{"id":2591,"date":"2014-09-14T10:17:54","date_gmt":"2014-09-14T17:17:54","guid":{"rendered":"http:\/\/alteritas.net\/GXL\/?page_id=2591"},"modified":"2017-09-15T14:38:44","modified_gmt":"2017-09-15T21:38:44","slug":"repertoire-of-sorts","status":"publish","type":"page","link":"https:\/\/alteritas.net\/GXL\/?page_id=2591","title":{"rendered":"A Repertoire, of Sorts"},"content":{"rendered":"
\n
<\/div>\n
Follows an incomplete list of pieces\u00a0I have worked on and at over the last forty years. Some of them are still playable, especially after a few days or weeks of warming up.<\/span><\/em><\/span><\/div>\n
\u00a0<\/span><\/em><\/span><\/div>\n
Allegro<\/em>. M. Guiliani.<\/span><\/div>\n
Arada, Suite castellano<\/em>, Federico Moreno-Torroba.<\/span><\/div>\n
Asturias (Leyenda),<\/em>\u00a0I. Alb\u00e9niz.<\/span><\/div>\n
Campo, Preludios americanos #3<\/em>. Abel Carlevaro.<\/span><\/div>\n
Canco del Lladra, Theme of a Catalan Folk Song<\/em>, Op. 25. John W. Duarte.\u00a0<\/span><\/div>\n
Canta andaluz,<\/em>\u00a0Trans. C. Goly.<\/span><\/div>\n
Caprice arabe<\/em>,\u00a0Francisco Tarrega.<\/span><\/div>\n
Carcelero<\/em>, Trad. Arr. by Juan Martin.<\/span><\/div>\n
Choro<\/em>, Roux.<\/span><\/div>\n
Ch\u00f4ro No. 1<\/em>, Heitor Villa-Lobos.<\/span><\/div>\n
Corrido, Canc\u00ed\u00f3n mexicana<\/em>, Trad. Versi\u00f3n de Ramon Noble.<\/span><\/div>\n
Canci\u00f3n de cuna \/ Ojos brujos<\/em>, Leo Brouwer.<\/span><\/div>\n
El sue\u00f1o de la mu\u00f1equita<\/em>, Augst\u00edn Barrios Mangore\u00a0<\/span><\/div>\n
Encontro marcado<\/em>, Sebasti\u00e3o Tapaj\u00f3s.<\/span><\/div>\n
Estudios 1-3, 5, 6, 17, 20<\/em>, Fernando Sor.<\/span><\/div>\n
\u00c9tudes 1, 8, 11<\/em>, Heitor Villa-Lobos.<\/span><\/div>\n
Etudes simples, 1, 6<\/em>, Leo Brouwer.<\/span><\/div>\n
Evocaci\u00f3n<\/em>, Jos\u00e9 Luis Merlin.<\/span><\/div>\n
Junto a tu coraz\u00f3n (Vals No. 2)<\/em>, Agust\u00edn Barrios Mangore.<\/span><\/div>\n
La Llorona, Canci\u00f3n de Oaxaca<\/em>, Trad. Versi\u00f3n de Ramon Noble.<\/span><\/div>\n
Les barricades myst\u00e9rieuses<\/em>, Fran\u00e7ois Couperin. Arr. Christopher Parkening<\/span><\/div>\n
Nostalgia<\/em>, F. Morreno-Torroba.<\/span><\/div>\n
Primavera-vals<\/em>, Agust\u00edn Barrios Mangore.<\/span><\/div>\n
Pr\u00e9lude et Fugue<\/em>, J. S. Bach.\u00a0<\/span><\/div>\n
Pr\u00e9ludes 1-5<\/em>, Heitor Villa-Lobos.<\/span><\/div>\n
Preludio de Ad\u00edos<\/em>, Alfonso Montes.<\/span><\/div>\n
Preludio Trist\u00f3n, Cinco Preludios<\/em>, M\u00e1ximo Diego Pujol.\u00a0<\/span><\/div>\n
Retrato brasileiro<\/em>, Baden Powell.<\/span><\/div>\n
Romanze f\u00fcr Gitarre<\/em>, Nicol\u00f2 Paganini. Bearbeitet von Karl Scheit.<\/span><\/div>\n
Scherzino mexicano<\/em>, Ponce.<\/span><\/div>\n
Si ela perguntar<\/em>, Dilermando Reis.<\/span><\/div>\n
Sigu\u00ebnza<\/em>, F. Moreno-Torroba.<\/span><\/div>\n
Suite D-Moll, Selections<\/em>, Robert de Vis\u00e9e.<\/span><\/div>\n
Tarantella<\/em>, J.K. Mertz<\/span><\/div>\n
Tema triste<\/em>, Baden Powell.<\/span><\/div>\n
Th\u00e8me vari\u00e9 et Finale<\/em>, Manuel M. Ponce.\u00a0<\/span><\/div>\n
Torija (Elogia),<\/em> F. Moreno-Torroba.<\/span><\/div>\n
Tristeza em mim<\/em>, Mario Tav\u00e1res, Jose Guimar\u00e3ee. Arr. Jack Marshall.<\/span><\/div>\n
Un dia de noviembre<\/em>, Leo Brouwer.<\/span><\/div>\n
Valsa sem nome<\/em>, Baden Powell.<\/span><\/div>\n<\/div>\n
Variations on a Theme by Mozart<\/em>, F. Sor.\u00a0<\/span><\/div>\n
Zorongo<\/em>, Trad. Arr. By Juan Mart\u00edn.<\/span><\/div>\n
<\/div>\n
***<\/div>\n
Over the years, I benefited from tutors (Jon Harris in Berkeley, Carl Lotsberg in Edmonton, Christian Goly in Innsbruck and David Hill in Seville), but I began playing guitar as an autodidact and continue to be one.\u00a0<\/em><\/span><\/div>\n
<\/div>\n
The incessant repetition of passages and the sense of solitude I attain when playing should place me somewhere on the autism spectrum, though I taught myself early on to hide my solipsistic tendencies and be as socially functional as possible.\u00a0That this itemization brings me pleasure no doubt reflects that solipsism.\u00a0<\/em><\/span><\/div>\n

 <\/p>\n

<\/span><\/div>","protected":false},"excerpt":{"rendered":"

Follows an incomplete list of pieces\u00a0I have worked on and at over the last forty years. Some of them are still playable, especially after a few days or weeks of warming up. \u00a0 Allegro. M. Guiliani. Arada, Suite castellano, Federico Moreno-Torroba. Asturias (Leyenda),\u00a0I. Alb\u00e9niz. Campo, Preludios americanos #3. Abel Carlevaro. Canco del Lladra, Theme of … <\/p>\n

Continue reading “A Repertoire, of Sorts”<\/span><\/a><\/p>\n

<\/span><\/div>","protected":false},"author":1,"featured_media":0,"parent":2537,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-2591","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/alteritas.net\/GXL\/index.php?rest_route=\/wp\/v2\/pages\/2591","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/alteritas.net\/GXL\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/alteritas.net\/GXL\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/alteritas.net\/GXL\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/alteritas.net\/GXL\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2591"}],"version-history":[{"count":7,"href":"https:\/\/alteritas.net\/GXL\/index.php?rest_route=\/wp\/v2\/pages\/2591\/revisions"}],"predecessor-version":[{"id":3965,"href":"https:\/\/alteritas.net\/GXL\/index.php?rest_route=\/wp\/v2\/pages\/2591\/revisions\/3965"}],"up":[{"embeddable":true,"href":"https:\/\/alteritas.net\/GXL\/index.php?rest_route=\/wp\/v2\/pages\/2537"}],"wp:attachment":[{"href":"https:\/\/alteritas.net\/GXL\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2591"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}