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Nouvelles critiques

LA GUITARE ENCHANTÉE de Francis Kleynjans, pour guitare seule
par Francis Kleynjans
La plume prolifique de Francis Kleynjans trouve une sorte de consécration dans cette anthologie qui réunit près d'une cinquantaine de pièces déjà publiées indépendamment chez le productif éditeur québécois. La plupart des pièces sont relativement courtes (2 pages maximum) et s'adressent à ceux possédant au moins trois ans de pratique et ce, jusqu'au début du 3e cycle. Les partitions de Kleynjans sont toujours riches en indications de doigtés et nuances, voilà un fabuleux recueil qui permettra au plus grand nombre de découvrir la musique de ce compositeur incontournable.
Stephane Hudson (Guitare Classique)

INTÉGRALE DES COMPOSITIONS POUR GUITARE, pour guitare seule
par Francisco Tárrega (rév. Michel Beauchamp)
Tárrega est aujourd'hui l'un des compositeurs-arrangeurs les plus édités. Cette intégrale de ses compositions (67 au total) est le fruit du travail de Michel Beauchamp, guitariste et musicologue canadien, qui s'est basé sur les plus anciennes sources imprimées ou manuscrites. Point important, l'auteur détaille chacune des modifications qu'il a faites (notes enharmoniques, doigtés, appoggiatures, etc.) en plus de proposer un petit historique de chaque pièce. À noter qu'il existe en parallèle une version du livre avec double CD.
Stephane Hudson (Guitare Classique)

TROIS PRÉLUDES, pour guitar seule
par Arnaud Dumond
Avec ces Trois préludes en forme d'études faciles, Arnaud Dumond retrouve la veine pédagogique et son habituelle inventivité teinte d'humour, le titre des pièces étant en soi explicatif du but pédagogique recherché : Faire l'âme pour avoir du son - La soutenable légèreté de l'arpège - Liés, tirés, fraternité. La 1ère pièce rappelle les variations baroques, la 2e est fort heureusement proposée en version alternative pour petites mains et la 3e rend parfaitement supportable le délicat travail des coulés. Excellents et efficaces, espérons que ces «préludes-études» personnalisés incitent à s'en inventer d'autres sur ce modèle.
François Nicolas (Guitare Classique)

AUSTIN TANGO pour 4 guitares ou ensemble de guitares
par Roland Dyens
Si vous cherchez pour vos ensembles une pièce bien écrite, ludique, de difficulté et de durée raisonnable, celle-ci est faite pour vous. Roland Dyens a su y distiller tous les ingrédients d'une réussite : thème aisément mémorisable (avec «groove porteño» demandé, s'il vous plait), basse de velours et pizz. façon panthère rose, effets inattendus, croquants, dissonances ça et là très «klaxonnantes», une deuxième partie con tenerrezza tendre à souhait, un final brillant, le tout sur rythme de tango, dont la familiarité aident à dédramatiser le travail de mise en place. Les guitaristes vont adorer les croches pointées triple et les syncopes, vous verrez! Austin Tango fut crée en avril dernier par un ensemble de 100 guitares à Austin (Texas). Qui relèvera ce défi en France? Rêvons un peu à une grande rencontre d'ensembles venus de différents conservatoires pour une création événement... Oui, nous le pouvons!
Valérie Folco (Guitarist Acoustic Classic)

LE MAGICIEN BLEU (50 pièces de Blues pour guitare seule) pour guitare seule
Voici un ouvrage complet pour ceux qui désireraient se plonger dans le blues. Il s'agit ici d'un recueil qui regroupe des pièces de blues editées ces dernières années. Globalement, ce recueil de 50 pièces se destine aux élèves de 1er cycle (de la 1ère à la 4e annèe) il s'agit ici de blues traditionnels, construits autour de la fameuse gamme pentatonique, avec une logique digitale dans la pure tradition des grands bluesmen, écrits en solfège. Préparé par une imposante equipe pédagogique - William Beauvais, Мarc Bélanger, Claudio Camisassa, Yves Carlin, Dominique Charpagne, Claude Gagnon, Jürg Kindle, Christophe Leu, Miroslav Loncar, Thierry Tisserand et Bruno Viard ; le choix des morceaux et des points techniques abordés s'avère très varié, il у en aura pour tous les goûts ! Et pour quelques années de travail ! À noter la saisie musicale, claire, et le cahier à spirales très pratique.
S.F. (Guitarist Acoustic Classic)

EL ARTE DE LA MILONGA pour guitare seule
par Máximo Diego Pujol
Voici une ode à la milonga dans son aspect le plus populaire, mais présentant aussi des variations plus modernes. En matière de pédagogie, cet ouvrage s'avère très intéressant, car la musique est évidente, elle tombe sous les doigts. Nous avons également apprécié le superbe travail d'approche du rythme. Bref, un recueil à se procurer, destiné aux élèves de moitié de 2ème cycle.
S.F. (Guitarist Acoustic Classic)

ANTHOLOGIE - La guitare enchantée de Francis Kleynjans (47 compositions pour guitare seule)
par Francis Kleynjans
Est-il encore utile de présenter Francis Kleynjans? Pour ceux qui apprécient sa musique, voici un recueil de 47 compositions pour guitare seule, soit 146 pages de valses, berceuses, pièces récréatives et de sambas. La plupart d'entre elles sont dedicacées à de grands musiciens (ses amis Jorge Cardoso, David Russell, Raphael Fays, Gérard Abiton...). Francis Kleynjans fait lui-même partie des grands compositeurs contemporains, ses œuvres sont incontournables. En outre, la saisie musicale est remarquable, et le cahier à spirales très pratique. Bref, voici une anthologie à acquérir absolument !
S.F. (Guitarist Acoustic Classic)

4 TANGOS pour guitare seule
par Michel Kirschner
Inspirées d'Astor Piazzolla, voici quatre très belles pièces de concert, déclinées sous le thème du goût (Amer Tango, Salé Tango, Acide Tango et Sucré Tango). L'influence de l'accordéon, premier instrument de ce compositeur marseillais qui а ensuite étudié la guitare avec Roberto Aussel (à qui il dédie ces pages) est évidente. Il s'agit ici d'une plongée réussie dans l'univers du tango.
S.F. (Guitarist Acoustic Classic)

JARDIN SECRET pour guitare seule
par Jean-Marie Raymond
Notre confrère de Guitare Classique propose ici une pièce de niveau plus avancé, mais, une fois encore, la rédaction est tombée sous le charme. Ce «Jardin secret», dont vous découvrirez rapidement les mystères, est sans conteste un lieu ou il fait bon jouer de la guitare.
Valérie Duchateau (Guitarist Acoustic Classic)

COMME LE JOUR... pour guitare seule
par Roland Dyens
On nе présente plus Roland Dyens, Le guitariste-compositeur français lе plus exporté de l'Hexagone nous offre ici unе composition charmante dédiée à sa fille Yaël, dont lе bеаu visage orne le tableau de couverture de lа partition. La musique est parfaitement еn rapport avec lе titre et la muse qui l'а semble-t-il inspiré : fraîche et naïve, claire соmmе l'aube et heureuse соmmе оn peut l'être le jour de lа naissance de son enfant. Bonheur curieusement fait de joie et de nostalgie... Roland Dyens passe раr les formules harmoniques simples et efficaces qui lui sont familières et qui, avouons-le, nous font toujours plaisir. Un bоn élève de 2ème cycle роurrа joliment lа faire sonner. Vous pouvez inscrire Comme lе jour... à votre répertoire, vous ferez mouche à tous les coups.
Édouard Ponthey (Guitare Classique)

DEUX PETITES PIÈCES ARGENTINES pour guitare seule
par Francis Kleynjans
Ces deux courtes рiècеs du compositeur-guitariste Francis Kleynjans sont cataloguées соmmе son 251ème opus et inspirées, соmmе l'indique lе titre, раг la musique argentine. Milonguita, аu rythme et formules typiques stylées, place d'abord lа melodie syncoрéе à lа basse avant qu'elle nе passe а l'aigu. D'ailleurs, elle nе présente аuсuпе difficulté technique particulière si се n'est lа nécessité pour lа main droite de biеп faire ressortir lе chant. Dans Реquеño Tango, lа difficulté principale viendra du 3 contre 2 entre la melodie et lа basse, et lа nécessité de biеп respecter les indications de staccatos afin de garder l'esprit de la piece. Deux foгt jolies pièces, faciles à déchiffrer, techniquement sans difficultés et agréables а écouter.
François Nicolas (Guitare Classique)

MÉTHODE DE GUITARE POUR DÉBUTANTS
par Sylvain Lemay
La méthode de Sylvain Lemay est, à bien des égards, un outil très efficace pour les professeurs et les élèves. Très progressive, on y trouve au début quelques notions de théorie musicale très utiles pour faire démarrer les élèves à partir de rien. Le second chapitre décrit non seulement l'instrument, mais aussi toutes les conventions d'écriture attachées à la guitare, ainsi que la manière de l'accorder. Commence ensuite l'apprentissage des notes de la guitare et c'est là que les choses deviennent vraiment intéressantes : Sylvain Lemay a organisé sa méthode de manière à ce que cet apprentissage, très progressif et toujours à partir des cordes à vide, se fasse de manière ludique, au sein de très nombreux petits duos adaptés, l'élève étant accompagné par le professeur. Parallèlement à l'étude des notes, et presque sans s'en apercevoir, l'élève apprend aussi à gérer les différentes durées de notes, les rythmes, les altérations, les liaisons, les sauts de cordes et même les changements de position, etc. On peut aussi trouver à la fin de la méthode des exercices techniques allant de l'étude du chromatisme aux mouvements contraires. Bien sûr, les gammes ne sont pas laissées de côté. Un CD, dont la prise de son est excellente, regroupant de nombreux exercices, accompagne cette remarquable méthode.
Jean-Marie Raymond (Guitare Classique)

THE BLUE WIZARD for solo guitar
Various composers
Well, here's a feast for any blues addicts out there: 50 compositions by eleven different composers and all ranging from grade 2 up to around the grade 5/6 standard. Anyone who has had any contact with the publications from Les Productions d'OZ may recognise some of the writer's names, the most prevalent probably being William Beauvais, Marc Bélanger, Claudio Camisassa, Claude Gagnon, Jürg Kindle and Thierry Tisserand.
My understanding from reading the short preface is that all these pieces have been published previously as separate editions and d'OZ have now thoughtfully compiled them into one large album. Included in this large number of compositions are some real gems, indeed, you would be hard put to find any in this marvelous collection which fall below interesting and/or entertaining. From a pedagogical viewpoint much of this book would be highly suitable for using with students, not only just for the enjoyment of playing this musical
style but also as a teaching aid in the sometimes tricky subject of the understanding of “swing rhythm” and “triplets”. Four of the pieces are shown in music notation and tablature.
The whole package is presented well, with clear printing, good fingering and an attractive front cover.
Steve Marsh (Classical Guitar Magazine)

L'ARCHE DE NOE, Volume Two for solo guitar
by Christophe (CD included)
The second of Christophe Leu's beautifully illustrated Noah's Ark volumes contains eight highly imaginative and descriptive pieces for guitarists around the grade 4/5 mark. Each piece is preceded by a short poetic text in French which helps to set the mood. The Falcon has a mediaeval feel in 6/8 and falls under the fingers well with an attractive lilt. The Panther is in a slinky cool jazz style with effective slides and The Panda has a Chinese influence and includes harmonics and ponticello sections - key changes add interest to the running semiquaver figures. The Iguana has a “tropical” feel in its calypso rhythms but I felt this was the least
effective piece needing some excursion into a higher register. The Penguin is illustrated effectively with humour: a marching staccato bass, “cold” minor second chords, glissandos and harmonics. My favourite piece is The Millipede, in the style of an Irish Jig - modal, and with the fifth string tuned down to G, its unusual sonority could appeal to a player looking for something different. The Toucan is a beautifully dreamy take on a bossa nova with some very attractive progressions and an effective phrase in harmonics at the close, and the final piece, The Bull, has a Spanish flavour and requires a feeling of improvisation - its exciting passage at the close with rasgueados and legatos creates a dramatic finish. Amusing and characterful miniatures. Recommended
Linda Kelsall-Barnett (Classical Guitar Magazine)

10 CHATS PITRES vol. 1, 2 and 3 for solo guitar
by Yves Carlin.
These three volumes progress from around the grade two to three mark in the first volume up to some demanding technical elements in the third including sustained barres, taking the level fairly high. Beautifully presented with colourful impressionistic cats on the covers, the volumes are easy to use and clear to read. Fingering is appropriate, dynamics and technical requirements are all clearly marked.
Each volume contains ten pieces covering a contrasting variety of rhythmical styles and technical requirements.
Volume one uses familiar chord patterns in first position with melodic interest on the treble strings in usual keys. C'est Gai Chat employs an accessible melody line including repeated notes in a predictable two part texture; Ah, ça chat Touille alternates arpeggio figures with fragments of melody - useful for learning to switch smoothly from one to the other - and Chatbada Blues is fun to play with running triplet figures. The attractive Chacha Chat is lilting with effective syncopated figures.
Volume Two builds on the stylistic effects of the first volume introducing new keys, scalic and arpeggio elements and a more challenging use of the fingerboard. Chat Loupe a la mer includes sliding major seventh harmonies in an accessible arpeggio texture; Tu me Fais Chat Virer is a useful study in slur control. Its outer sections particularly helpful. Syncopated rhythms in Chat qui Ira give a cool jazz feel, and other pieces include blues style and an effective Irish Jig with a tambour opening. Two pieces require sustained chords in G and C minor, and the lightly humorous Chat Chat a son Pepere demands held bass notes under rhythmical figures which can present quite a challenge for the inexperienced player.
Pieces in the third volume are longer and more substantial in content, presenting a variety of technical challenges in a colourful context. Le Chat pas Chat is attractive to play, and introduces quite challenging left hand stretches between the upper and bass lines; Le Chat a Sourit requires some rapid fingerwork and builds up effectively with running arpeggios. The melody in Chat Goupille Bien includes glissandos and slurs requiring good control, and slur techniques are developed further in other pieces - Le Chat Luthier Repart en Mer's challenging slurred groupings demand fluent finger work to create an effective line. Mon Chat Pele is a haunting arpeggio study requiring sustained barres and needs a strong left hand to maintain the clarity required. These pieces are entertaining and could prove useful to players wishing to find intermediate miniatures which require good imagination to play while helping to develop their technique.
Linda Kelsall-Barnett (Classical Guitar Magazine)

RACES. SLIWOWITZ AND ANOMALOUS SMILES for 4 Guitars
by Giorgio Tortora
This is a rather jaunty piece. The CD shows that the optional wind chimes, marked to be “attached to the head of the guitar” partway through the performance, are much less the gimmick and much more an effective addition than the score might suggest on its own.
The instruments are broadly set in SATB style, but the lower guitars do get a chance to swap syncopated chords for melody here and there. The writing is free and easy; a lot of it looks very “guitaristic” on the page and yet the total sound is really much more amorphous and very pleasing on the ear. There are well-chosen chords - many with a slightly light, jazzy, feel that mean that the piece doesn't sound trite or simple. Despite feeling very comfortable under the fingers, this isn't a piece for the novice or intermediate player. There are extended runs at 8-notes-a-second, and one of the most difficult of these is in unison across all four parts, so this isn't a suitable piece for a mixed ability ensemble.
The typesetting and performance indications are commendably good, and the page-turns are all chosen at moments of pause. There is just enough fingering to help understand the rationale of the composer, and the CD is a massive help in realising the intentions of the piece.
Derek Hasted (Classical Guitar Magazine)

CONCERTO TRADICIONUEVO for 4 Guitars
by Patrick Roux
This substantial work comprises just two movements - Café Gardel and En Las Calles de Buenos Aires. A quick trawl of the Internet shows that in addition to being premiered by the Canadian Guitar Quartet, there is a version for flute, guitar and string orchestra.
The opening, inspired, one supposed by the tango writing of Carlos Gardel, mentions a seventh string for guitar three, tuned down to A, and it is pretty much essential to the part, so buyers beware - it's not mentioned anywhere else. Clearly intended only for a fine and strong quartet, the writing is wonder fully atmospheric and varied - the length of the tango (over three hundred bars) is a fine example of writing than is neither repetitive nor rambling. Rhythmically, this movement is not too unsettling for a competent reader, partly because it remains in tango style. Note-wise, however, there is little of familiarity, and the writing is loaded with F-flats and C-flats, for example. The performance indications are superb; there are mood changes and changes of tempi that give the interest alive, and the reprise is all the more effective because of it.
“On the streets of Buenos Aires” is similarly ambitious. Set in E major, all four guitars are turned down to D, which probably raises an eyebrow or two at first, but that's before one realises the scope of the writing - from four sharps to three flats to one sharp to two flats. This is a much more energetic piece. I couldn't name a dance if I got hit in the eye by a sequin popping off, but this definitely has a street carnival feel to it, and some of the rhythms are positively fun to play.
So the one remaining question is “Who is this intended for?” Well, it's not for your average quartet - playing this will require extensive study and preparation in isolation before the fun of ensemble begins. Tough but impressive.
Derek Hasted (Classical Guitar Magazine)

TRYPTIQUE RHYTHMIQUE for solo guitar
by Thierry Tisserand
Every so often a composer comes along for our beloved instrument whose music never fails to please. Just a sight of this gentleman's name on the title page is enough to bring a smile to my face and for me to know that I am going to enjoy what I find within. This latest threesome does not disappoint.
Pagode Song begins in a lazy A major with all manner of rhythmic interest right from the outset, a feature of this set, as evidenced by the very title. After the eight-bar introduction the real first theme enters, and is jazzy and jumpy and loads of fun to play. A little set of moving fourths momentarily reminds you of the oriental nature of the title before a sudden change of key into D and some sliding minor sevenths. These return us swiftly back into A for the main themes now subtly varied, and often placed in different registers to before. A sudden and surprisingly downbeat coda fades into silence on an A6 chord.
With Les Arabesques we are firmly into Arabian Nights territory. Here there is a kind of idee fixe, (to pinch from Berlioz) which immediately sets the tone right from the start and continues underneath much of what follows, regardless of the sometimes inevitable clash that is produced. If I say that the opening A major idea is still firmly jazz-Arabic you might understand that Tisserand's exotic use of friendly altered jazz chords is never very far away. At bar 44 the tone alters with a sudden unexpected turn into A minor. Now the piece really sounds suddenly very Arabian with its little run of F to G sharp to F and then to E. Try this on the top string with a slur over the first three notes and you will get what I mean. Even here there is a dramatic chordal turn of events, which brings the jazz elements back in, before finally leading back into the opening major key idea, once again noticeably varied. Like the opening movement the coda is surprisingly low key with a sudden lento and some harmonic work that dies to nothing.
Biguine Benveguda is marked ritmico e giocoso and is certainly all of these things and more besides. Slurs and glissandi playa prominent part in this opening section which is very convincing in its rhythmic complexities whilst utterly avoiding anything that one could class ordinary or obvious. The middle section continues in the same rhythmic vein with a new melody before a D.S. takes us back to the opening idea for one more time before a coda that really builds the excitement up in a way that is inevitable and pleasing before closing on an A6 chord.
This is top class stuff, utterly original, loads of fun, and certainly not really what one could class as easy by any stretch and yet absolutely worth any effort an intermediate player upwards might wish to put into it.
Oh, and look up Tisserand's other pieces too, for they too are also well worth investigating.
Chris Dumigan (Classical Guitar Magazine)

MUSIC FOR CHRISTMAS TIME guitar and violin (or melodic instrument)
arr. David Jacques
This is an attractive, agreeable collection of Christmas music containing mostly unfamiliar (certainly to me) tunes. With the exception of the first tune, an instrumental titled A Breton Carol, all the rest include the words to the songs. The melody lines are clearly printed above these words for the instrumentalist and/or singer to follow and the guitar, accompaniment throughout is highly suitable for this material. the particular arrangements not being too intrusive to the finished product, the only exception possibly being in Silent Night where the guitarist is playing in the tremolo style. Usefully, chords are also included in the score for other players to join in with.
The technical standard to perform these carols lies around the Intermediate mark and these pieces could easily be used for any Christmas event by any performers seeking lesser-known festive material.
Well worth a look at.
Steve Marsh (Classical Guitar Magazine)

FOUR TANGOS for solo guitar
by Michel Kirschner
Titled Amer Tango, Salé Tango, Acide Tango and Sucré Tango here are four decidedly interesting and worthy compositions written in the style which has been flavour-of-the-month now ever since Astor Piazzolla's pieces saturated the market. If, like this reviewer, you have become quite indifferent and jaded upon hearing the same pieces endlessly churned by players of the works by the admittedly talented Piazzolla, here are some ideal eligible substitutions, singularly different from the usual “tango nuevo” and ideally suitable for the upper level player.
All these four compositions are quite dissimilar from each other, the many and varied different characteristics contained in each one giving them a novel, fresh quality making this group an excellent choice for programmatic material. Kirschner draws upon some wonderfully rhythmic ideas in the quicker sections, and it this, plus his gift for lyricism and harmony in the contrasting slower parts which really raise these works into genuinely superb compositions.
All are extremely well presented and nicely fingered (by Roberto Aussel no less) and it is good to see the Swiss artist Corina Sierk's wonderful artwork making a return to d'OZ's front cover once again.
Highly recommended.
Steve Marsh (Classical Guitar Magazine)

HOMMAGE AU BATEAU IVRE for solo guitar
by Jose-Luis Narvaez
The piece which inspired Narvaez to compose this absorbing solo guitar composition was a 100-line poem by the 19th-century French poet, Arthur Rimbaud. Written when he was just 17 years old, this 25-verse poem was written using the “Alexandrine quatrain” scheme, which is a four-line verse, where each line has a poetic meter of 12 syllables (this doesn’t work if you translate the poem into English). The poem title translates out to “The Drunken Boat” and the poem, written in the first person, chronicles the various experiences and scenes which a boat would experience if it were full of water and sinking.
The music itself is in various sections but is played continuously as one single movement and is quite introspective and impressionistic and though the ambience for the majority of the time has a restful sensation to it, there are moments of quickness on occasion. Throughout, brief quotes from most of the verses of the poem are given (in French) to obviously influence the interpretation.
Choosing to compose a piece with the sixth string tuned down two whole tones to C gave Narvaez the opportunity to explore relatively unheard textures and these are quite effectively used in the Calmo middle section.
Altogether a most intriguing new composition all based around an interesting, if unfeasible, topic. Suitable for the more experienced player the presentation is excellent with good fingering throughout.
Steve Marsh (Classical Guitar Magazine)

LES PLANÈTES for solo guitar
by Jürg Kindle
Les Planètes is a nine-movement work, each movement representing a major planet from our own Solar System and appearing in the suite in order of distance from the Sun. Each one of the individually published pieces which make up this edition have all received separate reviews in the past from either myself or my colleague Chris Dumigan and as far as I can recall they have all been blessed with favorable reviews. Suffice it to say that here is a large-scale work for solo guitar containing some fine, clever, descriptive and inventive writing for the instrument and one which could provide one of the high-spots of any recital if played with enough conviction. Slight problems may arise in a couple of places due to the preparation involved. Jupiter for instance requires an “open” tuning of, from bass upwards, D, A, D, A, A, D (for ease of reading the piece is also given in Tablature) then it’s back to standard tuning once again for Saturn, a percussive piece requiring ten notational instructions. For the final movement, Pluto, the guitarist needs to insert a matchstick underneath the strings near to the bridge.
Is it all worth the effort? Well, yes it is. Compared to the soundscape which Gustav Holst created with his masterpiece for orchestra, Les Planètes doesn’t come close, but taken simply for what it is, a solo instrumental, the piece makes for highly entertaining listening/playing.
It is nicely presented with clearly printed notation, well fingered and an attractive front cover. Buying this complete album of the pieces rather than the individual productions will give you a saving of approximately 36 Euros.
Not to be sniffed at!
Steve Marsh (Classical Guitar Magazine)

ANTHOLOGY - THE ENCHANTED GUITAR OF FRANCIS KLEYNJANS for solo guitar
by Francis Kleynjans
With over 700 hundred compositions behind him, the French guitarist Francis Kleynjans has to be one of the most prolific composers for the guitar in modern times. Unsurprisingly, in that proliferation there are a few disappointments in the musical standards along the way; however, it has to be said that in my experience a large percentage of his work contains lovely, albeit at times, syrupy, melodic lines and nice, pleasing harmonies.
This sizeable collection of Kleynjan’s works brings together in one volume 47 previously published editions, the majority of which were produced as separate single publications and many, if not all, have received reviews previously. (There are actually 71 compositions altogether as some of the opuses have several movements).
Herein is a miscellaneous mixture of musical styles including tango, milonga, habanera, sicilienne, samba and choro with the composer having a particular partiality to the waltz, of which there are many; there are slow and reflective compositions sitting alongside quick, rhythmic ones and most slot into the “exceedingly melodic” category.
The earliest opus number is 21 (from 1974) and the latest is 251 (from 2008).The technical standard required to play these works range from around Grade 3 up to Grade 6 and the presentation all round is excellent.
Steve Marsh (Classical Guitar Magazine)

SCHERZO A MODO MIO for mandolin and guitar
by Atanas Ourkouzounov
Here is an advanced, atonal contemporary work for mandolin and guitar the composition of which was influenced by rock music. After a brief meditative opening the work begins proper with five pages in fast and rhythmic fashion with both instruments on an equal pairing playing in unison or in imitative fashion.
During the piece many percussive technical effects are employed including pizzicato, “Bartok” pizzicato, tapping, tambour, etc. Scherzo a Modo Mio relies significantly on accentuation between the two instruments and it is in this quarter that any duo attempting this work will have to make sure everything is as it should be. If performed with enough skill and conviction, the work could make a significant impact in any concert of contemporary music. The music is presented in full score and separate parts for both players.
Steve Marsh (Classical Guitar Magazine)

ON THE ROCKS - 9 rock-inspired guitar solos
by Jürg Kindle
Swiss-born Kindle has produced of top-class music in many varieties of styles and for many different combinations over the years. This latest set emulates the many and varied musical forms taken by rock in all its different guises.
So we start off with a piece instructing the player to treat straight written quavers as a triplet rhythm of crotchet/quaver. Low bass notes are occasionally to be bent and the whole piece is very riff orientated, and dotted with parallel fourths, and octaves that leap around the fingerboard. Blue Moon, takes the note bending a stage further introducing into the treble melody. Then a series of evocative arpeggio-based runs take the piece into slightly unexpected territory, but one that really works! Derwish instructs the player to retune his fifth string to B, and the relentless nature of the semiquavers makes this exciting and one of the most tricky at the same time. Globetrotter is in a mixture of sevens and fives with a middle idea in 4/4 and an interesting little piece to boot, whilst Hot Dog and On the Rocks are more openly rock based and sound like riffs Deep Purple might have had a go at.
This is a fine set. Nothing is very difficult but it’s not very easy either, so beware. As always, this is another fine volume of quality work that should be snapped up by all lovers of this man’s music, or alternatively anyone interested in trying such rock based styles out for themselves.
Chris Dumigan (Classical Guitar Magazine)