EPs - Maxi Singles - Compilations
Thou single wilt prove none …
Mai's music comments on a text fragment from Shakespeare's 8th sonnet. The author asks why there is obvious sadness when listening to music. Music itself is unity and harmony, similar to that in a happy family, between father, child and mother. Shakespeare compares loving people to the different strings in music that mirror each other, and the sad loner is admonished that he made himself worthless by devoting himself to a lonely life, a nullity, a nothing.
Mai Fukasawa wrote about her composition:
“The edge of the darkness is the place
where I can strain to hear
and dictate the sound.
The endless boundary between the darkness and the light
let me know the beauty of the darkness
which makes the light.
The slight light which escapes from the edge is
what my composition wants to be.”
(Text by William Shakespeare; Sonnet VIII)
And Mai continues to write:
“The label can let the people imagine about the profound beauty of music and the world!
I'm proud to be part of this album.“
Gagliarda and Canzon del Principe
The adaptations of the two instrumental works Gesualdos, in a version for renaissance lute, were created in 2014 on the occasion of the concerts of the 9th international festival forum of contemporary music – oberstdorf. It is by no means a work in the field of musicology, but two attempts to approach the instrumental estate of Gesualdo on the lute. This adventure seems legitimate because Gesualdo has been proven to be an accomplished lutenist, and therefore may be presumed to have first developed the concepts of his vocal works on the lute - and of course the idea to transcribe Gesualdo's oeuvre for the lute was not that new. Girolamo Kapsberger has intavolated a madrigal from the I° libro di Gesualdo (1594) for Tiorba.
However, the two instrumental compositions Gagliarda del Principe and Canzon francese del Principe have not been transferred and recorded yet. While Gesualdo's authorship seems assured for the Gagliarda, his authorship in the Canzon is not undisputed, and a transfer to the lute also required some unconventional technique.
In the Gagliarda, completely new paths were taken in the repetitions and his own figurations were inserted, which mimic Gesualdo's penchant for chromatic twists.
A realization of the two instrumental works on the lute must consistently contrast with the tonal language of the numerous, virtuoso harpsichord recordings - the lute calls for a completely different approach, especially in the Canzon. All tempi were chosen to be much slower (both in the ornamentation and in the polyphonic parts), so that the instrument could unfold its very own sound aesthetics and sound world. Thus, a completely different psychogram of Carlo Gesualdo arose in a wonderful way - it is not the sketch of one as crazy, psychopathic, called as failed in life, but the music of a genius who draws his injured soul with delicate fingers on a fragile instrument ...
Ferma Dorinda mia; Piangono al pianger mio
Both works by Sigismondo d'India (1582-1629) were taken from: Volume I - Musiche Rinascimentali Siciliane of the Istituto di Storia della Musica dell'Università di Palermo (Ed. Prof. Paolo Carapezza) and were arranged for countertenor and 9-course French lute. Just like Gesualdo's music, the work of Sigismondo d’India is right on the threshold from the Renaissance to the Baroque.
Little is known about the life of India.
He was named "Nobile Palermitano" and should therefore come from the capital of Sicily. His compositional technique is characterized by a rich use of unusual, harmonically unrelated interval material, which in this way comments directly on the literal meaning of the lyric used, and often contrary to harmonic customs. So from this point of view there is a direct connection between the working methods of Carlo Gesualdo and Sigismondo d’India.
Whether Sigismondo d’India was professionally trained or self-taught cannot be definitively answered. In any case, it can be deduced from his work, that he must have had a high level of knowledge of polyphonic music and artful, mannerist solo singing.
Ferma, Dorinda mia is a madrigal (in the stile recitativo) and Piangono al pianger mio (on a text by Ottavio Rinuccini) is a work on a Basso della Romanesca. The otherwise usual, obbligato viola da gamba part was transferred to the lute in both cases - this additional reduction of the accompagnato increases the mannerist solo singing to the utmost and thus (in addition to the geographical) also illustrates a musical antithesis to John Dowland's Come Again out from his First Book of Ayres (1597). With Dowland, the accompaniment of his frequent verse songs is consistently homophonic and commentaries on lyrical content mainly take place with the help of various ornamentation techniques - a completely different approach!
Sigismondi d’India worked in northern Italy (Mantua, Florence, Rome) in the first decade of the 17th century - at least 10 years after Dowland visited Italy ... how it would have been, if the two composers meet?
La divina commedia comes from the Gerung-Guccione collection diario siciliano vol. 2 ° and is a commissioned work by the Italian-American composer Maria Antonietta Guccione for the international festival forum of contemporary music – oberstdorf.
Time and again, contemporary composers face the challenge of incorporating the lute into their works. Very often this fails because of the low dynamic bandwidth and the poorly modulatable tone of the magical instrument. Maria Guccione banned all experimental approaches from her score, created a work on one of the greatest texts in world literature with the simplest of means ... completely in confidence and in the knowledge that the combination of lute and human voice worked for centuries, and that this functionality too will be preserved in the tonal language of the twentieth century too; if the lute is not forced to perform a service that it cannot perform.
Dynamics are almost completely absent in the lute part, and only sparse instructions on color and articulation are given in the vocal part. Maria Guccione gives the interpreters far-reaching responsibility in the interpretation of their works, knowing that they will be able to understand what she wants to convey.
The 9-part cycle with 5 fragments for countertenor and lute (as well as prologue, two interludes and epilogue) is one of the most beautiful works for this ancient line-up that has been written in the recent past. Guccione's music speaks in traditional words and yet always remains connected to the present.
Just like all other works, the composition Die Dunkelheit-der zarte Regen (based on a text by the Syrian poet Fouad El-Auwad) was created for the international festival forum of contemporary music – oberstdorf. In the end, an intensive examination of lute music always leads to the Orient. Fouad's touching text about the blurring time and the fear and horror of war was incorporated into the oriental maqâmât Saba, Bayyati, Awj and Awshâr - all ancient melodic scales that have always been used to describe suffering and sadness.
Even more than the European lute, the oud corresponds completely to the color and range of the human voice. According to an old story, the oud was originally invented by the biblical Lamech after the death of his son to sing lamentations. And the song about the gentle rain breaking in the glass is a great lament of the present about the lack of understanding of man.
Born in Tokyo, Japan, Mai Fukasawa earned a Bachelor of Music in Composition and completed a graduate course at Toho Gakuen School of Music in Tokyo, after which she earned a distinction in Master of Music in Composition from Guildhall School of Music & Drama in London. Whilst in the UK, she was invited to the City of London Festival, and to the collaboration project with London Contemporary Dance School. She has been short listed as a composer of Society of Promoting New Music and her piece was broadcast on BBC Radio. She has also participated in theater performance “Kamiyacho Sakura Hotel”, a play by Hisashi Inoue as an actor and pianist at the New National Theater, Tokyo, and undertook a performance tour within Japan. Her other performances include those on Music TV programs of Charles Dutois on NHK TV, Rotary Club Millennium Concert, and the concert at Yokohama Triennale.
Mai was awarded the Accomplished Musician Prize in IBLA Composition Grand Prize in Italy. She also won the golden prize in the Glanzen Piano Competition and a prize in the 12th Tokyo International Competition for Chamber Music Composition in Japan. She took master classes and attended seminars on contemporary music with Franco Donatoni, Sylvano Bussotti, Giacomo Manzoni, and Wolfgang Rihm. She is currently a pre-college course lecturer at Toho Gakuen School of Music. Presently, Mai has been honored with a scholarship from Berklee College of Music and continuing to explore her studies at the film scoring department in Boston.
Maria Guccione (1918-2009) had several passions in her life. This included music, career, family, and living in a bustling city, with Manhattan being her favorite and not always in that order.
She studied classical piano since childhood, often practicing eight hours a day in the hope of one day reaching a professional level. Unfortunately, marriage, family, and two professional careers have intervened, and she has never been able to maintain the rigorous practice and education of her youth. She always emphasized that the piano was her great companion and that she couldn't live a life without working long hours on it every day; only then do they feel capable of everyday social life.
In a conversation with the composer Hans-Jürgen Gerung, her two children, Adrian and Diana Brancato, report on their childhood years in the USA: “Since we were children in Scarsdale, New York, we can always remember that we had one baby grand piano in the house, which the mother always played gently and melodically. In her later years she began composing her own music. Their subjects often grew out of sacred or classic, literary texts. The literature of Ludovico Ariosto, Torquato Tasso, William Shakespeare and Dante Alighieri accompanied her whole life."
Maria Guccione spent the last few years with her family in Palermo, Sicily
Born: July 18, 1918 in Termini Imerese - Sicily (PA) - Italy
Died: October 16, 2009, ibid.
1951-1960: P.M.A. Dolls, Inc. (Plastic Molded Arts) Long Island City, N.Y.
1953: Chic School of Fashion Design NYC
1956: Small Plant Management - New York University
1965: Berkeley School of Business / Secretarial (White Plains, N.Y.):
Graduated Executive Secretary
1965-1966: Dominique France, Inc .:
Assistant to Sales Manager-presentation of new designs
1966-1980: CBS (Columbia Broadcasting System, Inc. New York, N.Y. - Purchasing Supervisor for Holt, Rinehart & Winston Inc. -)
The German-speaking poet Fouad EL-Auwad from Syria was born in Damascus in 1965. In Aachen he studied and obtained his doctorate in architecture. He currently lives in Bonn as a freelance writer, journalist and translator.In addition to his own works (poetry, short stories and children's stories), he has translated and edited several poetry anthologies and various books of different genres have been translated into German and Arabic. He works for various German newspapers and broadcasters. The famous Syrian-Lebanese poet Fuad Rifka wrote:
“In Fouad EL-Auwad's poems, the universal themes with which these poems transcend the current situation and existential questions that concern all of humanity on this earth are commendable.
In 1987 he founded the group "kahn yama Kahn, es war ein mal", which performed both Arabic music and oriental stories.
In 1994 he founded the group “Al Maya”, in which western and oriental instruments met and played mainly experimental and oriental jazz music.
In 2005 he founded the “German-Arabic lyrical salon”, which he still directs today and in which he would like to enable cultures to meet on a poetic level.
The “German-Arabic Lyrik Salon” has been able to look back on an impressive number of impressive poetic soirées in various cities since 2005. In Munich, Damascus, Bonn, Cologne and Aachen, high-ranking poets from different cultures (from Germany, France, Austria, England, Macedonia, Romania, Serbia, Italy, Syria, Egypt, Lebanon, Iraq, Iran, Bahrain, United Arab Emirates, Kuwait, Tunisia, Morocco etc.) their poetry in German, Arabic and in their mother tongues.
The illustrious crowd of guests at his previous festivals included Reiner Kunze, the Syrian poet Adonis, the Lebanese poet Fuad Rifka, Raoul Schrott, Mohammed Bennis, Jean-Babtiste Para, Ulrike Draesner, Michael Augustin, Suleman Taufiq, Ludwig Steinherr, Christoph Leisten, Richard Dove, Franco Biondi, Evelyn Schlag and many others.
Daniel Gloger (* 1976) completed his vocal studies at the Musikhochschule Karlsruhe (Prof. Donald Litaker) with the concert exam in 2005 and was invited to the Akademie Schloss Solitude as a scholarship holder from 2009-2011. As a specialist in early and contemporary music, engagements have taken him to the Stuttgart Festival for New Music, Eclat (1998, 2002) and the Schwetzingen Festival ('01, '03, '04, '07), as well as to the Expo 2000, the Brucknerfest Linz , the Arts and Ideas Festival in New Haven (Conn.), the Theater Graz and the Opéra de Paris. In 2005 he played the title role in Adriana Hölszky's new work The Good God of Manhattan at the Semperoper Dresden and took on the role of Vagaus in Judith after A, Vivaldi and F. Hebbel at the Salzburg Festival in 2009. In the 2009/10 season he also played the title role in the world premiere of Montezuma - Fallender Adler by Bernhard Lang at the Nationaltheater Mannheim and took part in Pnima by Chaya Czernowin at the Staatstheater Stuttgart.
In 2011 he presented himself with works composed especially for him by the music theater by Lucia Ronchetti, Georg Friedrich Haas, Manuel Hidalgo and Mischa Kaeser at important festivals throughout Europe and in Buenos Aires. At the 2012 Music Theater Biennale in Munich, he played the role of grandmother in Eunyoung Kim's world premiere of Mama dolorosa. In 2013 he developed the scenic solo project NACKT with world premieres by (among others) Cathy Milliken, Alvaro Carlevaro and Bernhard Lang and sang in new works by Aureliano Cattaneo, Georg Friedrich Haas and Jörg Widmann in Schwetzingen, Stuttgart, Salzburg, Vienna and Geneva. In the current year he is a guest at the Berlin State Opera in Lucia Ronchetti's Lezioni di Tenebra and at the Wiener Festwochen in Bluthaus by Georg F. Haas. CD recordings with the pianist Peter von Wienhardt, the Saarbrücken Chamber Choir, the Ensemble 2e2m Paris and the composers and performers from stock11.de as well as numerous radio and CD recordings with the Neue Vocalsolisten Stuttgart document his diverse repertoire.
Tombeau für Manfred Ambrosch
Hans-Jürgen Gerung schrieb vier Gitarrenwerke zum Tode, bzw. für die Beerdigungs-feierlichkeiten, einzelner Persönlichkeiten.
Neben dem Tombeau für den Kemptener Maler und Grafiker Heinz Schubert (†2001) entstand 2004 das Werk „Fünf Fragmente für Boccagni“ zum ersten Jahresgedenken an Gerungs 2003 verstorbenen italienischen Kunst- und Musikmäzen Fabio Boccaggni (Meran).
2018, im Dezember, schied mit dem Journalisten und Kunstsammler Arthur Lamka ein enger Freund und langjährigen Weggefährte von Heinz Schubert aus dem Leben und im Jahr 2020 verstarb völlig unerwartet Manfred Ambrosch. Und wie alle anderen stand auch das Leben des Seniorchefs des Musikhauses Rimmel (Kempten) ganz im Zeichen der Musik …
… und allen Musikern des Allgäus war er stets ein verlässlicher Freund.
1. frei und ohne Hast
2. Coda – über: Es ist ein Schnitter, heißt der Tod.
Hans-Jürgen Gerung wrote four guitar works because of death, or on the occasion of funeral ceremonies, of eminent personalities.
In addition to the Tombeau for the Kempten painter and graphic artist Heinz Schubert († 2001), the work “Five Fragments for Boccagni” was created in 2004 to commemorate first anniversary of the death of Gerung’s Italian art and music patron, Mr. Fabio Boccaggni (Merano), who died in 2003.
In December 2018, the journalist and art collector Arthur Lamka, a close friend and long-time companion of Heinz Schubert, passed away and in 2020 Manfred Ambrosch died completely unexpectedly.
And like the others mentioned above, the whole life of Mr. Ambrosch, senior manager of the Rimmel Music House (Kempten) was all about music and arts ...
… and he always was a reliable friend to all musicians in the Allgäu.
The single movements:
1. free and without haste
2. Coda - about: It is a reaper, which is called the death.
Mo. - Fr.
vormittags / morning
9:30 Uhr - 11:30 Uhr
9:30 am - 11:30 am
ein neues Album von Gerung-Arts&Music mit sakraler Chormusik interpretiert von dem herausragenden ensemble cantissimo unter der Leitung von Prof. Markus Utz
Das Album wird am 20.05. 2021 auf allen gängigen Plattformen veröffentlicht.
o vos omnes I - II - III
74,1 und 82,2
a new album by Gerung-Arts & Music with sacred choral music interpreted by the outstanding ensemble
cantissimo under the direction of Prof. Markus Utz
The album will be released on May 20th. Published on all major platforms in 2021.
o vos omnes I - II - III
74.1 and 82.2
from Choralis constantinus:
Haec dies as well as Pascha nostrum immolatus est Christ, alleluia
from the diary of Alessandra Bonoli
Neue Rezension (Jan. 2001) in der italienischen Presse von Prof. Renzo Cresti zur Veröffentlichung von Gerung-ArtsMusic
New review (Jan. 2001) in the Italian press about the CD ULTIMA RARA - The Bussotti Circle (released Gerung-ArtsMusic) byProf Renzo Cresti.
Der neue Gesamtkatalog von edition-gerung steht online.
The new general catalogue from edition-gerung is online.
Please inform yourself here about
Chatting with Guitarists
Autor - Author:
Das Buch ist in paper- oder e-book-Version erhältlich und wird vertrieben über www.Lulu.com bzw. über alle anderen wichtigen Internet-Anbieter.
The book is available in paper or e-book version and is distributed by www.Lulu.com or by all other major Internet providers.
Streaming & Download
Musik / Music:
1st music after the poetry of Edgar Allan Poe
1st & 2nd music after the poetry of Edgar Allan Poe
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