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DARIO BISSO SABÀDIN...
Masterpieces by Piazzolla and Bartók...
DARIO BISSO SABÀDIN plays Bartók and Piazzolla
CDC0004
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Masterpieces by Piazzolla and Bartók expertly transcribed and interpreted on the guitar
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The guitar transcriptions and a arrangements proposed here result from about two years’ studies and ten years’ analytical, interpretative and executive experience of Astor Piazzolla’s music. They have involved quiete a few challenges related with the special stylistic target, with focused on a final result that neither broke from the original idea nor deprived these fascinating works of their poetical and musical essence.
The many challenges were solved during the drafting stage with two essential landmarks in Maine: to faithfully retrace the authors original musical thought and also facilitate the guitar performance to the utmost, thus creating a new instrumental sphere in which melodies and harmonies resound with the original idea and loose nothing of it. In the words the efforts have focused on making the transcription of Astor Piazzolla’s pieces idiomatically for guitar. Hence the stylistic nobleness, pathos, rhythm and lyrical depth of his music, whose universal quality can be well interpreted on this magical instrument too, shine in all their beauty.
Dario Bisso Sabàdin
Taken from the publication notes Astor Piazzolla Anthology, Guitar, Edizioni Curci (2004)
Bartók's Romanian Folk Dances find their new natural habitat in my solo guitar arrangement.
In fact, already in their general title we find the links for which this series of compositions has been happily adapted for the guitar.
Dances - most of the guitar repertoire, both the original and the transcribed one, is made up of dances: from the transcriptions of 16th century Spanish pieces (Luis Milan, De Narvaez) to Baroque pieces (De Visèe, Corbetta, Weiss, Bach), to the Walz and Làndler of the 19th century up to the repertoire of the national schools of the early 1900s, especially the Spanish and South American ones (Moreno-Torroba, Turina, Rodrigo, Granados, Albeniz, Villa-Lobos, Ponce), but also Polish (Tansman).
Popular - what noblest instrument does popular music represent if not the guitar?
Romanian - the superficially elementary melodic-harmonic-rhythmic matrix of Bartók's Romanian Folk Dances, goes well with the musical poetics of the guitar: both for the tuning of the instrument (for fourth intervals); both for its “sour VS sweet” timbre extremism; and for the use of very natural melodies, harmonies and articulations in the guitar literature of the twentieth century .
An ideal musical hug that, through the six strings, unites the Carpathians to the Meseta, recreating ancestral, vibrant, common resonances.
Dario Bisso Sabàdin
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