Who's who - collected by minhminh

Pujol, Maximo Diego (b.1957- Argentina) Thursday, 9 March, 2006 Biography Born in Buenos Aires 7 December 1957, Maximo Diego Pujol is a graduate of the Provincial Conservatory "Juan Jose Castro" with the title/honour of Prof. Superior of Guitar. He undertook instrumental studies with Alfredo V. Gascon, Horacio Ceballos, Abel Carlevaro, Liliana Ardissone and Michael A Girollet. and studied Harmony and Composition under the direction of Maestro Arnedo. He has obtained numerous firsts in contests from Composition at home and abroad and in 1989 the Union Unico of Authors and Argentine Composers granted him the prize for the best composer of classical music for 1988. The guitar works of Maximo Diego Pujol have been performed and recorded throughout the world by artists of the calibre of Maria Isabel Siewers, Victor Villandangos, Duo Garau-Millet, Delia Strada and Thierry Boileux and have been published in London, Austria, Paris and the USA. He is a great teacher in guitar.

 

Rodrigo, Joaquín (1901-1999 Spain) Sunday, 11 September, 2005 Biography Joaquín Rodrigo was born in Sagunto (Valencia). At the age of three he lost his sight almost completely as a result of an epidemic of diphtheria. His first compositions date from 1923: Suite for piano, Dos esbozos (‘Two Sketches’) for violin and piano, and Siciliana for cello. The music of Joaquín Rodrigo is a homage to the rich and varied cultures of Spain. More info detailed information can be found at http://www.joaquin-rodrigo.com Works for Guitar Aranjuez, ma pensée Bajando de la meseta Ecos de safarad En los trigales En Tierras de Jerez Entre olivares Españoleta y fanfare de la caballeria de Nápoles Invocacion y danza Junto al generalife Pajaros de primavera Pasakalia Pastoral Pequena sevillana Por caminos de santiago Que buan caminito Romance del Durandarte Tiento antiguo Un tiempo fue Italica famosa Ya se van los pastores Zarabanda lejana Concierto de Aranjuez 1st Movement - Allegro con spirito 2nd Movement - Adagio 3rd Movement - Allegro con brio Dos Preludios No. 01 No. 02 Elogio de la guitarra No. 01 No. 02 No. 03 Fantasia para un Gentilhombre Canario Danza de las hachas Villano y ricercar Sonata a la espanola No. 01 No. 02 No. 03 Sonata giocosa No. 01 No. 02 No. 03 Three Spanish pieces Fandango Passacaglia Zapateado Triptico 1- Prelude 2- Nocturne 3 - Scherzino

 

Turina, Joaquin (1882-1949 Spain) Sunday, 11 September, 2005 Biography Son of a spanish painter. Started taking piano lessons, made his debut as a pianist in 1897. Turina became close friends with Manuel de Falla and was fellow student of Debussy and Ravel. Along with Federico Moreno-Torroba, he was one of the first composers inspired by Segovia to write for guitar. He mostly wrote pieces for piano, but also made compositions for guitar. Works for Guitar Monologos del viento y de la roca Opus 08 No.02 - Tres Danzas Andaluzas Opus 29 Sevillana (Fantasia) Opus 36 Fandanguillo Opus 53 Ráfaga Opus 55 Cinco Danzas Gitanas Opus 61 Sonata I. Allegro II. Andante III. Allegro Opus 96 Hommage à Tárrega I. Garrotin II. Soleares

 

York, Andrew (b. 1958- USA) Thursday, 15 September, 2005 Biography Andrew York is one of today's most visible and innovative classical guitar composers, and a member of the GRAMMY winning Los Angeles Guitar Quartet. Andrew’s discography includes “California Breeze,” a new recording for Sony Japan, three solo CD's for the GSP label, ten CD’s with the LAGQ on Delos, Sony and Telarc labels, as well as inclusions on numerous compilation recordings. York's compositions have also been recorded by guitar luminaries John Williams, Christopher Parkening, Scott Tennant and William Kanengiser. As a published composer, York's works appear in print worldwide through Alfred Publications, Hal Leonard, Mel Bay Publications, Guitar Solo Publications, Doberman-Yppan in Canada, Ricordi in London, and in Japan through Gendai and Rittor Music. Andrew is a virtuoso classical and jazz guitarist; an extremely rare combination. As a classical guitarist, Andrew received a grant from the Del Amo Foundation for Study in Spain, and as a jazz player studied with Joe Diorio and Lenny Breau. Andrew received his Master of Music degree from University of Southern California, and is the only USC graduate in the school’s history to twice receive the Outstanding Alumni of the Year Award – in 1997 as a member of LAGQ and in 2003 as the sole recipient. Andrew York is one of today's most visible and innovative classical guitar composers, and a member of the GRAMMY winning Los Angeles Guitar Quartet. Andrew’s discography includes “California Breeze,” a new recording for Sony Japan, three solo CD's for the GSP label, ten CD’s with the LAGQ on Delos, Sony and Telarc labels, as well as inclusions on numerous compilation recordings. York's compositions have also been recorded by guitar luminaries John Williams, Christopher Parkening, Scott Tennant and William Kanengiser. As a published composer, York's works appear in print worldwide through Alfred Publications, Hal Leonard, Mel Bay Publications, Guitar Solo Publications, Doberman-Yppan in Canada, Ricordi in London, and in Japan through Gendai and Rittor Music. Andrew is a virtuoso classical and jazz guitarist; an extremely rare combination. As a classical guitarist, Andrew received a grant from the Del Amo Foundation for Study in Spain, and as a jazz player studied with Joe Diorio and Lenny Breau. Andrew received his Master of Music degree from University of Southern California, and is the only USC graduate in the school’s history to twice receive the Outstanding Alumni of the Year Award – in 1997 as a member of LAGQ and in 2003 as the sole recipient. [This biography is copied from: http://www.andrewyork.net/] Albums California Breeze Perfect Sky Denouement Into Dark IGN Live Windham Hill Server Legends of Guitar Spirit of the Guitar DVD Contemporary Classic Guitar DVD Los Angeles Guitar Quartet Latin LAGQ's Guitar Heroes Labyrint LAGQ Air & Ground Mozart Variations

 

Weiss, Silvius Leopold (1686-1750 Poland) Sunday, 11 September, 2005 Biography Silvius Leopold Weiss was a German composer and lutenist (see Wikipedia. org)born in 1687 in Grottkau near Breslau (today Wroclaw in Poland), capital of Silesia, whence came several German lute-players of the Baroque period: Reusner father and son, Le Sage de Richée (?), Meusel, Baron, Kropfgans, Straube... His father, Johann Jacob( ?1662-1764), was said by Baron to be a « profound musician, lute and theorbo-player », taught Silvius Leopold, his younger brother Johann Sigismund and their young sister Juliana Margaretha the lute. In 1706, Count Karl Philipp of Palatinat-Neuburg, then residing in Breslau and Brieg, took him in his service. In the beginning of that year Weiss accompanied heir prince Friedrich of Hessen-Kassel to Kassel, where he performed at the court of the Palatine Elector Johann Wilhelm, who was a fervent protector of the arts and a keen and passionate music-lover - so much so that Corelli dedicated him his Opus VI. The young Silvius Leopold stayed for over a month and returned afterwards to Breslau. There is evidence that from 1709 on his father and his brother were employed in Dusseldorf as lutenists. Possibly their employment was procured by Silvius Leopold. In the year 1707 Karl Philipp moved with his court from Breslau to Innsbruck. If Silvius Leopold Weiss accompanied him there, isn't yet known. 1710-1714 Probably from 1710 on Weiss was in service of the Polish Prince Alexander Sobieski, who lived in exile in Rome. Prince Alexandre’s court, residing in the Zuccari palazzo, was the opportunity for him to meet the Scarlatti, father and son, as well as organ-player Bernardo Pasquini and compatriots Handel and Heinichen. Weiss would accompany the Prince in his visits to other courts. His virtuous performances were universally admired. When his protector died in 1714, Weiss looked for a situation worthy of his talent. Even if he left Italy, the country’s influence was to be strong ; these years would leave their mark, even in his last works. 1714-1718 Until Silvius Leopold Weiss had been employed at the court of Dresden in 1718, supposedly Weiss had been in service of his former employee Karl Philipp. In 1717 he had been two times in Dresden, where he performed so succesful, that he was given 100 ducats as a reward. At least once he had been in Prague that year, where he met the famous Bohemian lute-player, Count Johann Anton Losy von Losimthal (ca. 1650-1721), better known nowadays as Count Logy. It seems that Weiss was influenced in his compositions by this lute-player. As a matter of fact, he composed a tombeau in his memory (he did the same with Baron Cajetan von Hartig). 1718-1750 On August 23rd of 1718, he was appointed chamber musician for the Prince Elector of Saxony August the Strong, who had been King of Poland since 1697. This highly prized position was based in Dresden, overlooking the Elbe. A cosmopolitan center for arts and sciences, Dresden could boast the possession of one of the finest opera houses and musical chapels in the Empire. At the time, the court at Dresden had in its midst some great names, beside Silvius Leopold Weiss the flute-players Buffardin and Quantz (his pupil) and the violin-players Francesco Veracini and Pisendel (who studied with Vivaldi). Weiss’ annual salary was of 1000 Imperial Thalers - which was regarded as high. Yet, when Frederic August II succeeded his father in 1733, he raised the amount - without any intervention of the musician - to 1200 Thalers and again in 1744 to 1400. The lute-player was thus the best paid musician of the orchestra at the court of Dresden. This situation clearly denotes the admiration and respect he was held in. So much so that his protector the king often sent him travelling as his musical emissary. From end of 1718 to the beginning of 1719 he went, together with eleven other musicians of the court, to Vienna for the wedding of the Elector of Saxony. The newly-wedded couple were celebrated for four weeks in the fall of 1719. In 1722 the violinist Petit, a pupil of Tartini, supposedly as an act of vengeance, had almost bitten off a part of his thumb. After his recovery, during the fall of that year, he left for Munich with Buffardin to attend the Prince Elector of Bavaria’s wedding. He was handsomely rewarded there. In 1723, he returned to Prague for the third time (before in 1717 and 1719), accompanied this time by the illustrious flute-player Johann Joachim Quantz and singer and composer Carl Heinrich Graun. The three musicians went to the crowning of Emperor Charles VI as King of Bohemia. In May 1728, he accompanied his lord and three of the greatest musicians of the court - violin-player Pisendel and flute-players Buffardin and Quantz - to the court at Berlin. They stayed there for three months, probably upon the invitation of future Margrave Wilhelmine of Bayreuth, Frederic II’s sister. Her testimony is one of the most pleasant. Weiss can count among his protectors Imperial Count Hermann von Kayserlingk, known in the world of music to have ordered JS Bach to write the famous « Goldberg Variations ». He had the reputation of a great amateur and connoisseur of music. He intervened in favor of Weiss when the latter was emprisoned in Dresden for an alleged crime (Weiss would have offended the Master of Revels of Breitenbach). Kayserling wrote the Minister of the State to praise the lute-player and to ask for his release. Later, the Imperial count took in his care and home Weiss’ son Johann Adolf Faustinus (1741-1814) and gave him the opportunity to complete his learning of the lute. Weiss must have enjoyed the court of Dresden, as proves his refusal to join the Imperial court in Vienna - who had offered him, in 1736, the positively indecent amount of 2000 Thalers. It is true that the Dresden musicians and audience alike were known for their quality. In 1738, in Dresden, Weiss met violin-player Franz Benda, from Berlin. Their took turns at playing, throughout a whole afternoon and until midnight, 24 violin solos and 8 or 10 suites for the lute (see Hiller, F Benda’s biographer). In August 1739, Weiss met JS Bach. WF Bach, the organ-player at Sainte Sophie in Dresden, was in Leipzig. Weiss had been there with his fellow countryman and pupil Kropfgans - who played the lute for Count Brühl in Dresden. Several meetings with the master of Leipzig sealed their friendship, as reports Johann Elias Bach, then JS Bach’s private secretary. We have seen that Weiss was Imperial Count Hermann von Kayserlink’s protégé. Such was also the case for JS Bach. D.Charlton tells us that actually the two men had many occasions to meet in Dresden and that JS Bach is said to have written some lute pieces for Weiss. Furthermore, JS Bach occasionally went to the court of Dresden - from 1717 and especially from 1733 when his son WF Bach became the organ-player at Sainte Sophie - which allows us to imagine that the two men had many ocasions to meet. Another interesting element is to be found in JF Reichardt’s 1805 account of the competition between the two musicians in Dresden : "Anyone who knows how difficult it is to play harmonic modulations and good counterpoints on the lute will be surprised and full of disbelief to hear from eyes-witnesses that Weiss, the great lute-player, challenged JS Bach, the great harpsichord and organ-player, by playing fantasies and fugues." Weiss didn’t seem to be interested by the publication of his works. Of the 650- odd known works of his, only one small piece was published when he was alive ; it was done so by GF Telemann in 1728 to serve as a tablature example in the volume "Loyal Music Master". His works showed his virtuosity and it is possible that, like Paganini or Mozrt later, he wanted to keep them to himself. Weiss’ final days are those of a man who is at the peak of his notoriety. He lived in Dresden, received pupils from various countries coming to him to study his music and to receive his advice. On October 16th 1750, Weiss died, leaving his widow, Marie-Elizabeth, and 7 children ; Johann Adolf Faustinus was the only one of them to follow his steps as a lute-player at the court of Dresden. Despite his exhorbitant (for a musician at the time) earnings, Weiss left nothing to his family, having probably spent all his money in keeping the appearances going with his status. He made more than 650 pieces for Lute. [This biography is copied from http://www.slweiss.com] Works for Lute (transcribed to guitar) Alemanda Allegro in D major Allemande Bouree Ciacona Fantasia in E minor Fantasie en ut majeur Gavotte Giga from suite in Am Gigue Menuet Menuet in A major Passacaille Plainte (Sarabande) Prelude in Em Rigaudon Angloise - Lute Sonata No 27 Rondeau Sarabande Suite for Luth No. 5 Suite in D Minor Suite No. 16 Tiroloise Tombeau sur la mort de Mr de Logy arrivee 1721 Tombeau sur la mort de Momsieur Cajetan Baron D'Hartig Sonata No21 No. 01 Entree No. 02 Andante No. 03 Passepied No. 04 Bourrée No. 05 Sarabande No. 06 La Biblieuse en Menuett No. 07 Gigue Sonata No25 No. 01 Entree No. 02 Courante No. 03 Sarabande No. 04 Menuet No. 05 Musette No. 06 Paysane Suonata en fa diese mineur Allemande Bourrée Courante Menuet Prelude Presto Sarabande Suonata en la mineur Allemande Courante Menuet I and II Prelude Presto Sarabande

 

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