Castelnuovo tedesco capriccio diabolico pdf

Not very much seems to be known about him вЂ“ there are even questions about the precise date and place of his birth. Again, Mitsalas copes with it all with a smoothness that seems, well, almost devilish.ДЄlthough his music has been given a new lease on life in recent years, Giulio Regondi is something of a mystery. The Capriccio diabolico, however, really is steeped in the 'Italian tradition.' It is most diabolical in the way that it heaps one difficulty upon another for the performer. Some of Castelnuovo-Tedesco's concert music sounds like John Williams, although of course it really should be the other way around. This Capriccio diabolico dates from 1934, and also was inspired by Paganini вЂ“ including by that composer-violinist's rumored pact with the devil! In the United States, Castelnuovo-Tedesco's pupils included film composer John Williams (not the guitarist by that name!). After a grave introduction, his Fantasia takes off on a charming flight of fancy that doesn't sound unlike something that Rossini might have composed, had he composed for the guitar.Д¬astelnuovo-Tedesco came to the United States in 1939 as a result of increasing anti-Semitism in his homeland. He too was inspired by Paganini, and even wrote a set of Caprices for guitar. The long-lived Legnani (1790-1877) was not only a guitarist, but also a tenor, who sang in operas by Rossini, and others. In their increasing difficulty, TГЎrrega's variations seem to have been inspired by Paganini's, but Mitsalas seems unfazed by at all, spinning out the ever more complicated figurations almost nonchalantly. Apparently no one knows who wrote The Carnival of Venice, but it is has been the theme for variations written by a number of composers, including Paganini (for violin) and Johann Kaspar Mertz (another version for guitar). It opens not with an Italian composer, however, but with one from Spain вЂ“ the colorful Francisco TГЎrrega, who was active as a guitarist and composer during the latter part of the 19 th century.

(Do we speak of the 'pasta tradition,' after all?) Greek guitarist Thanos Mitsalas's new CD explores that 'tradition' with most enjoyable results. As far as the guitar is concerned, I'm not sure there is an 'Italian tradition' as much as there is a rich history of Italians writing music for and playing the guitar.

Castelnuovo tedesco capriccio diabolico pdf