Tōru Takemitsu

Complete works & transcriptions for solo guitar


TAKEMITSU Tōru – (1936-1996) – Japan



Label: Stradivarius

This recording project, conceived as a tribute to the 90th anniversary of the composer’s death, traces the entire corpus of Takemitsu’s production for the six strings. Five original works will therefore be considered: Folios, his first approach to solo guitar, composed in 1974 and pervaded by a modernist atmosphere; All in Twilight from 1987, dedicated to Julian Bream, in which is evident a stylistic change that anticipates the sound climate of the three subsequent works, namely A Piece for GuitarEquinox and In the Woods, written in the short period of time between 1991 and 1995, just one year before the composer’s death. These are pieces united by a unitary and strongly characterized writing style, that of Takemitsu’s mature period, who only a few years earlier had finally arrived at what he himself has repeatedly defined as the “sea of tonality”.

The Twelve Songs fill the second half of the recording: their subtitle – Songs that the Whole World Sings – reveals a lyrical and romantic trait that in reality had always been present in Takemitsu’s poetics. Paired with The Last Waltz, another transcription published later in 1983, these transcriptions  – despite their lightness – make us partakers of a more intimate and less known aspect of the composer, as well as demonstrating his great skills as an arranger: they are – in fact – beautiful reworkings in jazz style that exploit the instrument in a brilliant way and which allow us to go deeper into the way of understanding the six strings by this great personality of the twentieth century.

Manuel María Ponce

6 Preludios Fáciles per Chitarra

New edition based on the autograph manuscript – Preface by Angelo Gilardino

  • Editor: Flavio Nati
  • Publisher: Ut Orpheus

This edition is intended as a tribute to Manuel María Ponce for the 70th year of his death and is aimed at correcting, through comparison with autographs, the numerous alterations of the text that appear in the first (and only) Peer edition of the 1953. Given the didactic intent of the collection, particular importance was given to the choice of the fingering. However, it is intended in a coloristic and therefore often non-trivial sense, with various passages or single notes in high positions for expressive purposes, and is aimed at enhancing these Preludes, characterized by a simple, clear and yet full of subtle nuances. Obviously, they are intended as a suggestion and can be adapted to the most diverse technical and didactic needs. In this edition, it was preferred to use the original title of 6 Preludios Fáciles in place of that of the 1953 publication, 6 Preludios Cortos.