#Review of Decostructing Dowland, by Lorenzo Ricchelli and Gabriele Zanetti, Da Vinci Classics, 2018 on #neuguitars #blog

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Review of Decostructing Dowland, by Lorenzo Ricchelli and Gabriele Zanetti, Da Vinci Classics, 2018

https://davinci-edition.com/product/c00119/

https://open.spotify.com/album/4HmDn2s4JiwgZnpkGfz6wY

1 Can She Excuse My Wrongs? (John Dowland) 1:16

2 Deconstructing Dowland (Natasha Barrett) 9:22

3 Sequenza VIIb (Luciano Berio) 6:59

4 Spiral (Karlheinz Stockhausen) 4:52

5 Crossing (Nicky Hind) 8:48

6 The Garden of Love (Jacob Ter Veldhuis) 7:18

7 Pyii (Ulrich Krieger) 6:11

8 The Possibility of A New York (Morton Felman) 4:11

9 Rock Me! (Barry Cockcroft) 5:44

10 Soledad (Patrick Roux) 6:21

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Lorenzo Ricchielli (saxophone) and Gabriele Zanetti (electric and classical guitar) record one of the best contemporary guitar records of this 2018, one of the best for the quality of the interpretations, for the richness of the presented repertoire, for the combination of the pieces and for the choice of the duo, a combination, sax and guitar, rarely used in the world of contemporary academic. Look at the ten tracks that make up the repertoire here performed. After the classic Dowland start we find a time leap, the quantum leap towards his deconstruction made by Natasha Barrett, a journey that continues towards the postmodernism of Berio with his Sequence VIIb, towards the Stockahausen’s cosmic utopias, the apparent colorful simplicity created by Nicky Hind, the Garden of Love by Jocob Ter Veldhuis, the aggressive PYII by Ulrich Krieger, the pleasure of listening to New York by Morton Feldman, the groove and the rhythm of Rock Me! by Barry Cockcroft, the sweet sadness of Soledad by Patrick Roux. Deconstruction. The new step of contemporaneity. A step still dictated by the architecture, the decomposition-combination initiated by Gentry in the 80s and turned into a new music aestethic. A way to react to post-modernism, to the dissolution of schemes, to the dispersion-decomposition of styles, the desire to react to chaos, the need for a new aggregation in an era that has long claimed the right-duty to use all styles, present and past. Dowland’s deconstruction, a way to go beyond neoclassicism, perhaps. An interesting album for ideas, combinations and courage. Congratulations to the two performers, I am immensely pleased to see that there are those who dare, those who have the courage to promote something new, vibrant, alive and contemporary.

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