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Anita Farkas was born into a family of musicians in Budapest in 1983 but moved to Turkey while she was still a child. There she studied at the conservatory attached to Anadolu University and at the Anadolu Academy of Music, where her teachers included Özlem Koçyigit. In 2004 she transferred to János Bálint’s flute class at the Detmold Academy of Music, where she was awarded a diploma in 2008, before passing her concert examination three years later. She also attended a Master of Arts course at the North-Rhine Westphalia Orchestra Centre in Dortmund. She won second prize at the Fourth International Flute Competition in Kraków in 2008. (No first prize was awarded that year.) In 2009 she received a scholarship from the German Wagner Society and in 2011 the Young Artist Award of the GWK in Münster /Westphalia. Juan Carlos Arancibia studied with Oscar Zamora at the
Lima Conservatory. In 2002 he won second prize at the Vivace Guitar Competition
in the Peruvian capital. He appeared as a soloist with the Lima National
Orchestra even while he was still a student in Peru. As a member of the
Lima Conservatory’s Early Music Ensemble and of the Aranjuez Guitar
Quartet – one of his country’s leading chamber ensembles –
he appeared in all the capital’s principal concert halls. In 2005
he won first prize in the National Guitar Competition in Arequipa. He
moved to Germany in 2006 in order to study with Thomas Kirchhoff at the
Detmold Academy of Music, where he also studied for his concert examination
with Dale Kavanagh. In 2008 he received a Young Artist Award of the GWK
in Münster/Westphalia and the following year made his first recording,
Mosaïque, with the Gran Guitarra Quartet (CLCL 112).
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Mario Castelnuovo-Tedesco studied the piano before turning additionally to composition at the Istituto Musicale Luigi Cherubini Florence. In 1932 he was introduced to Andrés Segovia, when the latter visited the Venice Music Festival in the company of Manuel de Falla, resulting in a close collaboration in the course of which Castelnuovo-Tedesco wrote more than 100 pieces for the guitar, including three concertos for one or more guitars; Les guitares bien tempérées op. 199 (a set of twenty-four preludes and fugues for two guitars); the Sonatina canonica op. 196, also for two guitars; the twentyfour Caprichos de Goya op. 195 for unaccompanied guitar; the Fantasia op. 145 for guitar and piano and the Sonatina op. 205 for flute and guitar. This last-named piece was written towards the end of the composer’s life, when he was living in the United States, a country to which he had emigrated in the wake of the anti-Jewish legislation enacted by Mussolini. Between 1940 and 1956 he wrote a violin concerto and numerous fi lm scores in California. He also taught composition – among his pupils were André Previn and Academy Award winners Henry Mancini and John Williams. Castelnuovo-Tedesco died in Beverly Hills in 1968. His final composition was his Fuga elegiaca op. 211 for two guitars. Although only a single announcement has survived to indicate that Luigi Rinaldo Legnani may have shared a concert platform with Paganini in Turin on 9 June 1837, it seems likely that the two artists appeared together frequently between 1837 and 1839. Legnani was not only an outstanding guitarist but also an opera singer, teacher and composer. His Capriccios op. 20 continue to be used in teaching and are still to be heard in the recital room, whereas his Variazioni concertanti op. 28 are only rarely performed. His three-movement Duetto concertante op. 23 for flute and guitar, by contrast, is part of the standard repertory of this combination of instruments. Elaborate, virtuoso demands are placed on both players. Breakneck scales, dizzying arpeggios and the subtlest dynamic shadings are required of both performers. The result is a powerful but at the same time lyrical work that is in the very best tradition of Romantic salon music. Like many of Máximo Diego
Pujol's other compositions, his four movement Suite Buenos Aires
refl ects the infl uence of Astor Piazzolla, whose Tango Nuevo provides
the piece with its basic musical language. The guitar is central to Pujol’s
works in general, some 50 of which have been published by Lemoine in Paris,
Universal Edition in Vienna and Editions Orphee in Columbus, Ohio. Many
of them have won prizes. Pujol’s music is distinguished by its playfulness,
its instrumental virtuosity and its tuneful melodies. |
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