جهت استعلام قیمت، خرید و مشاهده نمونه صفحه محصول، لطفاً از طریق پشتیبانی فروشگاه در واتساپ و تلگرام اقدام فرمایید.
Composer: Annette KRUISBRINK
If, like me you might have recognised only a very small handful of the
[composers] names then you might be expecting to find a treasure trove
of unknown delights awaiting you. To be fair, there are quite a few that
are really worth playing.
There are an interesting four pages of
notes about the composers. They are then presented in chronological
order, beginning with Mlle Bocquet who was writing after 1660, and is
here presented by four quite short, rather ornate, and beautifully done
little pieces, that could form a nice little suite even though two are
in D minor, one in D major and one in A minor. That said these are
little gems and sound really well on the guitar, written as they were
for the lute, of course. The Prelude No. l by Giuliani's daughter looks
rather ordinary until you play it. It consists entirely of sextuplet
semiquavers and is ostensibly a 4/4 piece in E minor. However it starts
on a G#m chord going to C# major, then to F#m, and B7 before finding the
home chord only on bar 5. Other excursions into very foreign territory
then occur, that leave you wondering how you are ever going to get back
to E minor again, but get back you do and most successfully. Madame
Knoop (1st half of 19th century) is here presented by a nice pair of
Spanish-flavoured pieces including her take on the ever present Jota
Aragonesa and another work L'Alhambra, full of swooping thirds and
slightly overused diminished chords. Then there are a couple of pieces
by Madame Sidney Pratten which although very Victorian parlour in style,
are nevertheless very appealing, if at times a little over sentimental,
with titles such as Forgotten and Sadness. Madeleine Cottin's one piece
Andantino also manages to elude the obvious even though it is an
arpeggio-based idea, and could have been hackneyed in the hands of a
lesser writer. As it is, it is a lovely miniature and great for the less
advanced players. Maria Rita Brondi's piece, with a top string D and a
fifth string G manages to write a piece that sounds like a precursor of
the 20th century's slide guitarists of the modern era, using block major
chords as she does in a style very reminiscent of their playing.
All in all, a very worthwhile publishing exercise that proves that there
were some good female player/composers in past times. Worth getting.