...Domeniconi (b. 1947) breaks away from the overly-Spanish idioms which have recently dominated this genre, creating a unique soundscape amalgamated from Anatolian influences. The result is a distinct and innovative style, taking almost any physical form one might expect. ... Harald Genzmer’s (1909 - 2007) Concerto in G for two guitars, wind quintet and strings also inhabits a tonal world of his own. ...Genzmer’s universe is based on a moderate modern major-minor tonality of his own creation. The considerably sparse instrumentation imparts a chamber-like quality to the music, finding rich melismata in an articulate dialogue between the guitarists and their accompanists.
Music both old and new, but all of it inspired by the timeless modal harmony of medieval and Mediterranean cultures: this is the subject of John Williams's brilliant guitar disc for Sony, which also features his debut as a composer. The main work is his own "Aeolian Suite" for guitar and chamber orchestra, based on both original and 14th-century tunes (one of which, the "Saltarello," appeared on early-music pioneer David Munrow's disc called Instruments of the Middle Ages). The suite is a lovely piece of writing, deftly composed, and neither tacky nor pretentious. It's paired with an inspired assortment of spiritually related but diverse arrangements and original pieces by Satie, Theodorakis, Domeniconi, and an emotionally intense four-movement work called "Stélé," by Australian composer Phillip Houghton. Naturally, Williams performs each piece expertly, but most important, he makes his instrument sing, and that's just what the music demands. Simply super.
Canadian-born Dale Kavanagh is acclaimed as one of the guitar world´s most gifted interpreters. Between 1986 and 1988 Ms. Kavanagh was a top prize-winner in Spain’s “Segovia Competition,” Italy’s “Gargnano Competition,” Switzerland’s “Neuchatel Competition,” and First and Special Prize winner in Finland’s “Scandinavian International Guitar Competition.”
Everyone knows Offenbach's famous "Can-can" from the operetta Orpheus in the Underworld, but how many casual listeners have heard it in its original version, as a chorus of demons(!) in Hades? In fact, the version best known is this one, as arranged for the ballet Gaîté Parisienne by the delightful French composer and conductor Manuel Rosenthal. The work has been a staple of the Monte-Carlo ballet for about six decades, and Naxos has assembled the orchestra that knows it best for what amounts to a brand-new, original cast production, led by none other than the 95 years young Rosenthal.