Monadnock Music


Thursday, July 20, 7:00 pm

First Unitarian Congregational Society ~ 597 Isaac Frye Hwy, Wilton, NH 03086
Concert will end at 8:30 pm, reception to follow.

Solo Guitar Recital featuring David William Ross

Program Includes Works By:

Leo Brouwer

Astor Piazzolla

Georges Raillard

Roland Dyens

Carlo Domeniconi

David William Ross has performed throughout the United States and in Europe. Trained in both classical and jazz, he works across genres and brings a unique musical sensibility to his approach to the guitar. David frequently works closely with composers and other artists as well as dancers and choreographers. He has written music extensively for dance and other performance arts, creating music that is organic and piece specific. He has premiered much of his own work with dancers in venues such as The Patterson Theatre in Baltimore and the American Repertory Theater in Cambridge. David has appeared on several recordings for Navona and Naxos, working as a session player for contemporary classical projects. His most recent commercial release for PARMA was released in January, 2017, a collection of the solo guitar works of Swiss composer Georges Raillard. An album of solo guitar works from Latin America is slated for release in the Fall of 2017. David has also taught music theory, ear training, guitar, improvisation, and general art aesthetics, serving on the faculties of Fitchburg State University, Keene State College, The Vermont Jazz Center, Elm City Music, and the Concord Community Music School.

Program Notes

Leo Brouwer (b. 1939) is an Afro-Cuban composer and guitarist. He studied composition at Juilliard and the Hartt College of Music in the U.S after which he returned to his home country. Brouwer describes his own style as “national Hyper-Romanticism.” His works are laced with influences of Afro-Cuban, classical, and jazz music, and combine both traditional and avant-garde style elements. Brouwer’s compositions are divided into periods according to his style development; he composed through an early period of guitar exploration, an era of classically influenced music, an avant-garde period, and a later, minimalist style period while establishing himself in his unique Afro-Cuban, “Hyper-Romantic” style.

Canción de Cuna (1956) is one of Brouwer’s Dos temas populares Cubanos. The title translates to “cradle song,” which is appropriate for the peaceful theme and lullaby-sounding composition. Introduced with a quiet pizzicato, the work explores a simple theme and features a rocking rhythm reminiscent of the rocking nature of a cradle.

Danza Caracteristica (1957) illustrates Brouwer’s use of Afro-Cuban elements in his composition. This energetic work bounces between different rhythms before settling on a theme near the middle of the piece. The theme is short-lived, though, and the rhythmic tension returns to carry the work to a colorful close.

Ojos Brujos (1956) is the complement to Canción de Cuna in Brouwer’s Dos temas populares Cubanos. This heartfelt work combines a lamenting sound with one of fantasy. Ojos Brujos or Sorcerer’s Eyes, features impressive range and an overall peaceful demeanor with occasional pockets of brighter melody than the initial melancholy.

Danza del Altiplano (1962) is one of Brouwer’s tres piezas latinoamericanas. It is said to be influenced by a Peruvian folk song about the highlands, a region of the Andes Mountains. Laced with elements of Latin-American folk music, Danza del Altiplano tells a brief but textured story about layers of tradition.

Astor Piazzolla (1921-1992) was born in Mar de Plata, Argentina, though he and his family spent many of Piazzolla’s young years in New York City. He began his musical career playing bandoneon for his family, and eventually joined a tango band in Argentina. As Piazzolla developed his musical skill he tended away from the bandoneon and focused on piano and composition. Piazzolla incorporates elements of jazz and tango into his Argentine and European-influenced compositions.

Piazzolla references his home country in his set of four compositions describing the Buenos Aires seasons. Each is titled with the name of a season followed by the word porteño, which refers to an Argentine nickname for Buenos Aires. Piazzolla’s Buenos Aires Seasons are considered a modern and unique complement to Antonio Vivaldi’s classic The Four Seasons. Verano Porteño and Primavera Porteñorepresent the summer and spring seasons, respectively, and both feature Piazzolla’s use of swaying tango and jazz influences.

Georges Raillard was born in Basel, Switzerland, in 1957. There he completed primary and secondary studies, as well as studies in foreign languages at university. From 1983 to 2001 he lived in Madrid, Spain, working as a language teacher, translator, and writer. Since 2001, he has worked as a writer, composer, translator, and archivist mainly in Basel, though still spending longer periods of time in Spain looking for inspiration.

From 1973 to 1978 he took private classes on classical guitar and composition with Elfin F. Vogel. Since 1974 he has composed more than 50 pieces for guitar and has published them on his website. His composition Disintegration won second prize of the composition competition at the Festival Claxica 2010 in Castel d’Aiano, Italy, the first prize not being assigned.

He has published short stories, articles, and reviews in magazines and anthologies in German-speaking countries, as well as five books with short stories.

Butterfly (2001)
Some people seem to flutter through life like butterflies, from flower to flower. They pursue some fantastic goal but soon get weary of it. But while they are at work they show such joy, intensity and enthusiasm that around them all are stimulated by their creative drive.

He Burst Out Laughing (2006)
Mr. Monza was straying through the streets looking for the meaning of life. In a backstreet he saw a man taking a scrap of paper out of a trash can. This is the meaning of life, the man said. A mathematical formula was written on the piece of paper. Mr. Monza copied it into his notebook and hurried exultantly back to the main street. He sprayed the formula on house walls and told all the people: This is the meaning of life. The news spread, the formula headlined newspapers and was the main focus of television news shows and even parliamentary debates. But then a woman said to Mr. Monza: she didn’t believe in the formula because she didn’t understand it!

He was perplexed. While everyone was still celebrating the discovery of the meaning of life, Mr. Monza, crestfallen, walked back to the backstreet with the trash can. He saw the can was full of scraps of papers, each showing a different mathematical formula. Mr. Monza burst out laughing and kicked the can away.
Biography and notes courtesy of Georges Raillard

Roland Dyens (1955-2016) began learning guitar and composition as a child. He has won awards for his technical skill in music, but also excels in his emotional execution in both performance and composition.  Dyens makes each of his performances unique in his improvised openings and his connection with the audience through his music. His compositions are refreshing, and Dyens always pushes the boundaries of the guitar with his open-mindedness in his art.

Libra Sonatine (1986) was written around a time of health issues for Dyens. He related Libra Sonatine to a surgery he underwent, saying"its three movements are an explicit portrayal of that very particular period of my life: first the chaotic India (before the operation), then the Largo (during it) and finally the Fuoco, in which the unrestrained rhythms depict a veritable incarnation of my return to life (and several guitarists often play this last movement as an independent piece)."

From the beginning of his career in music, Italian guitarist and composer Carlo Domeniconi (b.1947) has aimed to expand the awareness, tangibility, and repertoire of the guitar. He is an advocate for the exploration and development of the instrument and its abilities on an international level. Domeniconi composes his music specifically with guitar in mind and he attempts to encompass new ideas and aspects about the instrument to further its ability as a solo instrument.

Koyunbaba (1985) began as an improvisation and is a beautiful example of Domeniconi’s experimentation with the guitar. The work develops over four movements: Moderato, Mosso, Cantabile, and Presto. Koyunbaba was originally recorded in Turkey and later in Berlin. It is featured on Domeniconi’s CD Selected Works V.

<<< back to Concerts

Supported by: