Daniel Lippel: Resonance

About

Resonance is an exploration of several contemporary works for classical guitar that grapple with the instrument's greatest weakness, its small voice and quick decay, which is the flip side of its greatest strength, its intimacy. Solo works by Carter, Adashi, Vigeland, and Suh are placed next to electro-acoustic pieces by Davidovsky and Gilbert that use the electronic element to extend the guitar's acoustic and expressive range.

Audio

# Audio Title/Composer(s) Time
Total Time 56:16
01Synchronisms #10 For Guitar And Electronic Sounds
Synchronisms #10 For Guitar And Electronic Sounds
9:42

La Folia Variants

Nils Vigeland (b. 1950)
02I. Cadenza
I. Cadenza
2:36
03II. Sonata
II. Sonata
5:36
04III. Dances
III. Dances
7:28
05Shard
Shard
2:52
06Garak
Garak
6:18

Meditation

Judah E. Adashi (b. 1975)
07I. Requiem: For Fallen Angels
I. Requiem: For Fallen Angels
4:30
08II. Paris: Wanderjahr Revisited
II. Paris: Wanderjahr Revisited
3:21
09The Stranger: Cosmic Loneliness
The Stranger: Cosmic Loneliness
2:38
10Ricochet
Ricochet
10:50

Resonance is an exploration of several contemporary works for classical guitar that grapple with the instrument's greatest weakness, its small voice and quick decay, which is the flip side of its greatest strength, its intimacy. The recording was made with very close micing in a fairly dry room to give the sense that the listener was almost inside the instrument and could revel in the strange and mysterious resonances of these sometimes very unidiomatic works. Solo works by Carter, Adashi, Vigeland, and Suh are placed next to electro-acoustic pieces by Davidovsky and Gilbert that use the electronic element to extend the guitar's acoustic and expressive range.

Recorded 1/2004 and 7/2004, Cambridge, Massachusetts
Recording engineer: Peter Gilbert  
Producers: Daniel Lippel and Peter Gilbert
Editing Engineer/Post-Production: Ryan Streber 
CD layout design: Joshua Gordon
Liner notes: Daniel Lippel

Daniel Lippel

Guitarist Dan Lippel, called a "modern guitar polymath (Guitar Review)" and an "exciting soloist" (NY Times) is active as a soloist, chamber musician, and recording artist. He has been the guitarist for the International Contemporary Ensemble (ICE) since 2005 and new music quartet Flexible Music since 2003. Recent performance highlights include recitals at Sinus Ton Festival (Germany), University of Texas at San Antonio, MOCA Cleveland, Center for New Music in San Francisco, and chamber performances at the Macau Music Festival (China), Sibelius Academy (Finland), Cologne's Acht Brücken Festival (Germany), and the Mostly Mozart Festival at Lincoln Center. He has appeared as a guest with the St. Paul Chamber Orchestra and New York New Music Ensemble, among others, and recorded for Kairos, Bridge, Albany, Starkland, Centaur, and Fat Cat.

http://www.danlippel.com

Reviews

American Record Guide

"Daniel Lippel is a New York-based guitarist and chamber musician and a doctoral student at MSM, where he studies with David Starobin. He is a fine player, with good musical instincts and a sound technique. He shines brightly in the new works on the "Resonance" release, including Mario Davidovsky's little-heard Synchronisms #10 for guitar and tape, a riveting piece. Besides the Carter, the rest of the works here are by lesser-known composers. Peter Gilbert's Ricochet for guitar and electronics is particularly appealing on a first hearing, with infectious rhythms and delightful coordination between guitar solo and electronics." - Steven Rings, July/Aug 2006

Sequenza 21

“Well this is a treat. Guitarist Daniel Lippel has put together a wonderful CD featuring works by Mario Davidovsky, Nils Vigeland, Elliott Carter, Soonjung Suh, Judah E. Adashi, and Peter Gilbert. Whether he's rippling through Carter or chilling out with Vigeland, Lippel's playing is consistently convincing and leaves little to be desired. He's as technically sound as anyone could possibly want, and his musicality makes everything sound as natural as improvisation. "Resonance" may be a little difficult to find, but it's definitely worth the search." - David Salvage, February 2005

Neuguitars

Resonance. Such a beautiful word. In physics, resonance is a phenomenon in which a vibrating system or external force drives another system to oscillate with greater amplitude at specific frequencies. Frequencies at which the response amplitude is a relative maximum are known as the system's resonant frequencies or resonance frequencies. At resonant frequencies, small periodic driving forces have the ability to produce large amplitude oscillations, due to the storage of vibrational energy.

Acoustic resonance is a phenomenon where acoustic systems amplify sound waves whose frequency matches one of its own natural frequencies of vibration. Acoustic resonance is an important consideration for instrument builders, as most acoustic instruments use resonators, such as the strings and body of a violin, the length of tube in a flute, and the shape of, and tension on, a drum membrane.

What kind of resoance we have in this record? Music resonance! The resonance between an interpreter, a composer, an instrument and an audience. The resonance between the contemporaneity and the emotions that flow from a music, from the fingers of his interpreter playing in solo, in great intimacy but with great strenght too. The resonance between the solo works by Carter, Adashi, Vigeland, and Suh that are placed next to electro-acoustic pieces by Davidovsky and Gilbert , with the use the electronic element to extend the guitar's acoustic and expressive range.

“Resonance is an exploration of several contemporary works for classical guitar that grapple with the instrument's greatest weakness, its small voice and quick decay, which is the flip side of its greatest strength, its intimacy.”

Resonance is a great record.

-- Andrea Aguzzi, Neuguitars, 10.18

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