Verdi's Guitar / Rinehart
The six Verdi fantasies are taken from a larger Mertz collection of 34 similar pieces based on operas, called Opern-Revue (Op.8). These ārevuesā were not unlike works for piano by composers such as Liszt, which were arrangements of or fantasies on popular operatic arias. Both these and Mertzās revues responded to the popular demand of the opera āexperienceā adapted for a small, private setting. Mertzās revues are more ambitious, howeverāthey adapt not just a single aria, but the entire opera, compressing a large-scale, 2ā3 hour production into a 10ā15 minute piece medley for solo guitar. Each revue is essentially a medley consisting of an introduction, arias (with variation), and dramatic high points. Mertzās Verdi fantasies are even more impressive, considering Verdiās mid-19th century status as a leading composer of dramatic opera. Mertz retains Verdiās drama and flair, but also adds an element of intimacy by distilling the operas down to minimal voices in the solo guitar. Rinehart navigates both of these qualities in his historically-informed performances. His interpretations embrace the free lyricism afforded to a solo piece, resulting in new perspectives on Verdiās masterpieces.
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Verdi's Guitar / Rinehart
Verdi's Guitar / Rinehart
The six Verdi fantasies are taken from a larger Mertz collection of 34 similar pieces based on operas, called Opern-Revue (Op.8). These ārevuesā were not unlike works for piano by composers such as Liszt, which were arrangements of or fantasies on popular operatic arias. Both these and Mertzās revues responded to the popular demand of the opera āexperienceā adapted for a small, private setting. Mertzās revues are more ambitious, howeverāthey adapt not just a single aria, but the entire opera, compressing a large-scale, 2ā3 hour production into a 10ā15 minute piece medley for solo guitar. Each revue is essentially a medley consisting of an introduction, arias (with variation), and dramatic high points. Mertzās Verdi fantasies are even more impressive, considering Verdiās mid-19th century status as a leading composer of dramatic opera. Mertz retains Verdiās drama and flair, but also adds an element of intimacy by distilling the operas down to minimal voices in the solo guitar. Rinehart navigates both of these qualities in his historically-informed performances. His interpretations embrace the free lyricism afforded to a solo piece, resulting in new perspectives on Verdiās masterpieces.
Product Information
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Shipping & Returns
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Description
The six Verdi fantasies are taken from a larger Mertz collection of 34 similar pieces based on operas, called Opern-Revue (Op.8). These ārevuesā were not unlike works for piano by composers such as Liszt, which were arrangements of or fantasies on popular operatic arias. Both these and Mertzās revues responded to the popular demand of the opera āexperienceā adapted for a small, private setting. Mertzās revues are more ambitious, howeverāthey adapt not just a single aria, but the entire opera, compressing a large-scale, 2ā3 hour production into a 10ā15 minute piece medley for solo guitar. Each revue is essentially a medley consisting of an introduction, arias (with variation), and dramatic high points. Mertzās Verdi fantasies are even more impressive, considering Verdiās mid-19th century status as a leading composer of dramatic opera. Mertz retains Verdiās drama and flair, but also adds an element of intimacy by distilling the operas down to minimal voices in the solo guitar. Rinehart navigates both of these qualities in his historically-informed performances. His interpretations embrace the free lyricism afforded to a solo piece, resulting in new perspectives on Verdiās masterpieces.