Luigi Boccherini
Boccherini was one of the great masters of the Italian Baroque guitar and this quintet demonstrates that fact perfectly. As its title implies, it is famous for its dance-like qualities. Great fun and rewarding to any player of the Baroque and Classical guitar repertoire. Includes a high-quality printed solo part and a compact disc containing a complete performance with soloist; then a second version with accompaniment, minus the soloist.
16 pages

Disponibilità:

4291 BOLLING CLAUDE, SONATE POUR GUITARE.

Euro 12,00

Quantità

BOLLING CLAUDE, SONATE POUR GUITARE. Ispirato e dedicato a Alexander Lagoya. Solo la parte della chitarra.

Series: Guitar Solo
Artist: Claude Bolling

This piece, from Enchanting Versailles - Strictly Classical, was inspired by a suggestion from Alexandre Lagoya, the gifted guitarist on Concerto for Classic Guitar and Jazz Piano Trio and Picnic Suite. 20 pages.

Disponibilità:

4292 BOLLING CLAUDE, CONCERTO FOR CLASSICAL GUITAR AND JAZZ PIANO.

Euro 41,00

Quantità

BOLLING CLAUDE, CONCERTO FOR CLASSICAL GUITAR AND JAZZ PIANO. Partitura completa.

Series: Transcribed
Artist: Claude Bolling

Transcriptions to the Concerto featuring the jazz piano of Claude Bolling and the classical guitar of Alexandre Lagoya. Also includes parts for bass and drums. 142 pages.

Africaine (Bolling)
Finale (Bolling)
Hispanic Dance (Bolling)
Invention (Bolling)
Mexicaine (Bolling)
Rhapsodic (Bolling)
Serenade (Bolling)

Disponibilità:

3172 BRAHMS JOHANNES, ARRANGED FOR GUITAR. CD TABLATURE

Euro 39,99

Quantità

BRAHMS JOHANNES, ARRANGED FOR GUITAR. CD TABLATURE

Foreword
After having enjoyed immense popularity in Europe in the 18th century, the guitar suffered something of a decline towards the end of that period. Haydn considered it suitable accompaniment instrument and used it in a trio with violin and cello, but even this is an arrangement of his Op. 1, No. 6 Quartet in C major. Mozart wrote precisely nothing for the instrument, and Beethoven, after hearing a Vienna performance by the Bologna-born guitar virtuoso Mauro Giuliani, pronounces that "the guitar is a miniature orchestra in itself" and then followed Mozart by writing nothing for it. Weber, however, was a skilled guitarist and wrote many small pieces for the instrument, including some ninety songs with guitar accompaniment. And it is interesting to note that, after the flute, the guitar was the major instrument of Hector Berlioz, who was nothing of a pianist. Berlioz imitates the guitar in his orchestral works (for example, with Romeo's long love theme in the first movement of "Romeo et Juliette") but still wrote nothing substantial for his instrument, although it does turn up as part of the accompaniment to a chorus in praise of Sicilian wine that opens the second act of the opera "Beatrice et Benedict."
All this is to demonstrate the fact that in the greater part of the nineteenth century the guitar could not compete with the piano in extended form compositions, so the major composers of the time, usually trained as pianists, did not write for it. The guitar scene was dominated by virtuosi like Giuliani and Fernando Sor who wrote pieces along with some practical methods for their instrument, some of which are still in use today. The guitars of this time were much better suited to the salon than the concert platform of a large hall. This situation began to change in 1854when the guitar maker Antonio Torres started to produce instruments which brought together new innovations in design to produce a much more powerful instrument capable, in the most skilled hands, of being heard in much larger spaces. Also, in the last quarter of the century, the Spanish pianist Francisco Tarrega (1852-1909)turned his full attention and enthusiasm to the guitar, renewing and invigorating the whole technique of playing, plus making excellent transcriptions of classical keyboard works by Bach, Haydn, Mozart, and Beethoven as well as works by his Spanish contemporaries, such as Albeniz, and Malats. In fact, Albeniz went so far as to say that he thought his piano pieces sounded better in the guitar in Tarrega's transcriptions. But Tarrega was too shy to give recitals abroad and so his influence was largely limited to personal contact. The job of making the guitar an internationally recognized legitimate concert instrument was left to Tarrega's successor, the great Andres Segovia.
The modern guitar repertoire owes a great deal to Segovia, as do the succeeding generations of concert guitarists, many of whom have captured the interest of contemporary composers such as Benjamin Britten and Hans Werner Henze.
So it is within this long tradition of transcription that Javier Calderon has arranged some of '-lte piano music of Brahms for guitar. It is surprising that at this late date there has been very few examples of guitar versions of this music, and practically no attempt to transcribe a complete set of pieces, as Calderon has done, of such groups as Brahms' Op. 39 "Waltzes."
The sixteen Waltzes Op 39 by Johannes Brahms were written in January of 1865before their composer had permanently settle in Vienna, but he knew that he was quite attracted to the city and would probably make it his home. Being the sturdy north German artist that he was, having been born and raised in Hamburg, Brahms found himself easily seduced by the lilt of the Viennese waltz, and he greatly admired the Waltz King, Johann Strauss, Jr. This admiration was clearly shown (along with Brahms's personal modesty) when he asked to sign Strauss's stepdaughter Alice's autograph fan. The great German master quoted the opening of Strauss's Blue Danube waltz and then wrote "unfortunately not by Johannes Brahms." The Op. 39 "Waltzes" were first composed for piano fourhands and it was in this form that they had their premiere in 1867;they were dedicated to Brahms's friend, the critic Eduard Hanslick. The composer later made a version for solo piano, and it is this which forms the basis for Mr. Calderon's transcription.

About the Author
Javier Calderon
When Javier Calderon played his solo recital debut at Carnegie Hall, the New York Times called him "...a virtuoso with poetic sensibility." Since then many composers, including the eminen American Alan Hovhaness, have been writing and dedicating their music to Calderon.
At age seventeen, Javier Calderon thrilled the audience of his native city of La Paz, Bolivia the evening he played with the Bolivian National Symphony Orchestra. Then he was invited to the Marlboro Music Featival in Vermont. Soon after, Andres Segovia awarded the young guitarist a scholarship to study under his tutelage in Spain. Calderon, who is also an accomplished cellist, studied interpretation with Janos Starker.
One of the most expressive guitarists of our time, Javier Calderon now tours extensively in the United States, Europe, South America and the Far East. He appears regularly as concert soloist with orchestras including the St. Louis and Atlanta Symphonies and Minnesota Orchectra and in solo recitals throughout the world. Javier Calderon has performed chamber music concerts with cellist Yo YoMa and been featured at numerous international music festivals.
Eloquent interpretations and the ability to draw a fascinating variety of sounds from the guitar characterize Calderon's unique style. Audiences in New York's Carnegie Hall, Madrid, Buenos Aires, Taipei, Bonn, Mexico City, and Seoul, have been spellbound by his flawless technique and moved by his sensitivity and musicianship. The Tages Anzeiger of Zurich described Javier Calderon as "an exceptional artist of the guitar." The critic of the Great China Evening News wrote, "I was moved to tears by Calderon's performance." His concerts have been broadcat by PBS in the United States, Radio Television Espanola in Europe and by the Voiceof America in Latin America.
Calderon's recent recordings have been warmly received with rave reviews by Fanfare Magazine.
Javier Calderon holds the position of Professor at the University of Wisconsin-Madison, (USA) School of Music, where he founded and heads the guitar program.

Disponibilità:

6364 THE ART OF JULIAN BREAM. Graham Wade. 232 pagine.

Euro 35,00

Quantità

THE ART OF JULIAN BREAM. Biografia. 232 pagine.

Series: Book
Publisher: Ashley Mark Publishing Company
Medium: Softcover
Author: Graham Wade
Artist: Julian Bream

This is the first book to present a detailed account of the musical achievements of Julian Bream. In a wide-ranging celebration of his artistry the book offers essential perspectives on vital elements of twentieth century guitar history and reveals how Julian Bream succeeded in establishing the instrument as a uniquely expressive force on the contemporary scene. As well as his phenomenal success in inspiring composers such as Britten, Tippett, Walton, Arnold, Berkeley, Henze, Brouwer, Takemitsu, etc., to write for the guitar, Bream is also renowned as the twentieth century's greatest lutenist and a passionate advocate of Elizabethan music. 232 pages.

Disponibilità:

4842 BROWER LEO, ELOGIO DE LA DANZA PARA GUITARRA.

Euro 13,00

Quantità

BROWER LEO, ELOGIO DE LA DANZA PARA GUITARRA.

Disponibilità:

6359 CARCASSI IN TABLATURE, BEN BOLT. CD TAB.

~~Euro 34,95~~
- 28,61% Euro 24,95

Quantità

CARCASSI IN TABLATURE, BEN BOLT. CD TAB.

Product Description:
The book includes over 100 pages of the best of Carcassi's works. All music is digitally recorded by Ben Bolt in the order of publication. Carcassi has been proven to be a" best seller" among retailers. Now with the man who is credited with being the innovator of classic guitar in notation/tab/recording; this one is a no brainer. 128 PAGES

Song Title: Composer/Source:
Allegretto in A M. Carcassi, Arranged by Ben Bolt
Allegretto in C M. Carcassi, Arranged by Ben Bolt
Allegretto in D M. Carcassi, Arranged by Ben Bolt
Allegretto in E M. Carcassi, Arranged by Ben Bolt
Allegretto in F M. Carcassi, Arranged by Ben Bolt
Allegretto in G M. Carcassi, Arranged by Ben Bolt
Allegro Brillante M. Carcassi, Arranged by Ben Bolt
Allegro in D Major M. Carcassi, Arranged by Ben Bolt
Allegro in E Minor M. Carcassi, Arranged by Ben Bolt
Allegro in Triplets M. Carcassi, Arranged by Ben Bolt
Andante in G M. Carcassi, Arranged by Ben Bolt
Andantino M. Carcassi, Arranged by Ben Bolt
Andantino in E M. Carcassi, Arranged by Ben Bolt
Andantino in F M. Carcassi, Arranged by Ben Bolt
Andantino in G M. Carcassi, Arranged by Ben Bolt
Arpeggio in A M. Carcassi, Arranged by Ben Bolt
Arpeggio in A Minor M. Carcassi, Arranged by Ben Bolt
Arpeggio in D M. Carcassi, Arranged by Ben Bolt
Arpeggio in E M. Carcassi, Arranged by Ben Bolt
Arpeggio in E Minor M. Carcassi, Arranged by Ben Bolt
Arpeggio in F M. Carcassi, Arranged by Ben Bolt
Arpeggio in G M. Carcassi, Arranged by Ben Bolt
Dance in A M. Carcassi, Arranged by Ben Bolt
Danza in C M. Carcassi, Arranged by Ben Bolt
Frolica in A M. Carcassi, Arranged by Ben Bolt
Frolica in E M. Carcassi, Arranged by Ben Bolt
Galop M. Carcassi, Arranged by Ben Bolt
Grazioso M. Carcassi, Arranged by Ben Bolt
Grazioso in C M. Carcassi, Arranged by Ben Bolt
Intro in A M. Carcassi, Arranged by Ben Bolt
Jig in A M. Carcassi, Arranged by Ben Bolt
March in A M. Carcassi, Arranged by Ben Bolt
March in F M. Carcassi, Arranged by Ben Bolt
Melody in C Major M. Carcassi, Arranged by Ben Bolt
Melody in F Major M. Carcassi, Arranged by Ben Bolt
Moderato in G M. Carcassi, Arranged by Ben Bolt
Music Theory
Octave Study M. Carcassi, Arranged by Ben Bolt
Prelude in A M. Carcassi, Arranged by Ben Bolt
Prelude in A Minor M. Carcassi, Arranged by Ben Bolt
Prelude in B Minor M. Carcassi, Arranged by Ben Bolt
Prelude in C M. Carcassi, Arranged by Ben Bolt
Prelude in C# Minor M. Carcassi, Arranged by Ben Bolt
Prelude in D M. Carcassi, Arranged by Ben Bolt
Prelude in D Minor M. Carcassi, Arranged by Ben Bolt
Prelude in E M. Carcassi, Arranged by Ben Bolt
Prelude in E Minor M. Carcassi, Arranged by Ben Bolt
Prelude in F M. Carcassi, Arranged by Ben Bolt
Prelude in F# Minor M. Carcassi, Arranged by Ben Bolt
Prelude in G M. Carcassi, Arranged by Ben Bolt
rolica in A Minor M. Carcassi, Arranged by Ben Bolt
Romance in E Minor M. Carcassi, Arranged by Ben Bolt
Rondino in D M. Carcassi, Arranged by Ben Bolt
Rondo M. Carcassi, Arranged by Ben Bolt
Study in A M. Carcassi, Arranged by Ben Bolt
Study in A Major M. Carcassi, Arranged by Ben Bolt
Study in E Major M. Carcassi, Arranged by Ben Bolt
The Left Hand
The Right Hand
Triste in E Minor M. Carcassi, Arranged by Ben Bolt
Waltz in A M. Carcassi, Arranged by Ben Bolt
Waltz in C M. Carcassi, Arranged by Ben Bolt
Waltz in D M. Carcassi, Arranged by Ben Bolt
Waltz in E M. Carcassi, Arranged by Ben Bolt
Waltz in F M. Carcassi, Arranged by Ben Bolt
Waltz in G M. Carcassi, Arranged by Ben Bolt

Disponibilità:

0197 CARCASSI MATTEO OP.60 FOR GUITAR. 25 MELODIC AND PROGRESSIVE STUDIES. CD

Euro 19,00

Quantità

CARCASSI MATTEO OP.60 FOR GUITAR. 25 MELODIC AND PROGRESSIVE STUDIES. I 25 studi del fiorentino Carcassi fanno oggi parte del programma rivolto a tutti gli studenti che frequentano un qualsiasi corso serio per chitarra classica. Oltre alla funzione didattica di tecnica per la mano destra e la mano sinistra, il controllo del tono, dei dinamismi della linea melodica; ognuno di questi 25 studi ha un proprio carattere espressivo, per questo parte di essi sono entrati nel repertorio della chitarra da concerto. Compact disc con l'esecuzione completa di tutti gli studi, delle durata di 48' e 22". CD

One of Carcassi's (1792-1853) most famous collections of classical guitar music - indispensable for the modern guitarist's musical and technical development. Performed by Paul Henry. 49-minute audio accompaniment.

Disponibilità:

2476 CARCASSI MATTEO, TRE TEMI VARIATI Op.12. no TAB.

Euro 10,50

Quantità

CARCASSI MATTEO, TRE TEMI VARIATI Op.12. SENZA TAB.

Disponibilità:

CHITARRA LAMPO