Review of Joseph Perez Mirandilla, ZAY Records, 2013
“Waves grow, burst and change shape”
I met the music and Joseph Perez Mirandilla’s guitar a bit by chance, a bit because, perhaps, it had to be. I was looking for a guitar versions of In C, the Terry Riley’s classic when I came across in his video, posted on youtube. Mirandilla performed an excellent solo electric guitar version. A truly remarkable interpretation, technicaly and emotionaly … an almost friendly for the mind and for the spirit.
I followed the link to his website and I found this Filipino guitarist gifted by a crystalline class and an excellent curriculum: graduated in the University of Santo Tomas Conservatory of Music under the guidance of Ruben F. Reyes, in 2005 he traveled to Japan continuing his studies and focusing on contemporary music with one of the best guitarists in the world, the Mastro Norio Sato. He currently teaches at the Sichuan Conservatory of Music in China
I order his first cd directly to the German record company ZAY Record: the repertoire presented in this record was too interesting to resist: music by Takemitsu, Sciarrino, Matsudaira, Castilla-Avila and Baes.
As I write these notes the disc keeps spinning in my player, it continues to attract me, thanks to it I was able to know the Spanish composer Agustin Castilla-Avila that reinterprets, for microtonal guitar, a classic Japanese popular music, the “Sakura” made famous for guitar by John Williams. In Mirandilla strings this passage … explodes, free from the limitations imposed by the theme, so beautiful yet so difficult to reinterpret and expand, taking on new colors and a new dimension. Colors and sizes that we find in Castilla-Avila’s Tres Momentos Microtonales where we can hear the echoes of the music of the South of Spain and the Arabic music. A music that blends surprisingly with Folios by Takemitsu, with its colors, with its chromaticism, with its time dilated and that goes well with Undulations by the Japanese composer Yori-aki Matsudaira. Undulations like waves, like rain echoes, as a sound sketches, as a continuous process of generation and regeneration within six other processes which in turn will hide many more. Organic music.
A sound that dissolves itself instead, which is impoverished by itself, in Gita’a by the Philippine composer Jonas Baes, altered sounds of a “forgotten” guitar, broken plastic, bottles that clash, while the strings of the instrument generate sounds cluster. ..
And then, finally, finally a recording, the first one I met in these years passed as a contemporary guitar’s bloggers, Addio a Trachis II by the Italian composer Salvatore Sciarrino, originally composed for harp and electronics, and here transcribed for guitar by Maurizio Pisati . Yet the sound, the sound as landscape, as a structure, as a texture, like desire, like beauty, like the silence of which sound itself is soaked.
A truly remarkable record. Highly recommended, the cd was produced in 2013, it’s good to rediscover it.
1 Sakura (Castilla-Àvilla)
Folios ( Takemitsu)
2 folios I
3 folios II
4 folios III
5 Undulations (Matsudaira)
Tres Momentos Microtonales (Castilla-Ávila)
6 momentos I
7 momentos II
8 momentos III
9 L’Addlo a Trachis II (Sciarrino/Pisati)
10 Gita’a (Baes)