Listen to Villa-Lobos: Complete Solo Guitar Works by Frédéric Zigante on Deezer . With music streaming on Deezer you can discover more than. View credits, reviews, tracks and shop for the CD release of Villa-Lobos: Complete Guitar Music on Discogs. Find album reviews, stream songs, credits and award information for Villa-Lobos: Complete Guitar Music [ Recording] – Frédéric Zigante on AllMusic –

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Is there a crisis?

Have you ever tried playing a different instrument? I live between two beautiful Italian towns: But his power can be negative and he can destroy music, modify it or misinterpret it. During the next two months I will be preparing a zigznte repertory for my CD recordings and I will be working on my critical edition of Villa-Lobos’ Etudes. My father and my brother Manuel.

This is lobox an interpreter and a composer can cope to “travel” together without any conflict. How do you balance the need to to put your personal emotions into the music you play and the intentions of the composer?

In essence, his tendency for established values and the ongoing fascination for the infinite possibilities within the purity of a piece is not a sign of conservatism – but rather of class.

Villa-Lobos: Complete Guitar Music [2010 Recording]

What do you tell them? You need to see the whole picture here – after all, that is what Frederic Zigante is all about.

Someone who takes care of other people’s problems. What really makes the difference is the music that is lohos for it. A good live performance requires good technical standards and acceptable contents for the audience. I am a little bit annoyed by crossovers but I do realize that it is just a fashion that will pass without too many damages.


Frédéric Zigante on Spotify

With a clear mind, he recognises current cross-over tendencies and hip genre-bending see his answers to our Festival-question! This is what some performers do sometimes, ziggante even cut off some parts of the works!

The hardest part about being a musician is to often be alone and the best is to get emotion during a performance.

What constitutes a good live performance in your opinion? After this reserach I bring out sigante personal emotions on the condition that they do not affect the composer’s idea. What would be on your program for this season? The latter implies that Zigante eschews or may we even say “despises” the modern-day tendency to submit a Classical works to the arbitrariness of subjectivity, to change it, alter it or even leave out certain passages for more easy digestability.

The one that mediates between the written text and the auditors. There are still so many works to be discovered and recorded even for instruments like the guitar.

False, the only thing about which people need to be educated is listening with curiosity: What really matters is to transmit emotions and feeling. I play both baroque and classic guitar and I consider them two different instruments.

What or who was your biggest influence as an artist? Behind this desire for integrity hides no pathologically prolific mind, but a man who searches for profundity and who wants to use the power of interpretation to the good. Just imagine what would vulla if someone went to a museum and decided to change the colors on a painting: I haven’t noticed any crisis.

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About Our aim The team History. Complete editions are Frederic Zigante’s specialty: An interpreter’s task is to give life to emotions that are latent in the musical text not only to play them!

But I know that I shall certainly not: First I need a contract then I shall begin thinking about it!

I would probably be a medical doctor or a politician. If a perfomer has nothing to say and simply plays the music, he should stay home.

And yet, he is by no means an anachronism. It is necessary to know exactly what the composer intended but this isn’t always possible on the only basis of the written text. If yes, how good were you at it? Interpretation is a task: People need to be educated about classical music, before they can really appreciate it.

An interpreter has a great power in his hands because without him the work has no life and can’t frsderic heard.

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This is the way to discover beauty in all music, not only classical. You are given the position of artistic director of a concert hall. How would you describe the relationship with your instrument?