papier mache federica artuso
SKU: 6513788104

papier mache federica artuso

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Description

papier mache federica artusoPapier Mach (CVLD365) Available in: LP Top Clear Vinyl+ HD FILE CD Gold HD File Mara Luisa Anido (1907 1996) 01 Aire norteo 1: 23 02 El misachico 3: 45 03 Minueto del Don Juan de Mozart 2: 24 04 Cancin del Yucatn 1: 50 05 Boceto Indgena 4: 10 Abel Fleury (1903 1958) also published as Melodia popular argentina by Mara Luisa Anido 06 Milonguea del Ayer 2: 30 Manuel Ponce (1882 1948) Tres canciones populares mexicanas 07 La Pajarera 1: 13 08 Por ti mi

Papier-Maché (CVLD365)

Available in:

  • LP Top Clear Vinyl+ HD FILE
  • CD Gold
  • HD File

María Luisa Anido (1907- 1996)

01 - Aire norteño 1:23

02 - El misachico 3:45

03 - Minueto del “Don Juan” de Mozart 2:24

04 - Canción del Yucatán 1:50

05 - Boceto Indígena 4:10

Abel Fleury (1903-1958)

also published as “Melodia popular argentina” by María Luisa Anido

06 - Milonguea del Ayer 2:30

Manuel Ponce (1882-1948)

Tres canciones populares mexicanas

07 - La Pajarera 1:13

08 - Por ti mi corazón 3:18

09 - La Valentina 1:52

Enrique Granados (1867-1916) transcr. M. Llobet

10 - Danza española n.5, Andaluza 5:23

Miguel Llobet (1878-1938)

11 - El Testament de n’ Amèlia 2:03

12 - Canço de lladre 1:57

Francisco Tárrega (1852-1909)

13 - María Gavota 1:39

14 - Alborada Caixa de Música 2:31

15 - Adelita Mazurka 1:39

Julián Arcas (1832- 1882)

16 - Soleà 5:42

17 - Bolero 2:16

Juan Parga (1843 - 1899)

18 - Mi lira, op.8 n.1 4:30

19 - Guajira, op.5 n.2 4:50

Carlos Garcia Tolsa (1858-1905)

20 - Al fin solos 4:07

Total time: 59:13


Papier-Mâché guitars made by Fabio Zontini (2023) inspired by Torres FE14 (1862

Strings
For the recording of “Al fin solos” and “Adelita” were used: Rayon basses / 2nd and 3rd gut strings / 1st nylgut string. For the recording of the rest of the repertoire were used: Gut strings for trebles / Rayon for basses

 - - - - - - - - - - - - - - - - - 

A MYSTERIOUS STORY

Don Antonio, you must not take the secret of your guitars to your grave…”

“…it is impossible for me to pass it on to posterity”

Torres' Papier-Mâché was a unique case in the history of lutherie, not only for guitars: Antonio de Torres (1817-1892), now considered the Stradivari of the six strings, was the first and, as far as is known, the only one to build a Papier-Mâché instrument in 1862. This guitar, paradoxically, despite its apparent humility, produces a fascinating, mysterious and unique sound world. Since the original, preserved at the Museum of Music in Barcelona, is no longer able to express its voice, the album aims to rediscover and revive the peculiar timbral and sonic characteristics of this interesting instrument through the use of two inspired copies.

The luthier Fabio Zontini has taken up the challenge launched by Torres and has been building Papier-Mâché copies for almost twenty years. The two instruments used by Federica Artuso for the recording were made between April and September 2023 and both weigh (incredibly) just 995 grams. They also have natural gut strings. Zontini has thus created a kind of connection with the great Torres, capturing a kind of experiment-prototype by the Andalusian luthier, and successfully trying to spread it to the present day.

The Papier-Mâché is a kind of living contradiction precisely because of the contrast between the humble material it is made of and the artistically surprising sonic result. And inspired by this contrast, an emblematic program of that paradox that embodies the identity of the guitar was recorded, always poised between the humble soul, authentic and popular on one hand, and the Olympus of classical music on the other. The music recorded here is all by guitarist-composers who lived during the time of the cardboard guitar or who had dealings with Torres' instruments. These guitarists are part of that performing tradition and sonic poetics of which the Papier-Mâché is an emblem. Some of the pieces, although written by non-guitarist composers, are part of that repertoire with which the six strings are most identified.

Arcas and Parga* attempted to elevate the guitar to a classical instrument, without managing to completely emancipate themselves from flamenco reminiscences. Their style perfectly suits the archaic essentiality of the Papier-Mâché's sound, and their music, though strongly rooted in popular language, gradually leads us to the bourgeois and salon style of Garcia Tolsa* and Tarrega, pupils of Arcas. Their music is no longer just for those with flamenco blood in their veins or for those who consider opera the only classical music. It is music that appeals to intellectuals, and if it allows for dancing, it does so on the condition that it is a salon dance. From the musicians' point of view, unlike his predecessors, Tarrega manages to package expressive impulses into totally complete forms.

Miguel Llobet, a pupil of Tarrega, is known as a composer mainly for his guitar version of the Canciones populares catalanas. The part of the program concerning him also features a repertoire of which he is not the author, but which faithfully represents him and where all the innovations brought by his creative flair, which bring out what is most characteristic of the guitar, are evident.

Maria Luisa Anido was a pupil of Llobet, as well as his partner in a guitar duo. The Argentine musician was among the last guitarists in the 1950s to use gut strings - by then difficult to find - and, among other things, owned Tarrega's Torres (1864, FE17). Anido is the emblem of the guitar's image as a watershed between the world of folk music and that of classical music, a dichotomy that will probably never be fully resolved. This is demonstrated by her irresistible transcriptions of great classics such as Bach, Mozart, Tchaikovsky, and her South American pieces, pulsating with indigenous energy.

88.2kHz / 24bit digital recording made at Magister Recording Area, Pereganziol (Italy) on January 5, 6, 7, 8, 2024 Analog Mix and Mastering made at MLS Studio, Naquera (Spain), on April, 5, 6, 2024

Production: Marco Lincetto, Federica Artuso, Fabio Zontini
Executive Producer: Marco Lincetto
Recording, mix and mastering engineer: Marco Lincetto
Musical producer on stage: Andrea Bissoli
Editing: Federica Artuso
Cover photo: Diego Ferrini, Vicenza
English translation by Maria Michela Camerlengo
Design: L’Image
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The author seems incredibly knowledgeable about the topic. I am learning a tremendous amount about the period bridging the Old and New Testament periods by reading this book. However, it is incredibly frustrating to me that the author compares modern day fellow-Christian cessationists with the unbelieving Sanhedrin whom Stephen excoriated in Acts chapter 7. "The insinuation is that the Holy Spirit, which had inspired the Torah, was the very same spirit who had been prophetically active down to the time of Jesus but whom the Jewish leaders were now railing against. One wonders what words Stephen would have for modern readers who perpetuate the notion of prophetic silence." At first this passage irritated me as an unnecessary and uncharitable jab. But I decided to write a review to let readers know to be prepared: if you do not have a Grudem-style view of ongoing prophecy, you should expect the author of this book to take cheap and uncharitable jabs, and to compare you to unbelieving Jews who rejected God's word. It actually colors my ability to take the author seriously, though I paid far too much for this book not to persevere through it. The author could have chosen to take an objective and charitable stance and simply report the facts. I'm surprised an editor didn't encourage the author to restrain his criticisms.
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a true blessing for Scriptural insight into God’s eternal plan !!
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This book was extremely informative and helpful in understanding the Scriptures!!! Not only that, it was hopeful and reassuring for the future!! I am so glad i bought this book!!
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