{"id":5327,"date":"2016-11-08T08:38:56","date_gmt":"2016-11-08T16:38:56","guid":{"rendered":"http:\/\/classicalguitarmagazine.com\/?p=5327"},"modified":"2016-11-15T15:29:32","modified_gmt":"2016-11-15T23:29:32","slug":"recent-releases-tuesday-sheet-music-from-sergio-assad-atanas-ourkouzounov-niccolo-paganini-olivier-bensa-and-more","status":"publish","type":"post","link":"https:\/\/classicalguitarmagazine.com\/recent-releases-tuesday-sheet-music-from-sergio-assad-atanas-ourkouzounov-niccolo-paganini-olivier-bensa-and-more\/","title":{"rendered":"Recent Releases Tuesday: Sheet Music from S\u00e9rgio Assad, Atanas Ourkouzounov, Niccol\u00f2 Paganini, Olivier Bensa, and More"},"content":{"rendered":"<p>We get so much sheet music sent to us by various publishers year \u2019round\u2014literally hundreds of pieces in every setting imaginable (solo guitar, multiple guitars, guitar-flute, guitar-harp, etc.)\u2014but we don\u2019t have the space to write about the great majority of them in our four quarterly issues each year.<\/p>\n<p>So, just as are now listing new classical guitar CD releases every other Tuesday here, we\u2019re now going use the Tuesdays in between those to announce new print music releases. As with the CDs, these are not reviews (some <em>will<\/em> be reviewed in the magazine, but frankly most will not), but we think it\u2019s important to at least get the word out about what\u2019s being offered to guitarists out there. Where possible, we\u2019ve linked the titles to the publisher\u2019s website, and stated the degree of difficulty (if provided by the publisher).\u00a0 <em>\u2014Blair Jackson<\/em><\/p>\n<p>Here is a link to our previous listing from <a href=\"http:\/\/classicalguitarmagazine.com\/new-sheet-music-releases-mark-houghton-lilly-afshar-frederic-hand-dusan-bogdanovic-and-more\/\" target=\"_blank\">October 25<\/a>.<\/p>\n<p><img data-recalc-dims=\"1\" decoding=\"async\" class=\"alignnone size-full wp-image-5331\" src=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2016\/11\/Bensa.jpg?resize=250%2C337\" alt=\"microfaune_EXE.indd\" width=\"250\" height=\"337\" srcset=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2016\/11\/Bensa.jpg?w=250&amp;ssl=1 250w, https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2016\/11\/Bensa.jpg?resize=223%2C300&amp;ssl=1 223w\" sizes=\"(max-width: 250px) 100vw, 250px\" \/><\/p>\n<p><strong>Olivier Bensa<br \/>\n<\/strong><a href=\"https:\/\/www.henry-lemoine.com\/en\/catalogue\/fiche\/29246\"><strong><em>Microfaune<\/em><\/strong><\/a><strong> (<\/strong>solo guitar)<br \/>\nEditions Henry Lemoine, 41 pp.<\/p>\n<p>French guitarist\u2019s \u201c24 pr\u00e9ludes dans tous les tons\u201d offers musical impressions of butterflies, bees, crickets, grasshoppers, beetles, etc. Advanced<\/p>\n<p><img data-recalc-dims=\"1\" decoding=\"async\" class=\"alignnone size-medium wp-image-5332\" src=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2016\/11\/assad-225x300.jpg?resize=225%2C300\" alt=\"assad\" width=\"225\" height=\"300\" srcset=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2016\/11\/assad.jpg?resize=225%2C300&amp;ssl=1 225w, https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2016\/11\/assad.jpg?w=500&amp;ssl=1 500w\" sizes=\"(max-width: 225px) 100vw, 225px\" \/><\/p>\n<p><strong>S\u00e9rgio Assad<br \/>\n<\/strong><a href=\"http:\/\/www.productionsdoz.com\/en\/suite-brasileira-no-4\"><strong><em>Suite Brasileira No. 4<\/em><\/strong><\/a> (solo guitar)<br \/>\nDoberman-Yppan, 23 pp.<\/p>\n<p>Four pieces based on different genres that reflect the rural and African influence on Brazilian music: \u201cCateret\u00ea,\u201d \u201cJongo,\u201d \u201cToada,\u201d \u201cBatuque.\u201d Advanced.<\/p>\n<p><img data-recalc-dims=\"1\" decoding=\"async\" class=\"alignnone size-medium wp-image-5333\" src=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2016\/11\/raymond-235x300.jpg?resize=235%2C300\" alt=\"raymond\" width=\"235\" height=\"300\" srcset=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2016\/11\/raymond.jpg?resize=235%2C300&amp;ssl=1 235w, https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2016\/11\/raymond.jpg?w=500&amp;ssl=1 500w\" sizes=\"(max-width: 235px) 100vw, 235px\" \/><\/p>\n<p><strong>Jean-Marie Raymond<br \/>\n<\/strong><a href=\"http:\/\/www.productionsdoz.com\/en\/a-rainbow-for-minoru\"><strong><em>A Rainbow for Minoru<\/em><\/strong><\/a> (for two guitars)<br \/>\nLes Productions D\u2019Oz, 8 pp.<\/p>\n<p>From the cover to the title to the dedicatees, this appears to have a Japanese flavor. Also new from D\u2019Oz in a perhaps similar vein is Raymond\u2019s <a href=\"http:\/\/www.productionsdoz.com\/en\/three-friends-in-kyoto\"><em>Three Friends in Kyoto<\/em><\/a>. Advanced.<\/p>\n<p><img data-recalc-dims=\"1\" decoding=\"async\" class=\"alignnone size-medium wp-image-5334\" src=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2016\/11\/Hagen-226x300.jpg?resize=226%2C300\" alt=\"hagen\" width=\"226\" height=\"300\" srcset=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2016\/11\/Hagen.jpg?resize=226%2C300&amp;ssl=1 226w, https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2016\/11\/Hagen.jpg?w=600&amp;ssl=1 600w\" sizes=\"(max-width: 226px) 100vw, 226px\" \/><\/p>\n<p><strong>Hagen Barz<br \/>\n<\/strong><a href=\"http:\/\/dohr.de\/edition_dohr\/einzeltitel\/ISMN3434.htm\"><strong><em>Uckerm<\/em><\/strong><strong><em>\u00e4rkische Miniaturen<\/em><\/strong><\/a> (solo guitar)<br \/>\nEdition Dohr, 14 pp.<\/p>\n<p>Set of 12 miniatures inspired by Germany\u2019s beautiful and historic Uckermark region, north of Berlin. Intermediate and advanced.<\/p>\n<p><em>Here\u2019s a video of Barz playing a few of these lovely, pastoral pieces:<\/em><br \/>\n<iframe src=\"https:\/\/www.youtube.com\/embed\/aXy5qE7QZJc?list=PLItoYYTOjGp8NlMmBzq-vR8iHgMVVffiY\" width=\"780\" height=\"439\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p><img data-recalc-dims=\"1\" decoding=\"async\" class=\"alignnone size-medium wp-image-5335\" src=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2016\/11\/paganini-223x300.jpg?resize=223%2C300\" alt=\"paganini\" width=\"223\" height=\"300\" srcset=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2016\/11\/paganini.jpg?resize=223%2C300&amp;ssl=1 223w, https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2016\/11\/paganini.jpg?w=445&amp;ssl=1 445w\" sizes=\"(max-width: 223px) 100vw, 223px\" \/><\/p>\n<p><strong>Niccol<\/strong><strong>\u00f2 Paganini<br \/>\n<\/strong><a href=\"http:\/\/www.utorpheus.com\/product_info.php?products_id=3011\"><strong><em>37 Sonatas for Guitar<\/em><\/strong><\/a> (solo guitar)<br \/>\nUt Orpheus, 94 pp.<\/p>\n<p>Guitar works are an underappreciated side of Paganini (1782\u20131840), who never played the instrument in public (and whose violin works are more commonly played by modern guitarists). Edited and fingered by Riccardo Del Prete, foreword by Angelo Gilardino. Extensively annotated. Advanced.<\/p>\n<p><img data-recalc-dims=\"1\" decoding=\"async\" class=\"alignnone size-medium wp-image-5336\" src=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2016\/11\/Renaissance-223x300.jpg?resize=223%2C300\" alt=\"29259 CV 2016\" width=\"223\" height=\"300\" srcset=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2016\/11\/Renaissance.jpg?resize=223%2C300&amp;ssl=1 223w, https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2016\/11\/Renaissance.jpg?w=250&amp;ssl=1 250w\" sizes=\"(max-width: 223px) 100vw, 223px\" \/><br \/>\n<strong>Anonymous<br \/>\n<\/strong><a href=\"https:\/\/www.henry-lemoine.com\/en\/catalogue\/fiche\/29259\"><strong><em>Renaissance Italienne: 6 pieces pour guitare<\/em><\/strong><\/a> (for solo guitar)<br \/>\nEditions Henry Lemoine, 7 pp.<\/p>\n<p>Six very short 16th century pieces originally written for lute and transcribed for guitar by Italian musicologist Oscar Chilesotti (1848\u20131916). Intermediate.<\/p>\n<p><img data-recalc-dims=\"1\" decoding=\"async\" class=\"alignnone size-medium wp-image-5337\" src=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2016\/11\/borodin-225x300.jpg?resize=225%2C300\" alt=\"borodin\" width=\"225\" height=\"300\" srcset=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2016\/11\/borodin.jpg?resize=225%2C300&amp;ssl=1 225w, https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2016\/11\/borodin.jpg?w=500&amp;ssl=1 500w\" sizes=\"(max-width: 225px) 100vw, 225px\" \/><\/p>\n<p><strong>Alexander Borodin<br \/>\n<\/strong><a href=\"http:\/\/www.productionsdoz.com\/en\/petite-suite-2486\"><strong><em>Petit Suite<\/em><\/strong><\/a> (for three guitars; arr. Adrian Andrei)<br \/>\nLes Productions D\u2019Oz, 14 pp. plus parts<\/p>\n<p>Borodin (1833\u20131887) was a Russian Romantic composer best-known for writing three symphonies, numerous chamber works, piano pieces and many songs. His six-movement <em>Petit Suite<\/em> was written for piano originally and arranged here for three guitars by Romanian Adrian Andrei. Intermediate.<\/p>\n<p><img data-recalc-dims=\"1\" decoding=\"async\" class=\"alignnone size-full wp-image-5338\" src=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2016\/11\/espanoles.jpg?resize=194%2C255\" alt=\"espanoles\" width=\"194\" height=\"255\" \/><\/p>\n<p><strong>Paul Coles<br \/>\n<\/strong><a href=\"https:\/\/www.universaledition.com\/sheet-music-and-more\/Momentos-espanoles-fuer-Gitarre-Coles-Paul-UE21671\"><strong><em>Momentos Espa<\/em><\/strong><strong><em>\u00f1oles<\/em><\/strong><\/a> (solo guitar)<br \/>\nUniversal Edition, 21 pp.<\/p>\n<p>Book by British guitarist\/composer\/teacher Coles contains 16 short pieces inspired by Spanish and Latin music. His bio notes that he is \u201cknown for his compositions that are technically interesting but accessible for most players.\u201d Intermediate.<\/p>\n<p><img data-recalc-dims=\"1\" decoding=\"async\" class=\"alignnone size-medium wp-image-5339\" src=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2016\/11\/rach-226x300.jpg?resize=226%2C300\" alt=\"rach\" width=\"226\" height=\"300\" srcset=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2016\/11\/rach.jpg?resize=226%2C300&amp;ssl=1 226w, https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2016\/11\/rach.jpg?w=500&amp;ssl=1 500w\" sizes=\"(max-width: 226px) 100vw, 226px\" \/><\/p>\n<p><strong>Sergei Rachmaninoff<br \/>\n<\/strong><a href=\"http:\/\/www.productionsdoz.com\/en\/prelude-in-g-minor-op-23-no-5\"><strong><em>Prelude in G minor Op.23, No. 5<\/em><\/strong><\/a> (solo guitar, arr. Stevan Jovic)<br \/>\nLes Productions D\u2019Oz, 7 pp.<\/p>\n<p>Top Serbian guitarist\u2019s lively guitar arrangement of popular piano piece by Rachmaninoff (1873\u20131943), written in 1901, two years before his famous <em>Ten Preludes<\/em>, of which this became a part, was published.<\/p>\n<p><em>Here\u2019s a video of Jovic playing this piece.<\/em><br \/>\n<iframe src=\"https:\/\/www.youtube.com\/embed\/hxczsvczPPE\" width=\"780\" height=\"439\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p><img data-recalc-dims=\"1\" decoding=\"async\" class=\"alignnone size-medium wp-image-5340\" src=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2016\/11\/grooves-225x300.jpg?resize=225%2C300\" alt=\"grooves\" width=\"225\" height=\"300\" srcset=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2016\/11\/grooves.jpg?resize=225%2C300&amp;ssl=1 225w, https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2016\/11\/grooves.jpg?w=500&amp;ssl=1 500w\" sizes=\"(max-width: 225px) 100vw, 225px\" \/><br \/>\n<strong>Atanas Ourkouzounov<br \/>\n<\/strong><a href=\"http:\/\/www.productionsdoz.com\/en\/broken-grooves\"><strong><em>Broken Grooves<\/em><\/strong><\/a> (for two guitars)<br \/>\nDoberman-Yppan, 20 pp. plus parts<\/p>\n<p>Adventurous Bulgarian composer\/guitarist has written more than 80 guitar works, most in a decidedly modern idiom. Advanced.<\/p>\n<p><img data-recalc-dims=\"1\" decoding=\"async\" class=\"alignnone size-medium wp-image-5341\" src=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2016\/11\/yorgos-235x300.jpg?resize=235%2C300\" alt=\"yorgos\" width=\"235\" height=\"300\" srcset=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2016\/11\/yorgos.jpg?resize=235%2C300&amp;ssl=1 235w, https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2016\/11\/yorgos.jpg?w=500&amp;ssl=1 500w\" sizes=\"(max-width: 235px) 100vw, 235px\" \/><\/p>\n<p><strong>Yorgos Nousis<br \/>\n<\/strong><a href=\"http:\/\/www.productionsdoz.com\/en\/poliptico-emocional\"><strong><em>Pol<\/em><\/strong><strong><em>\u00edptico emocional<\/em><\/strong><\/a> (for solo guitar)<br \/>\nDoberman-Yppan, 12 pp.<\/p>\n<p>Folk-tinged and mostly melodic five-part solo rumination from Greek composer-guitarist. Samples available at link above. Advanced.<\/p>\n<p><img data-recalc-dims=\"1\" decoding=\"async\" class=\"alignnone size-medium wp-image-5344\" src=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2016\/11\/tarrega-223x300.jpg?resize=223%2C300\" alt=\"tarrega\" width=\"223\" height=\"300\" srcset=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2016\/11\/tarrega.jpg?resize=223%2C300&amp;ssl=1 223w, https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2016\/11\/tarrega.jpg?w=445&amp;ssl=1 445w\" sizes=\"(max-width: 223px) 100vw, 223px\" \/><\/p>\n<p><strong>Various Composers<\/strong><br \/>\n<em><strong><a href=\"http:\/\/www.utorpheus.com\/product_info.php?products_id=3205\" target=\"_blank\">Preludios para T\u00e1rrega: An Anthology of Contemporary Music for Guitar<\/a><\/strong><\/em><br \/>\nUt Orpheus<\/p>\n<p>Editor\/fingerer for this project, Piero Bonaguri, commissioned these seven short preludes &#8220;after&#8221; T\u00e1rrega (i.e. inspired by him) in the summer and fall of 2015 and has compiled them into this single volume. According to Bonaguri, some composers specifically referenced\u00a0T\u00e1rrega&#8217;s music; others drew less obvious connections. The composers are Emilio Caland\u00edn, Claudia Montero, Marco Reghezza, Marco Smaili, Alessandro Spazzoli, Roberto Tagliamacco, and Paolo Uglietti. Bonaguri says the pieces are &#8220;average level of performance difficulty.&#8221;<\/p>\n<p><em>Below, Piero Bonaguri plays Claudia Montero&#8217;s T\u00e1rrega homage,<\/em> L\u00e1grimas de Buenos Aires<em>:<\/em><br \/>\n<iframe src=\"https:\/\/www.youtube.com\/embed\/awJUsjXf8k8\" width=\"780\" height=\"439\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n","protected":false},"excerpt":{"rendered":"<p>We get so much sheet music sent to us by various publishers year \u2019round\u2014literally hundreds of pieces in every setting imaginable (solo guitar, multiple guitars, guitar-flute, guitar-harp, etc.)\u2014but we don\u2019t have the space to write about the great majority of them in our four quarterly issues each year. So, just as are now listing new classical guitar CD releases every other Tuesday here, we\u2019re now going use the Tuesdays in between those to announce new print music releases. As with [&hellip;]<\/p>\n","protected":false},"author":11,"featured_media":5330,"comment_status":"closed","ping_status":"closed","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":[6,5],"tags":[],"class_list":["post-5327","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news","category-stories"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2016\/11\/sergioassad.jpg?fit=640%2C479&ssl=1","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/5327","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\/11"}],"replies":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/comments?post=5327"}],"version-history":[{"count":0,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/5327\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media\/5330"}],"wp:attachment":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media?parent=5327"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/categories?post=5327"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/tags?post=5327"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}