Angelo Gilardino - Concerto di Oliena; da Studi da Virtuosita e di Trascendenza

Angelo Gilardino

Concerto di Oliena

Cristiano Porqueddu

Sardinia Chamber Orchestra

During his concert career, from 1958 to 1981, he premiered hundreds of new works for the guitar. He taught at the Liceo Musicale G. B. Viotti in Vercelli from 1965 to 1981, and held a professorship at the Antonio Vivaldi Conservatory in Alessandria from 1981 to 2004. The Conservatory awarded him the Marengo Music Prize in 1998.

Gilardino has composed much music for solo guitar, as well as chamber music and concertos. His solo works include five volumes of Studi di virtuosità e di trascendenza (1981-1988), two numbered sonatas (1985, 1986) as well as several titled sonatas and sonatinas, two sets of variations (1989, 1991), and Ikonostas for a guitar tuned in G (2004).

The Studi di virtuosità e di trascendenza represent one of the most significant contributions to the guitar repertoire in the 20th century. The title places the collection in the tradition of the Transcendental Etudes by Franz Liszt. Numbers 1 through 48 have dedications that play an important role in identifying influences and traditions that are important to the composer, and help provide a context in which to interpret the individual etudes. These have been recorded by the guitarist Cristiano Porqueddu for Brilliant Classics.

He has also written four works for guitar with guitar orchestra, seven concertos for guitar, some in combination with other instruments (including mandolin and accordion), and several duets (for guitar with bassoon, cello, violin and vibraphone).

From 1967 to 2006, Gilardino supervised the publication of hundreds of new guitar works by Edizioni Musicali Bèrben. He has also discovered the Variazioni by Ottorino Respighi and several works written for the guitarist Andrés Segovia by Cyril Scott, Pierre de Bréville, Lennox Berkeley and many others. He was artistic director of the Andrés Segovia Foundation of Linares from 1997 to 2005.

In 2009 the Guitar Foundation of America conferred upon him the prestigious Artistic Achievement Award which is reserved for performers, composers, pedagogues, and scholars who have made monumental contributions to the development of the art and life of the classical guitar.

The Concert of Oliena, the third for guitar and orchestra written by the composer from Vercelli and dedicated to Cristiano Porqueddu, unfolds in three movements: Andante lento,Adagio, and Allegro Scherzoso. The orchestra includes woodwinds (the piccolo flutes and the English horn as well), with a single music stand for each instrument, a kettle of tympani and arches without divides, to allow for a chamber execution with only one arch per section. The celesta adds on to the latter, already used by the author in the Liederkonzert for two guitars and orchestra.The organic composition is a forenote and integral component of the aesthetics of the orchestral writing, which prefers the unraveling of concurrent reticulars instead of compactness and rich bands of sound. The eight studies chosen from among the 60 of virtuosity and transcendence seem to constitute preambles that more useful to comprehend the most recent aesthetics of Gilardino represented by the Concert of Oliena. In fact, the most suspended and ghastly musical images, just as much as the dynamic ones which purport the most genuine sensory-motor pleasure, in which energy is equivalent with imagination and pure corporeity, blend well together, distilled from the dismissals that the urgency to invent entails, in the mature work of the composer from Vercelli.