Ezordio
[CD]
"Albeniz: Granada, Cordoba, Sevila & Castilla, Bach: Violin Partita #1, Piazzolla: Campero & Romantico, Del Monte: Perptuum Mobile, & Lament for 6 Million"
Also available via download or stream at cdbaby or your favorite site
"...I was utterly captivated by these (Piazzolla) stylish and articulate interpretations. Likewise the Bach, in which I became increasingly convinced by Del Monte's uncompromising approach to ornamentation. ...Del Monte applies the bells and whistles with disarming flair and imagination. And then there's the Albeniz. ...along comes Del Monte with readings which give these tired old warhorses life anew. After a truly breathtaking 'Castilla,' one naturally fears that he has peaked too soon, but the incredible 'Sevilla' eliminates any such doubts. If any performer on any instrument has presented this work with such energy and brilliance, then it has escaped my notice. A magnificent debut from a guitarist with all the hallmarks of a major world talent." - Paul Fowles, Classical Guitar Magazine
"Displaying mind-boggling control over dynamics and tone, Adam Del Monte defies physics with his expressive, romantic playing. His 'Ezordio' is both profoundly inspiring and truly humbling. Whether playing compositions by Piazzolla, Albeniz, or J.S. Bach, Del Monte plays with unusual grace and power. Arpeggios cascade from his guitar like gentle waterfalls, Melodies and bass lines dance in exquisite counterpoint. His touch is firm, yet his lines breathe. Even at breakneck speeds, Del Monte plucks each note with such precise, sensuous clarity that the music's shape and design stands fully revealed. His extraordinary technique has the effect of making complex passages sound simple and transparent. As a bonus, Del Monte rounds out the program with two originals. Comprising angular lines and ringing clusters, these compositions provide an engaging balance to the intimate baroque and Spanish moods that permeate 'Ezordio'. - Andy Ellis, Guitar Player Magazine - Jeanette Housner, Victory Review
"Through the varied styles, his meticulous technique makes the most intricate passages flow effortlessly." - Napra Review
THE LINER NOTES
It is with great enthusiasm that I recorded these pieces as this repertoire has been in my heart for a very long time. I wanted my first classical CD to be made up of some of my personal favorites.
Since I am also a flamenco player, I felt the need to incorporate these qualities in some of the Albeniz pieces. I took liberties in “Sevilla” by using flamenco rasgueados where I thought they worked. Also in the slow section, I added some extra trills and ornaments in the spirit of the Spanish Cuplé (which is what the whole slow section is). One might ask whether this is appropriate. To answer this, I can only paraphrase what I recently learned Albeniz’ daughter said to the pianist Arthur Rubinstein as he played her father’s music; “Hey, that’s how papa used to play it, always slightly different.”
The Bach “Partita in B minor” is very special to me because of its highly introspective and meditative character. It has a very theraputic effect, especially with the 1/6 comma meantone temperament or “Telemann’s Favorite” tuning of this guitar, with its special fret spacing (see photo). In the “Sarabande,” I took some added liberties in ornamenting with a slight Spanish flavor, since it is a Spanish dance in origin.
I have included two of my original pieces; “Lament for 6 Million” (1985) is a kind of musical prayer, and the “Perpetuum Mobile” (1982) was my first composition. In the latter piece, I felt the need to synthesize a barage of musical and personal experiences—from Jazz to Prokofiev, Samba to Flamenco—all channeled through the classical guitar.
CREDITS
produced by Dean Kamei
recorded and mixed by John Strother
assisted by Rose Landauer at Penguin Recording, Eagle Rock, California
mastered by David Schultz and John Strother at DigiPrep, Hollywood, California
color photos by Melba Levick
graphics by GSP/dk
guitar on all pieces except the Bach: Pedro de Miguel
guitar on the Bach: Bob Mattingly (photo by John Schneider)
| Track 1 | Campero (A. Piazzolla) |
|---|---|
| Track 2 | Romantico (A. Piazzolla) |
| Track 3 | Partita in B Minor - 1) Allemande (J.S. Bach) |
| Track 4 | Partita in B Minor - 2) Double I (J.S. Bach) |
| Track 5 | Partita in B Minor - 3) Corrente (J.S. Bach) |
| Track 6 | Partita in B Minor - 4) DoubleII/Presto (J.S. Bach) |
| Track 7 | Partita in B Minor - 5) Sarabande (J.S. Bach) |
| Track 8 | Partita in B Minor - 6) Double III (J.S. Bach) |
| Track 9 | Partita in B Minor - 7) Bourree (J.S. Bach) |
| Track 10 | Partita in B Minor - 8) Double IV (J.S. Bach) |
| Track 11 | Lament for 6 Million (A. Del Monte) |
| Track 12 | Perpetuum Mobile (A. Del Monte) |
| Track 13 | Granada (I. Albeniz) |
| Track 14 | Cordoba (I. Albeniz) |
| Track 15 | Castilla (I. Albeniz) |
| Track 16 | Sevilla (I. Albeniz) |
| Featured Product | No |
| Maker/Manufacturer/Artist | DEL MONTE, ADAM |
| Availability | Temporarily Out of Print |
| Description | THE LINER NOTES It is with great enthusiasm that I recorded these pieces as this repertoire has been in my heart for a very long time. I wanted my first classical CD to be made up of some of my personal favorites. Since I am also a flamenco player, I felt the need to incorporate these qualities in some of the Albeniz pieces. I took liberties in “Sevilla” by using flamenco rasgueados where I thought they worked. Also in the slow section, I added some extra trills and ornaments in the spirit of the Spanish Cuplé (which is what the whole slow section is). One might ask whether this is appropriate. To answer this, I can only paraphrase what I recently learned Albeniz’ daughter said to the pianist Arthur Rubinstein as he played her father’s music; “Hey, that’s how papa used to play it, always slightly different.” The Bach “Partita in B minor” is very special to me because of its highly introspective and meditative character. It has a very theraputic effect, especially with the 1/6 comma meantone temperament or “Telemann’s Favorite” tuning of this guitar, with its special fret spacing (see photo). In the “Sarabande,” I took some added liberties in ornamenting with a slight Spanish flavor, since it is a Spanish dance in origin. I have included two of my original pieces; “Lament for 6 Million” (1985) is a kind of musical prayer, and the “Perpetuum Mobile” (1982) was my first composition. In the latter piece, I felt the need to synthesize a barage of musical and personal experiences—from Jazz to Prokofiev, Samba to Flamenco—all channeled through the classical guitar. CREDITS
color photos by Melba Levick
guitar on all pieces except the Bach: Pedro de Miguel
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