Valerio Celentano - Migot: Complete Works for Guitar (2023) [Hi-Res]

Tracklist

CD1
01. Migot Pour un hommage a Claude Debussy I. Prelude
02. Migot Pour un hommage a Claude Debussy II. Pastorale
03. Migot Pour un hommage a Claude Debussy III. Postlude
04. Migot Sonate pour guitare I. Prelude
05. Migot Sonate pour guitare II. Allant
06. Migot Sonate pour guitare III. Andante grave
07. Migot Sonate pour guitare IV. Final
08. Migot Trois chansons de joye et de souci de Pierre Moussarie I. Chanson a danser
09. Migot Trois chansons de joye et de souci de Pierre Moussarie II. Chanson a retenir
10. Migot Trois chansons de joye et de souci de Pierre Moussarie III. Ronde

CD2
11. Migot Preludes pour deux guitares I. Sur le nom de Graciela Pomponio
12. Migot Preludes pour deux guitares II. Sur le nom de Jorge Martinez Zarate
13. Migot Sonate a deux guitares I. Prelude
14. Migot Sonate a deux guitares II. Comme une danse a deux
15. Migot Sonate a deux guitares III. Andante
16. Migot Sonate a deux guitares IV. Final
17. Migot Sonate pour flute et guitare I. Prelude
18. Migot Sonate pour flute et guitare II. Grave
19. Migot Sonate pour flute et guitare III. Conclusion



Georges Migot (1891–1976) authored a vast oeuvre founded on two principles that in various ways pervade all of his work: a nationalist aesthetic and a link to the past. This emerges and is reinforced in repeated references to the French lutenists of old, as well as troubadours and trouveÌres, folk song and ancient monodic forms, particularly plainchant. Rather than limit himself to copying their external structure, however, Migot sought to extract the spirit, sensitivity, grace and sense of freedom from these historic forms, which he believed better suited the infinite nature of human sensitivity. Despite strong and professed ties to his contemporaries Faureì and Debussy, Migot cannot be placed in any school or branch of 20th-century music.
Pour un Hommage aÌ Claude Debussy (composed May 1924) coincided with the Paris debut of Andreìs Segovia and is dedicated to him. Migot composes lines with a modal flavour supported by rich and resonant arpeggiated chords, with densely packed notes providing a thorough exploration of all the instrument’s colours.
His four-movement Sonate pour guitare, two PreÌludes pour 2 guitares dedicated to the Argentinian Duo Pomponio-ZaÌrate, and a substantial and tricky Sonate pour 2 guitares date to the early 1960s. These pieces have a more clearly defined and linear style, and feature a profound musical idiom, brimming with emotion.
The three movements of the Sonate pour flûte et guitare – dedicated to Brazilian guitarist Turíbio Santos – are stylistically similar to the above compositions. Migot gives both instruments various solo opportunities, and the two accompany each other, both during the more evanescent passages, where the writing is extremely sparse, and in more densely notated sections.
The 3 Chansons de joye et de souci originate in a cycle of 6 PoeÌmes setting Pierre Moussarie for voice and piano. They were arranged for voice and guitar in 1969 by the composer himself. In these, his final works for guitar, Migot provides us with a sample of his highly refined aesthetic, obtaining sounds not commonly heard on the instrument.

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