{"id":2777,"date":"2015-10-12T09:47:09","date_gmt":"2015-10-12T16:47:09","guid":{"rendered":"http:\/\/classicalguitarmagazine.com\/?p=2777"},"modified":"2015-10-12T09:47:09","modified_gmt":"2015-10-12T16:47:09","slug":"review-arturo-parras-terra-incognita-shows-range-and-depth","status":"publish","type":"post","link":"https:\/\/classicalguitarmagazine.com\/review-arturo-parras-terra-incognita-shows-range-and-depth\/","title":{"rendered":"Review: Arturo Parra&#8217;s &#8216;Terra Incognita&#8217; Shows Range and Depth"},"content":{"rendered":"<p><img data-recalc-dims=\"1\" decoding=\"async\" class=\"alignleft wp-image-2779 size-medium\" src=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2015\/10\/a2905640673_161-300x300.jpg?resize=300%2C300\" alt=\"a2905640673_16[1]\" width=\"300\" height=\"300\" srcset=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2015\/10\/a2905640673_161.jpg?resize=300%2C300&amp;ssl=1 300w, https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2015\/10\/a2905640673_161.jpg?resize=150%2C150&amp;ssl=1 150w, https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2015\/10\/a2905640673_161.jpg?w=700&amp;ssl=1 700w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><strong>Terra Incognita<br \/>\n<\/strong><em>Arturo Parra<br \/>\n(<\/em>La Grenouille Hirsute)<\/p>\n<p><strong>&#8216;Sound portraits&#8217; by extraordinary guitarist show range and depth<\/strong><\/p>\n<p>Colombian-born Arturo Parra is a creative spirit, whose uncompromising <em>Parr(A)cousmatique <\/em>(reviewed in <em>CG<\/em> in May 2004) achieved the lasting distinction of being challenging and rewarding in equal measure. This release differs in that all the contents are Parra originals (as opposed to commissions and collaborations involving other composers) and also that, although there are occasional sounds apparently emanating from something other than Parra\u2019s 1984 Contreras guitar, electronics are no longer central to proceedings.<\/p>\n<p><iframe src=\"https:\/\/www.youtube.com\/embed\/KSAQY8coaEA\" width=\"780\" height=\"439\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><br \/>\nWhat we do get is seven extended movements that are \u201csound portraits\u201d in a more literal sense than is customary\u2014the names of Parra\u2019s voluntary subjects being absent from the track listing but revealed in the program notes. The concept may feel a little intrusive to some, but the performances are compelling, Parra&#8217;s intoxicating capacity to shape and develop a murmuring <em>ostinato <\/em>commanding the listener&#8217;s attention throughout. His claim that \u201c[the] other life you imagine yourself peering into . . . may in fact be your own\u201d is perhaps stretching it a bit, but the music alone makes <em>Terra Incognita<\/em> a welcome offering from an artist of extraordinary power.<\/p>\n<p style=\"text-align: right;\">\u2014<em>Paul Fowles<\/em><\/p>\n<h1><a href=\"http:\/\/classicalguitarmagazine.com\/wp-content\/uploads\/2015\/10\/a2905640673_161.jpg\">\u00a0<\/a><\/h1>\n","protected":false},"excerpt":{"rendered":"<p>Terra Incognita Arturo Parra (La Grenouille Hirsute) &#8216;Sound portraits&#8217; by extraordinary guitarist show range and depth Colombian-born Arturo Parra is a creative spirit, whose uncompromising Parr(A)cousmatique (reviewed in CG in May 2004) achieved the lasting distinction of being challenging and rewarding in equal measure. This release differs in that all the contents are Parra originals (as opposed to commissions and collaborations involving other composers) and also that, although there are occasional sounds apparently emanating from something other than Parra\u2019s 1984 [&hellip;]<\/p>\n","protected":false},"author":14,"featured_media":2779,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[5],"tags":[],"class_list":["post-2777","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-stories"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2015\/10\/a2905640673_161.jpg?fit=700%2C700&ssl=1","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/2777","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/users\/14"}],"replies":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/comments?post=2777"}],"version-history":[{"count":0,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/2777\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media\/2779"}],"wp:attachment":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media?parent=2777"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/categories?post=2777"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/tags?post=2777"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}