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(Song of Songs, chapter VII)
The composer says: A substantial part of my music is based on
free-flowing, melismatic vocal polyphony; I do not know where this
language exactly comes from, but it has developed through the years into
a very concrete musical world. My rendition of Shuvi, Shuvi Hashulamite
from Solomon’s Canticle of Canticles certainly partakes of that world.
Ever since I first read this extraordinary poetry, I’ve been struck by
its intrinsic beauty and passion. Allegorical interpretations and
cantorial traditional performances notwithstanding, I have chosen the
very spirit of the poetry to be the guiding force in creating the
composition. Although I have some rudimentary knowledge of the language,
I had to pay special attention to the idiosyncrasies of the Biblical
Hebrew. I would therefore like to thank my friend Nadav Eldar for his
initial clarification of the text—as well as Joseph Urshalmi for his
help. Finally, I am especially grateful to Matanya Ophee for his
willingness to undertake the publishing of the song with so much
enthusiasm, expertise and care.
DuŠan Bogdanovic was born in Yugoslavia in 1955. He completed his
studies of composition and orchestration at the Geneva Conservatory with
P. Wissmer and A. Ginastera and in guitar performance with M. L. São
Marcos. Early in his career, he received the only First Prize at the
Geneva Competition and gave a highly acclaimed debut recital in Carnegie
Hall in 1977. He has taught at the Geneva Conservatory and the
University of Southern California and is presently engaged by the San
Francisco Conservatory. His theoretical work for guitar, at Berbèn
Editions, includes Polyrhythmic and Polymetric Studies, as well as a
bilingual publication covering three-voice counterpoint and Renaissance
improvisation with a structural analysis of motivic metamorphoses in
composition and improvisation. A richly gifted composer, improviser and
guitarist, DuŠan Bogdanovic has explored musical languages that are
reflected in his style today—a unique synthesis of classical, jazz and
ethnic music. As a soloist and in collaboration with other artists,
Bogdanovic´ has toured extensively throughout Europe, Asia and the
United States. His performing and recording activities include work with
chamber groups of diverse stylistic orientations including The Falla
Guitar Trio and jazz collaborations with James Newton, Milcho Leviev,
Charlie Haden, Miroslav Tadic, Mark Nauseef, Anthony Cox and others. He
has over fifty published compositions ranging from guitar and piano solo
works to chamber and orchestral ensembles (Berbèn, GSP, Doberman-Yppan,
Editions Orphée et al.), as well as close to twenty recordings ranging
from Bach Trio Sonatas to contemporary works (Intuition, GSP,
Doberman-Yppan, M.A. Recordings et al.). Among his most recent
commissions are a ballet- poeme Crow, premiered by the Pacific Dance
Company at the Los Angeles Theater Center; Sevdalinka, written for the
Newman- Oltman Guitar Duo with the Turtle Island Quartet, premiered at
Merkin Hall, New York; Canticles, composed for the Gruber-Maklar duo; a
mix media piece To Where Does The One Return for sixteen ceramic gongs
in collaboration with sculptor Stephen Freedman, premiered in Hilo,
Hawaii; Games, commissioned by the BluePrint Festival and dedicated to
David Tanenbaum and Nicole Paiement; Byzantine Theme and Variations
premiered by James Smith with the Armadillo String Quartet, as well as
works written for pianist Fabio Luz and numerous solo guitar
compositions written for Alvaro Pierri, David Starobin, William
Kanengiser, Scott Tennant, Eduardo Isaac, James Smith and others.
Orphée
EO 150
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