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RAFAEL ANDIA, Guitare
   
 
SAUGUET Henri
Musiques pour Claudel
for solo guitar
Premiere

Rafael Andia, in "Conversations dans le Loir-et-Cher" de Paul Claudel, Théatre Thorigny, Paris,1973
Missionned by the Théatre Thorigny

 
   
 
 
  Editions : Transatlantiques
 
 


 

 

RAFAEL ANDIA, Guitare
   
 
LE BORDAYS Christiane
Concierto de Azul
for guitar and orchestra
Premiere
Rafael Andia Nice-Côte d'Azur Orchestra, dir. Pol Mule, Radio-France, 1976
 
   
 
 
  Editions : Billaudot
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RAFAEL ANDIA, Guitare
   
 
BALLIF Claude
Solfeggietto n°6 op 36
for solo guitar
Premiere
Rafael Andia, salle Cortot, Paris,1977
 
   
 
 
  Editions : Transatlantiques

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Article by Alain Poirier, Les Cahiers du CIREM, n° 20-21

 

 
RAFAEL ANDIA, Guitare
   
 
MURAIL Tristan
Tellur
for solo guitar
Premiere
Rafael Andia, salle Cortot, Paris,1977
 
   
 
 
  Editions : Transatlantiques
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Reviews :

Tristan Murail's Tellur (1978) contains some of the most elaborate and extended uses of rasgueado techniques of any contemporary piece (see Ex. 8.9). The composer has written that the instrument should sound more like a flamenco guitar than a classical one. Another substantial addition to the modern repertoire, which the advanced player should become familiar with, is Michael Tippett's The Blue Guitar (1984), an impressionistic work full of subtle images and an echo-like resonance, for this is music about a poem about a painting. Reading the poem, The Man with the Blue Guitar by Wallace Stevens,
Michael Stimpson, The Guitar, a guide for students and teachers, 1988,Oxford University Press

Il brano chitarristico più straordinariamente efficace della nuova musica francese è senza dubbio Tellur (1977) di Tristan Murail (1947). Costruito sull'alternanza conflittuale tra opposte tendenze timbricodinamiche, Tellur si modella sul progetto di un suono "raclé", duro e scavato nel "forte", che deriva dal gioco dei chitarristi di "flamenco" più che da quello levigato dei chitarristi "classici"; la forma della composizione è quella di un continuo articolato, nel quale il compositore introduce, in corrispondenza ai cambi di tensione dinamica (contrassegnati dalle lettere dell'alfabeto), sempre nuovi modelli di suono, derivanti da tecniche originali, con effetti timbrici altrettanto originali; i passaggi modulari non danno tuttavia luogo ad una strutturazione episodica, ma a mutazioni d'ambiente sonoro e a cambi di "direzione", che il compositore suggerisce con le metafore della "salita" e della "discesa". Tellur ha indubbiamente le carte in regola per rappresentare con forza emblematica la nuova musica francese (e segnatamente il gruppo Itinéraire, di cui Murail è stato cofondatore) in campo chitarristico.
Angelo Gilardino, Manuale di Storia della Chitarra (ad uso dei conservatori e delle scuole di musica), 1988, Berben

 

 


 

 

fiche création tellur
   
 
WERNER Jean Jacques
Duo Concertant
for harp and guitar
Création
Francis Pierre, harp, and Rafael Andia, guitar, Radio-France, 1977
 
   
 
 
  Editions : Radio-France
 


 

 

RAFAEL ANDIA, Guitare
   
 
BALLIF Claude
Poème de la félicité

for ensemble and guitar

on a poem by Thomas Traherne

Premiere : Claude Giroux, soprano léger, Liliane Poli, soprano, Nicole Oxombre, contralto, Vincent Bauer and Nicolas Piguet, percussions, Rafael Andia, guitar. Director Yves Prin, Radio-France, Paris, 1977

 
   
 
 
  Editions : Transatlantiques
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Article by Michèle Reverdy, Les Cahiers du CIREM, n° 20-21


 

 

RAFAEL ANDIA, Guitare
   
 
RICHER Jeannine
En ce temps-là
for 12 guitars
Premiere
Rafael Andia, conductor,
salle Cortot, Paris, 1990
 
   
 
 
  Editions : Transatlantiques
 


 

 

RAFAEL ANDIA, Guitare
 
 
 
JOLIVET André
Le Tombeau
de Robert de Visée

Suite for solo guitar

Premiere :
Rafael Andia, Radio-France, Paris, 1981
   
 
 
  Editions : Transatlantiques
 
  Audios (extracts) :
1 - Prélude
2 - Courante
3 - Double de la Courante
4 - Sarabande
5 - Passacaille
   
 


 

 

RAFAEL ANDIA, Guitare
   
 
FINZI Graciane
Interactions
for celtic harp and guitar
Premiere
Denise Mégevand, celtic harp and Rafael Andia, guitar, Radio-France, Paris, 1982
 
   
 
 
  Editions : Durand
 


 

 

RAFAEL ANDIA, Guitare
   
 
FOUILLAUD Patrice
Pierre, Vent, Sable
for celtic harp and guitar
Premiere
Denise Mégevand, harp and Rafael Andia, guitar, Radio-France, Paris, 1982
 
   
 
 
  Editions : unpublished
 


 

 

RAFAEL ANDIA, Guitare
   
 
RICHER Jeannine
Piège VI
for solo guitar
Premiere
Rafael Andia, festival Musiques d'aujourd'hui Nice-Côte d'Azur, France, 1983
 
   
 
 
  Editions : Transatlantiques

Reviews :

Jeannine Richer's Piége 6 for solo guitar will interest guitarists who collect or perform contemporary graphic music. The piece utilizes a variety of notations and new structural concepts. Most of Richer's symbols are derived from the new notations innovated during the late 1950's by such masters as Luciano Berio, Hans Werner Henze, and Krzysztof Penderecki.
Richer's notation manifests some intriguing "actions" to be realized by the performer. Actions which require a type of notation that graphically represents the composer's intentions. For example, the way in which approximate pitch and dynamics are notated:

or the notation for a percussive effect with the fingernails:

In most cases the five line staff is discarded and replaced with staff lines which are only relevant to the pitches being used:

a type of notation that is visually adjuvant for music of this genre.
The structural primacy of the composition involves contrasting timbral fabrics which are stratified with stochastical elements "time". Each timbral "module" is inventive and colorful in a newly conceived way; accomplished by a capricious choice of sonic apparatus. For instance; the use of 1/3-1/4-2/3 tones, indeterminant pitches, an array of contrasting dynamic levels, special percussive effects, "cross-string" ton cluster arpeggios (as in Leo Brouwer's La Espiral Eterna), and an interesting usage of the more traditional effects: glissandi, harmonics, staccato, and tambora.
Guitarists who are well acquainted with "nex music" will easily detect that Piége 6 is a skilfully composed work. The compositional technique is incongruent when compared to the multitude of dull and insipid contemporary guitar publications. Although Piége 6 may never be considered a "documented" work, it should be regarded as a first rate composition in the "new" styje.


David F. Marriott
University of California
San Diego

 


 

 

fiche création tellur
   
 
MACHOVER Tod
Déplacements
magnetic tape and guitar
Premiere (for Europe)
Rafael Andia, Festival Jeune Musique, Varsovie, 1984
 
   
 
 
  Editions : Transatlantiques
 


 

 

RAFAEL ANDIA, Guitare
   
 
LEJET Edith
Balance
for solo guitar
Premiere
Rafael Andia, Saint Germain en Laye, France
 
   
 
 
  Editions : Transatlantiques
 

 


 

 

fiche création tellur
   
 
DUCOL Bruno
Des Sènes d'enfants
for guitar and 1, 2, or 3 flutes
Premiere
Renaud François, flute and Rafael Andia, guitar, Radio-France, Paris, 1984
 
   
 
 
  Editions : Transatlantiques
 


 

 

RAFAEL ANDIA, Guitare
   
 
IBARRONDO Felix
Amairuk
for guitar and 12 strings
Premiere (in France) :
Rafael Andia and theNouvel Orchestre Philharmonique director Ronald Zollmann, Radio-France, Paris,1985
 
   
 
 
  Editions : Transatlantiques
 

 


 

 

RAFAEL ANDIA, Guitare
   
 
FINZI Graciane
Non se muove una foglia
for solo guitar
Premiere
Rafael Andia, Paris
 
   
 
 
  Editions : Durand
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RAFAEL ANDIA, Guitare
   
 
FOUILLAUD Patrice
Douze Préludes
for solo guitar
Premiere
Rafael Andia, SPAG : Semaine de Paris Autour de la Guitare, Paris, 1986
 
   
 
 
  Editions : Durand
 
 


 

 

RAFAEL ANDIA, Guitare
   
 
REVERDY Michèle
Triade
for solo guitar
Premiere

Rafael Andia, Festival of Varsovia, Poland, 1986

Missionned by the CDMC

 
   
 
 
  Editions : Transatlantiques
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RAFAEL ANDIA, Guitare
   
 
MANOURY Philippe
Musique I
for ensemble and guitar

for two percussions, mandolin, two harps and guitar

Premiere : director Guy Reibel, Radio-France,1986 Missioned by Radio-France Duration : 17 min.

 
   
 
 
  Editions : Amphion
 
 


 

 

RAFAEL ANDIA, Guitare
   
MARGONI Alain
Prélude, Sarabande et
Variations
for three guitars
Premiere
Geneviève Chanut, Catherine Fayance et Rafael Andia, guitars, salle Rossini, Paris, 1997
 
   
 
 
  Editions : Transatlantiques
 
 


 

 

RAFAEL ANDIA, Guitare
   
 
TAÏRA Yoshihisa
Monodrame III
for solo guitar
Premiere

Rafael Andia, Maison de la Culture of La Rochelle, France,1988,

Missioned by the Government

 
   
 
 
  Editions : Transatlantiques
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RAFAEL ANDIA, Guitare
   
 
TAÏRA Yoshihisa
Pénombres I et II
for solo guitar and strings
original for 2 guitars and strings
Premiere ( version for solo guitar and strings) :

Rafael Andia, and the Ensemble Ars Nova, dir. Philippe Nahon, Maison de la Culture of La Rochelle, France,1988

Missionned by the Government

 
   
 
 
  Editions : Transatlantiques
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RAFAEL ANDIA, Guitare
   
 
NARVAEZ José Luis
Visón clásica del flamenco
for solo guitar
premiere
Rafael Andia, salle Cortot, Paris, 1990
 
   
 
 
  Editions : Transatlantiques
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La Visión clásica del Flamenco uses all classical science (shape, modulations, counterpoint, irregular rhythms ...) that does not exist in the popular "model". The use of patterns and tones "forbidden" usually on guitar contributes to the constant change of lanscape and sound, voluntary out of the flamenco. On the contrary, instrumental technique derives substantially from flamenco technique. There are also a few direct quotes from the Andalusian dialect: they consist in some formulas that spring almost "spontaneously" For example some measures of Siguiriya Gitana and also the recurrence of chimes that may symbolize the flamenco "sound". Clearer is the influence of Stravinsky and Bartok. The piece consists of an Introduction. a dance, related to the Zambra and a Copla, intimately and musically connected by a common melodic cell.
R.A.

 

 

 


 

 

RAFAEL ANDIA, Guitare
   
 
NARVAEZ José Luis
Rumba
for solo guitar
Premiere
Rafael Andia,1996
 
   
 
 
  Editions : Transatlantiques
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RAFAEL ANDIA, Guitare
   
 
SÉDÈS Anne
Pièce n°1
for solo guitar
Premiere under the first title "Entre Espoir et Terreur"
Rafael Andia, salle Cortot, Paris, 1996
 
   
 
 
  Editions : Transatlantiques
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RAFAEL ANDIA, Guitare
   
 
NARVAEZ José Luis
Cerro de la Luna
for solo guitar
Premiere
Rafael Andia, Conservatoire of Lens, France, 1997
 
   
 
 
  Editions : Transatlantiques
 


 

 

RAFAEL ANDIA, Guitare
   
 
RUDI Rafet
Sonata
for solo guitar
Premiere
Rafael Andia, Festival of contemporary music ,Pristina, Kosovo, 2003
 
   
 
 
  Editions :
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fiche création tellur
   
 
NARVAEZ José Luis
¡Claro que sí!
for solo guitar
Premiere
Rafael Andia, Galerie Pôle Art, Gap, France, 2011
 
   
 
 
  Editions : D'Oz
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