Guitar 2024

Soliste, compositeur, chef d’orchestre et pédagogue, Gilles Colliard est un musicien complet.Né à Genève en 1967, Gilles Colliard étudie le violon au Conservatoire Supérieur de Musique où il obtient un 1er prix de virtuosité dans la classe de Jean-Pierre Wallez avant de se perfectionner auprès de Tibor Varga.Dès l’âge de 15 ans il se produit en soliste et chambriste à travers le monde.Il interprète les concertos de Mozart, Bruch, Brahms, Tchaïkovski, Dvorak, Beethoven, Paganini, Bartók, Mendelssohn avec l’Orchestre de la Suisse Romande, le London Soloïst Chamber Orchestra, l’Orchestre Philharmonique de Bohème, le Festival Orchestra de Caroline du Nord, le Concentus Hungaricus de Budapest au Victoria Hall de Genève, au Queen Elisabeth Hall de Londres, au Conservatoire Tchaïkovski de Moscou, à l’Académie Frédéric Chopin à Varsovie…

Ida Presti was a remarkable musician whose extraordinary talent and virtuosity on the guitar left an indelible mark on the world of classical music. Born 31 May 1924 in Suresnes, France, Presti began a journey as a guitarist at a young age that would ultimately shape her life and career.

Recorded by Bob Painter, (Madrid 1995). Guitar by Ignacio Rozas, (Madrid).

Big tip! Lunching into 2024 after after a stellar 2023, Week-End Records delivers one of their most important offerings to date, the first vinyl reissue of Fred Frith’s seminal 1974 solo debut, “Guitar Solos”, in more than 40 years, marking the album’s 50th anniversary. A groundbreaking work in the field of avant-garde recordings that changed everything in its wake, incorporating a startling range of sonorities and approaches within constrained means, to celebrate its half-century mark, Frith has returned to its groundwork and recorded a brand new solo effort, “Fifty”, which now makes up an entire second LP of material for this very special release. Truly incredible and as historically important as records and reissues come.

Spanish guitar player from Madrid, also producer roles. Active since 1987.
El guitarrista madrileño Agustin Maruri ha ofrecido conciertos en los cinco continentes actuando en Austria, Alemania, Francia,Italia, Grecia, Portugal,Irlanda, Holanda, Suiza,Suecia, Dinamarca, Noruega,Finlandia, Inglaterra, Polonia, Estonia, Letonia, Lituania, USA, Canada, Bulgaria,Japón, Korea, Filipinas, Argentina, Chile, México, Ecuador, Panama,Guatemala,Santo Domingo,Cuba, Costa Rica,Honduras,El Salvador, Venezuela,Paraguay,Marruecos,Senegal, China, India, Australia, Nueva Zelanda, Kuwait, Qatar, Omán.

The importance of the guitar is evident throughout the span of Paganini's activity as a composer, and it is possible that as a boy, before he began to practice on the violin and the "chittara francese", he received from his father his first musical grounding on a "mandolino genovese", an instrument that had six courses or six single strings, with the same tuning relationship as that of the guitar. The Catalogue's chronological list ranges from 1795, with Carmagnola con variazioni ms. 1, to 1835, with Variazioni sul Barucabà, an entire cycle of compositions that features the constant presence of a guitar in combination with string instruments. This context contains the compositions for solo guitar, which are divided into three groups: Ghiribizzi, Sonate, and Compositions of various types, including some Sonatine. The recording dedicated to Paganini's opera omnia for guitar is divided in two double CDs volumes, the first volume includes the 43 Ghiribizzi and other various compositions (sonatas, sonatinas and free forms). Mauro Bonelli, for the realisation of this work, used a period guitar with catgut strings, tuned to 415 Hz: nineteenth-century Austrian guitar without a label; the fact that it's fretboard can be tilted by means of a peg connects it with the best Legnani-Stauffer tradition.

The importance of the guitar is evident throughout the span of Paganini’s activity as a composer, and it is possible that as a boy, before he began to practice on the violin and the “chittara francese,” he received from his father his first musical grounding on a “mandolino genovese,” an instrument that had six courses or six single strings, with the same tuning relationship as that of the guitar.

After around 60 concerts in 16 countries, including major venues such as the Concertgebouw Amsterdam, Buttenwieser Hall New York and Tchaikovsky Hall in Moscow, as well as festivals such as the Bergen Music Festival (N), the Ravinia Festival Chicago (USA) and the Monterrey Guitar Festival (MEX), the last sounds of the Danza tour were heard in the Calcutta Central Hall in India.

For their third recording for label Stradivarius, the duo singer & fischer have chosen to devote themselves to four Hispanic flavored works. With little original repertoire ­ despite the opuses that various composers have written for them in recent years ­ transcriptions, arrangements and other adaptations are usual in the ensemble’s work. However, not all works are easy to adapt, and the choice of pieces from among the ‘possibilities’ is often a difficult one. The transcriptions on this recording are the result of a process of reflection that goes back to the duo’s genesis. Their first attempts at De Falla or Granados took place in the 90s, a time when the youthfulness of the performerscertainly contributed to the enthusiasm essential to any musical interpretation, but when a lack of experience was abrake on any idea of immortalizing their concert attempts.