SKU: MB.30983

ISBN 9781513471433. 8.75x11.75 inches.

Oâ??Carolan for Classical Guitar is the fourth and final volume of Guido Bögerâ??s classical guitar arrangements of the 214 compositions of the itinerant blind Irish harper, Turlough O'Carolan (1670â??1738). This last collection includes 58 solo pieces, including Oâ??Carolanâ??s variations on two Scottish airs.

These settings are generally intermediate in difficulty and reflect the beauty and lyricism of the original melodies, most of which are tribute tunes named for Oâ??Carolanâ??s patrons: Colonel Oâ??Hara, John Oâ??Connor, Mrs. Oâ??Connor, Lady Wrixon, General Wynne, Captain Oâ??Neil, The Landlady, etc. The works are meticulously written in standard notation and are ideal for sight-reading practice, personal enjoyment, or concert performance. Moderate left-hand fingering and string numbering are provided in these well-crafted arrangements.

Along with his previous Mel Bay editions, Turlough O'Carolan Irish Harp Pieces for Classical Guitar, O'Carolan Favorites and O'Carolan Airs, this book completes Guido Böger's comprehensive O'Carolan series. The set of four books would make a great gift, particularly for an Irish guitarist.

SKU: HL.48183238

UPC: 888680872236. 9.0x12.0x0.042 inches.

Charpentier Jacques Etude No.1 Guitar Technical Studies Book.

SKU: HL.248690

ISBN 9788759884072. 10.0x14.5 inches. English.

Guitar solo part for Double Concerto for Harp, Guitar and Orchestra by Karl Aage Rasmussen (1998). Orchestra parts are available on hire: hore@ewh.dk.

SKU: GH.GE-11464

ISBN 979-0-070-11464-6. A4 inches.

Work note by the composer:

When I received the news of this commission, I had no idea what it would lead to. Writing for guitar solo is not the same as composing for orchestra where you have forty voices where you can easily mask an entire section. Here you are very naked to the bone.
The starting point for this work was from J.S. Bach's Chaconne in D-minor that Johannes had performed in concert, originally written for violin but there is a version transcribed for guitar and piano made by Ferruccio Busoni. When I went to Cortona (in Tuscany, Italy) completed the southern mentality of this work.
Arpalineais actually a merged word in Italian language. Arpa means harp, however in a musical context it's more or less resembled with the word arpeggio, which means broken chords. Lineameans line.

The work is divided in three parts.
I. Arpeggio: It starts with an opening chaconne-like sequence and is marked with a certain depth in which the chords starts to separate from the organum note in the bass and it culminates into a section called with rhythmical focus. These sections alternates, variates which each other.
The middle section has a playful and childish atmosphere where the guitarist knocks on the body of the guitar resembling a Spanish folk instrument cajon. This is leading to a section which tends more to a very aggressive fusion-like riff that loses control and reaches its climax at the end.

II. Linea: The static rhytmical pulse is now disintegrated and it forms more or less sort of a free, improvisational state in a rubatolike tempo. The character is described as a very hot day with temperatures rising above 37! C (or 100! F) where you can hardly do anything just sitting dozed off and pespiring because of the extreme heat watching a huge fog coming up in the evening that spreads around the Tuscan atmosphere.

III. Finale: It starts off with fast one-note ostinati then more and more notes pop up like a gradual rain storm with thunder strikes! And eventually it leads to that is a large flood through the streets of an medieval Southern town. The work ends with a short circuit slapped strings along with extremely fast tremolos that reaches higher and louder as possible!

Benjamin Staern