约翰·威廉斯2005年演奏会信息

wangjianguo

看到一个，有其他的再补充：

John Williams (website)
Friday, April 15, 2005 at 8 P.M.
Friedberg Hall, Peabody Conservatory
“the finest guitarist before the public today...” The New York Times. John Williams is recognized by most music lovers as an icon of the classical guitar. Born in Australia, Mr. Williams has traveled the world since the early 1960’s, concertizing solo and with such musical collaborators as Julian Bream, Itzhak Perlman, and André Previn, among many others, and with his ensemble, John Williams and Friends. His repertoire is evidence of richly varied musical interests, ranging from Renaissance music through 19th and 20th century music of many nations—his recent CDs include his ensemble’s recording of adaptations of African music and a solo recording of Venezuelan works. With over thirty best-selling recordings in his discography, John Williams has also played for such films as The Deerhunter and A Fish Called Wanda. His musical brilliance prompted these words from Andrés Segovia: “A prince of the guitar has arrived in the guitar world.”

goldenguitar

老而彌堅，至今仍能與年輕一代爭雄，厲害，偶像。

wangjianguo

是该录些纪录片的时候了，等啊。

wangjianguo

http://www.guitarsociety.org/JohnWilliams.htmlSpecial Solo Appearance
by Guitar LegendMarch 29, 2005
Ed Landreth Auditorium, TCU Fort Worth Classic Guitar SocietyFrom a bird (six sketches)
JOHN WILLIAMS (b. 1941)
Mallorca, Op. 202*
ISAAC ALBÉNIZ (1860-1909)Djilile
PETER SCULTHORPE (b. 1929)Koyunbaba
CARLO DOMENICONI (b. 1947)IntermissionMusic from Venezuela and ParaguayPasaje "Los Caujaritos"
IGNACIO "INDIO" FIGUEREDO (1899-1995)El Totumo
BENITO CANONICO (1894-1971)Como Llora una Estrella
ANTONIO CARILLO (1892-1962)Los perdices
PEDRO LOPEZ (N.D.)Angostura
ANTONIO LAURO (1917-1986)El Diablo Suelto
HERACLIO FERNANDEZ (1851-1886)Salve
VICENTE EMILIO SOJO (1887-1974)Romanza
ANTONIO LAUROLa Catedral
La Ultima canción
Julia Florida
AGUSTIN BARRIOS MANGORÉ (1885-1944)Seis por Derecho
ANTONIO LAURO Program NotesJOHN WILLIAMS (b. 1941)From a bird (six sketches 2004)The title of this set of short "sketches" refers to a bird, a honeyeater, that I heard singing in the countryside outside Melbourne, Australia, in 1979. I have used it in several different ways since then, and its song was exactly as at the beginning of the first piece. There is no intentional link between this and the rest of the pieces, except that they all feature a lot of open strings! This applies particularly to No. 4, in which the idea was suggested by the Prelude to Bach's Fourth Lute Suite (also known as the solo violin Partita No. 3). ISAAC ALBÉNIZ (1860-1909)Mallorca, Op. 202The Spanish pianist and composer Isaac Albéniz was born in Catalonia. He was a prodigy at the age of four, and had run away from home, played concerts, and stowed away on a boat across the Atlantic before returning to Europe when he was 13! He then led an extraordinary and versatile life as a pianist, composer, and conductor. All his music is descriptive, colourful, impressionistic, and melodic; this piece is typical, Mallorca being one of the Balearic islands off the coast of Spain in the peaceful Mediterranean.PETER SCULTHORPE (b. 1929)DjililePeter Sculthorpe was born in 1929 in Tasmania and is Australia's most internationally known composer. His unique musical "style", or language, is inspired by the landscape and physical nature of Australia, and reflects his emotional responses also to the music and culture of Japan and Indonesia. He has a special fondness for Djilile, which is based upon an Aboriginal melody from Northern Australia - the title means "whistling-duck on a billabong". Sculthorpe has used it in several compositions, from which this version has been arranged by the Canadian guitarist Steve Wingfield.CARLO DOMENICONI (b. 1947)KoyunbabaCarlo Domeniconi is an Italian guitarist and composer who spent many years living and teaching in Istanbul. The influence of Turkish music plays a large part in his composition, particularly in this piece: "Koyunbaba" is the name of a bay in the southwest of Turkey, bordering the Mediterranean. Domeniconi writes here for the guitar to be tuned in C-sharp minor, totally different to the normal tuning, and the sound is rich and exotic. Based on fantasy and variation, the music gradually builds during the work's four continuous sections, creating intense and exciting music.Music from Venezuela and ParaguayThe Music of Venezuela is a vibrant mixture of three cultures: the indigenous Indians, the Spanish who invaded them, and the Africans who were first brought to Venezuela by the Spanish as slaves, but who also continued to arrive from other parts of the Caribbean until the 1950's. The complexity of African rhythms generally must be emphasized, because the combinations of their complete body movements with the more earthbound Hispanic and Indian dance forms is the essence of the energy in Venezuelan music. For example, alternating 1/4 and 6/8 time signatures are common to Spanish music, but the use of them simultaneously and with other cross-rhythms is typically African. Even the European waltz (introduced in the nineteenth century) was affected in this way, creating a new kind of "Venezuelan Waltz" or Valse criollo - an extreme example being "El Diablo suelto." Another transformation was that of the ancient seis (six), originally for six pairs of dancers on Corpus Christi day, which now exists in the piece "Seis por derecho" as a joropo, one of the most popular Venezuelan dances, which in turn descended from the Spanish fandango. In addition to their traditional origins, many of these dances became the basis of Venezuelan popular music during the 19th century. The forms were used by composers of piano music, operettas, etc. and by arrangers for bands in the 20th century. There was also growing interest in the guitar as a solo instrument, which was given further inspiration by the visit in 1932 of the great Paraguayan guitarist-composer Agustin Barrios Mangoré, who gave 25 concerts in Venezuela in two months. Agustin Barrios was born in Paraguay in 1885; he remained all his life giving concerts in Latin America, except for one tour of Europe from 1934 to 1936, and died in El Salvador in 1944, having spent the last five years there as guitar professor at the National Conservatoire in San Salvador. As well as being a virtuoso player, he composed hundreds of pieces, some in baroque style showing his affection and reverence for Bach, many inspired by the 19th century romantics like Chopin, and others simply expressing himself through the popular song and dance forms of Latin American countries. A very literate man, Barrios was interested in philosophy, spoke several languages, wrote poetry, and early in his life, did graphic art and journalism. He was a generous, bohemian, much-loved character and on the day of his funeral, people left their market stalls to join the procession through the streets of San Salvador.For the Venezuelan music, I use all new arrangements and editions by Alirio Diaz, published by Caroni Music.John Williams

reonkong

不知道在他之后还会有谁？担忧中啊。。。。