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The album closer is also a wonder: In a nod to his Greek heritage, Sakellariou serves up a delectable melody from Zorba the Greek, by Mikis Theodorakis. He manages to alter the tempo and rhythm of the original at will, but without losing its propulsive thread quite an achievement!
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I can almost hear Bach in some of the melody, and the vibe of Fleury’s Milongueo del Ayer, and Spanish touches that almost hint at Tárrega. So imagine my surprise to discover that Sakellariou’s arrangement fits in perfectly with everything that has preceded it. It’s been a favorite song of mine for more than 50 years every microsecond of the original is burned into my consciousness. the great Emilio Pujol.Īs for the Rolling Stones’ “Paint It Black,” I’ll be honest and say I was skeptical about its appearance in the program. Emilio Pujol’s Estudio VIII has a special resonance here, as the 1888 Torres on which it is played was first owned by Matilde Cuervas and then, following her death, by her husband. Though in his album notes Sakellariou mentions that Abel Carlevaro told him his Campo “Preludio Americano” was inspired by Bach polyphony, it somehow feels the most “modern” on the album to me, with its skittering, irregular high melody punctuating the more graceful and even bass tones. The guitarist splits his pair of selections from Erik Satie between the two guitars, and in trying to A-B the sound of each, it’s hard for me tell whether the differences I’m hearing are in the guitars or in the compositions: Je Te Veux is a bright waltz, and Gnossienne I casts a darker, more exotic light both sound “right.” Then, it’s two short preludes from Manuel Ponce-both rich with Spanish flavors-followed by exquisitely played milongas from Abel Fleury and Astor Piazzolla. 3, also delightful.įernando Sor had been dead less than 25 years when the 1862 Torres was built, so Sakellariou’s choice of two Sor studies to play on that instrument-both lovely and involving pieces despite their brevity-really feels like a window into the past. The “Allemande” and the moving “Sarabande” from the First Lute Suite follow, and then the Bach mini-set concludes, interestingly enough, with a second “Prelude,” this one from Cello Suite No. Right off the bat we should applaud the work of recording and mixing engineer Kai Narezo for a job very well done.
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1 (BWV 1007) kicking off the program beautifully, the tones of the 1888 Torres so warm and inviting, the playing fluid and unhurried. Bach, with the much-played “Prelude” from Cello Suite No. The album is dominated by five “sets” of pieces, four of them sharing the same composer, one a thematic linkage. The subtitle of this album is “Music from Bach to the Rolling Stones” that certainly got my attention! And then there’s the matter of the two guitars employed by George Sakellariou: A pair of historic models crafted by Antonio de Torres-an 1862 from the luthier’s “first epoch,” nicknamed “La Leyenda” and an 1888 model from the Secunda Epoca, “La Novia.” It’s a wonderful match of player, guitars, and repertoire as satisfying an album that has crossed my desk in a while.
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To see links to all of our online album listings/reviews, click here. version), so check your favorite places that sell CDs and downloads! You can listen to some of these on various of streaming services, but we always encourage you to support the artists by actually buying anything you like! Obviously we cannot research and report every outlet or online business where these albums are sold (Amazon, for instance, has outlets in many different countries/regions, but we generally link to the U.S. But we want to at least mention most of them here. Some of the albums I write about online will be reviewed in the magazine, some not. If you have a CD you’d like to submit to us, here’s our address: Here are three of the CDs that have come into the Classical Guitar office within the past few months. Some weeks we take a peek at recent albums or sheet music releases.