Koyunbaba aniello desiderio biography
Domeniconi
Introduction
In this introductory module, Aniello Desiderio provides an overview of the origins of Koyunbaba and his own personal relationship with the composer, Carlo Domeniconi. Desiderio recounts the multiple conflicting stories the composer had told him about its origins. He theorizes that there may not be one authentic story, and suggests it should be up to the player to choose their favorite. This section sets the stage for the rest of the video lesson series and provides valuable context for understanding the piece.
I. Moderato
In this lesson, Desiderio delves into the incredible colors and atmosphere of the first movement. He hypothesizes that Koyunbaba could be one of the most atmospheric works ever written for the guitar and explores elements of tempo, rubato, and voice leading. He shares his best practices for bringing out the nuances of this movement and creating a captivating atmosphere.
II. Mosso
In this lesson, Desiderio shares his favorite fingerings for the second movement, and provides helpful tips for playing natural and artificial harmonics. He offers valuable tips for bringing out the beauty of the music and creating mesmerizing atmospheric effects.
III. Cantabile
In this module, Desiderio emphasizes the importance of combining apoyando and tirando for expressive purposes. He offers valuable tips for performing the arpeggio section and explains the importance of recognizing parallel motifs. He also shares his insights about bringing out the unique dynamic character of the movement.
IV. Presto
In this final lesson, Desiderio teaches the fourth and final movement of "Koyunbaba". He shares his approach for building up to the expressive climax of the movement, practicing your right and left hand separately, and on playing the rasgueado section convincingly.
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Click below to access BY ANGE TURELL | FROM THE FALL 2019 ISSUE OF CLASSICAL GUITAR “The time of the self-deprecating ‘classical’ guitar is over. It is time to see the guitar as it really is: a strong, sonorous instrument with a richness of color that knows no equal.” This bold manifesto is to be found on composer and guitarist Carlo Domeniconi’s homepage. The lines efficiently summarize his music, which is full of colors: sometimes silently whispering, sometimes valiantly loud-spoken, always on its way through shifting environments, where beautiful, restful passages are rapidly transformed into exciting cascades of notes inspired by Turkish maqaam or the raga of Indian classical music; plus a diversity of weird sounds picked from the toolbox of guitar modernism. For most of us, Domeniconi’s name immediately brings to mind Koyunbaba, a work from 1985 that has become one of the most performed pieces in the contemporary guitar repertoire. According to Domeniconi, the title has two meanings: It is the name of a wild and remote region in southwestern Turkey that is believed to have certain magical properties, and it is also the name of a medieval Turkish saint. The literal translation is “father of sheep,” or shepherd. Koyunbaba is a modal composition inspired by Turkish folk music, and after hearing it, many tend to connect Domeniconi only to this fusion of Western and Turkish music—even though this is just one aspect of his great body of work. Indeed, his credit list includes more than 150 pieces—a great deal of it music for solo guitar, but also guitar duets and some works written for the Los Angeles Guitar Quartet. In several other ensemble compositions, the guitar holds a prominent position among other instruments, but in his wide-ranging oeuvre, there are also string quartets, works for large orchestra, and music for saz (a long-scale lute, often used in Turkish and Kur It is extremely rare to experience transcendence at a concert—the moment when you completely and wholeheartedly embark on an extraordinary musical journey. Italian Virtuoso Aniello Desiderio took concertgoers at the First Lutheran Church in Back Bay on such a departure with his classical guitar last Friday night, as part of the Boston Classical Guitar Society’s Artist Series, which annually features some of the world’s finest guitarists such as: Ana Vidovic, David Russell, Eliot Fisk and Sharon Isbin. From his first delicate E of Isaac Albeniz’s Asturias, I knew that this performance would be something special. As he pushed and pulled his way through each phrase, it was clear that he had completely internalized the essence of this quintessential suite, and although his somewhat free interpretations were completely tasteful, I fear that first time listeners may have missed some of the true sonorities that are so beautiful and delicate in this famous piano transcription. He followed up with a sweet interpretation of Sevilla, again displaying an ooze of romanticism that gave a great appeal to this work. After a fiery and passionate 1 and 3 Movement of Joaquin Turina’s Op.61 Sonata, firmly rooted in the Flamenco traditions of Spain, he adjusted the sails and ended with a graceful and poised performance of Gaspar Sanz’s Suite Española – the simple harmonic shifts highlighted by a thorough intention in each voice gave a true sense of authority to this baroque masterpiece. It must be said that he seemed a little less prepared in the Sanz than the former two works, but his all-Spanish first half was nonetheless a fantastic display of understated virtuosity, combined with artistic finesse. The second half paid homage to some of the great Italian composers and showed a completely different side to Aniello Desiderio. He is widely known and regarded for his interpretations of fellow Italians such as Scarlatti and Paganini, and it is easy to see why; from th Italian guitarist Aniello Desiderio was born in Napoli in 1971. He began studying the guitar when he was very young. After his first recital at 8 years old, the music critics described him as a guitar child prodigy. Since then, Desiderio has won 18 first prizes at variouw international guitar competitions (Madrid, Benicasim, Havana, Tokyo etc.). He has performed all over the world. His recordings are available from KOCH, FRAME, WOKU, ADORO (he owns this one). He teaches at the International Koblenz Music Academy (Germany), at Conservatorio Domenico Cimarosa (Avellino, Italy) and at the Cosenza Music University (Italy), as well as in many guitar festivals. Ο Ιταλός κιθαρίστας Aniello Desiderio γεννήθηκε στη Νάπολη το 1971. Ξεκίνησε μαθήματα κιθάρας από πολύ μικρός. Όταν έδωσε την πρώτη του συναυλία στα οκτώ του χρόνια, οι μουσικοκριτικοί έκαναν λόγο για ένα παιδί-θαύμα της κιθάρας. Έχει κερδίσει 18 πρώτα βραβεία σε διεθνείς διαγωνισμούς (Μαδρίτη, Benicasim, Havana, Τόκιο κ.ά.). Έχει δώσει ρεσιτάλ σε όλον τον κόσμο. Italian guitarist, improviser and composer Carlo Domeniconi was born in 1947 in Cesena, Italy. He studied the guitar at Rossini Conservatory and composition at the Berlin University of Arts, where he then worked as a professor for 20 years. Later, he traveled to Turkey where he was enchanted by the local culture. At Istanbul Conservatory he undertook the initiative to found the Guitar School. His compositional style was deeply influenced by Turkish music. His work Koyunbaba is a characteristic example, the most famous of his works which est
Between Cultures: A Rare Interview with Visionary Composer and Guitarist Carlo Domeniconi
Homo Classicus
Οι ηχογραφήσεις του κυκλοφορούν από τις δισκογραφικές εταιρείες KOCH, FRAME, WOKU, ADORO (είναι η δική του δισκογραφική). Διδάσκει στη Διεθνή Μουσική Ακαδημία του Koblenz της Γερμανίας, στο Conservatorio Domenico Cimarosa του Avellino της Ιταλίας και στο Πανεπιστήμιο Μουσικής της Cosenza στην Ιταλία, καθώς και σε πολλά κιθαριστικά φεστιβάλ σε όλον τον κόσμο.
www.aniellodesiderio.net