Black Bile

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Program:

01 – A.PIAZZOLLA
OBLIVION (ARR. ROLAND DYENS)

02 – J. DOWLAND
FORLORN HOPE FANCY

03 – D. BOGDANOVIC
LAMENT

04 – S.L.WEISS
TOMBEAU SUR LA MORT DE M. COMTE DE LOGY

05 – M. DE FALLA
HOMENAJE A DEBUSSY

06 – A. BARRIOS
CHORO DA SAUDADE

07 – A. RAWSTHORNE
ELEGY

STEPHEN GOSS – CINEMA PARADISO
08 – PARIS, TEXAS
09 – MODERN TIMES
10 – NOIR
11 – MANDALAY
12 – 451
13 – TARANTINO

14 – D. ELLINGTON
MELANCHOLIA

Sweet or sad? An elusive blend of the two? Melancholy has been inspiring the world of the arts since the beginning of time. A human necessity – as universal as it is mysterious and compelling, it existed long before we so clumsily named it. It lurks within us in a hidden reservoir where black bile bubbles, waiting to consume us. It was not until the very end of 19th century that the existence of black bile was finally disproved.

The feeling of nostalgia, though quite different, is a very close relative of melancholy. The two are so intrinsically interwoven that when mixed together create a potent emotional alloy. Many languages have their own particular way of treating these two terms and have unique and deeply beloved words for it – Brazilian “Saudade”, Bosnian “Sevdah”, Welsh “Hiraeth”, Galician “Morriña”, German “Sehnsucht”, among many others. These words are all essentially expressing the same thing, arguably with their own melancholy-nostalgia ratio. And yet all these nations are extremely proud and possessive of their own melancholy heritage and assert that no one else can truly feel and understand their particular kind of pain, as it is unique to them – melancholy and nostalgia as cultural constructs.

BACH-PIAZZOLLA

Summary:
“This album by Croatian guitarist Zoran Dukić is not merely the alternation between Bach and Astor Piazzolla’s works, but the juxtaposition of their affects, the contiguity of key signatures, and the surprise of its almost cinematic cuts. Although each piece is self-sustaining, this is an album that invites the listener to appreciate all eleven tracks in a sequence, as if they formed a single work: a baroque-tango suite, the “Bachianas Argentinas” of Zoran Dukić.

All works by Bach in this recording were composed in a period of only six years (between 1717 and 1723) at a moment in which the composer – aged 32 through 38 – worked as Kapellmeister for Prince Leopold in Anhalt-Köthen.

Dukić’s choices include the slow movements of the Sonatas for solo violin (“Siciliana” of n.1, “Andante” of n.2, and “Largo” of n.3) and the “Sarabandes” of the first two Partitas (also for solo violin). Another “Sarabande,” that of Suite n.5 for Cello (performed here in A minor, as is customary for guitarists who base themselves on the version for lute, catalogued as BWV 995) brings the journey to an end.

The works by Piazzolla were composed between 1959 (Adiós Nonino, which is an hommage to the composer’s father) and 1980 (“Romántico”, the second of the Cinco Piezas para Guitarra, his only original work for solo guitar). The remaining pieces come from the rich creative period between 1962 and 1970: Invierno Porteño (1970) is part of the Four Seasons of Buenos Aires (1965-70), while Milonga del Ángel and La Muerte del Ángel were composed (along with Introducción al Ángel) in 1962 for the play Tango del Ángel, by Alberto Rodríguez Muñoz (1915-2004). The Angel Cycle would be closed in 1965 with Resurreción del Ángel.

During this period, the bandoneonista had already completed his compositional education in Buenos Aires with Alberto Ginastera (1916-83) and in Paris with Nadia Boulanger (1887-1979). With the exception of the Cinco Piezas, the works of Piazzolla recorded here were written for his many instrumental groups (octet, quintet, nonet, and sextet), among which, two quintets (bandoneón, electric guitar, piano, violin, and double-bass) became particularly well known. In the juxtapositions between Bach and Piazzolla proposed here, Bach is always the vital substratum. His music appears in a register at once sweet and direct, complete, as if to encounter the nervous tresillo of argentine tango were, for it, the most natural thing in the world.” -Sidney Molina

Ourkouzounov – Concerto Infini (I.Prologue)

Project: Castelnuovo-Tedesco, M.: 24 Caprichos De Goya

Synopsis:
With its grotesque cast of supernatural beings and subhuman characters, the satirical etchings of Francisco Goya’s Los Caprichos (1799) portray the sufferings of 18th century Spain in some of Western art’s most influential images. Originally conceived for Andrés Segovia, Mario Castelnuovo-Tedesco’s 24 Caprichos de Goya has seldom been recorded complete, as it is hereby Croatian guitarist Zoran Dukic, whose spectacular virtuosity, profound musicianship and artistic maturity have won him more first prizes in international competitions than anyone else in the world.

Released on: 2009-03-31
Catalogue No: 8.572252-53
Artist: Zoran Dukic
Composer: Mario Castelnuovo-Tedesco
℗ Naxos