FREDERIC ZIGANTE PDF

The French guitarist, Frédéric Zigante, graduated at the Conservatory “Giuseppe Verdi” of Milan. He has studied with Ruggero Chiesa, Alirio. Complete editions are Frederic Zigante’s specialty: He recorded all of Nicolo Paganini’s guitar works, the entire guitar catalogue of Villa-Lobos, as well as the . Where people listen. Mexico City, MX37 LISTENERS; Santiago, CL25 LISTENERS; São Paulo, BR24 LISTENERS; Madrid, ES19 LISTENERS; Milan, IT

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The latter implies that Zigante eschews or may we even say “despises” the modern-day tendency to submit a Classical works to the arbitrariness of subjectivity, to change it, alter it or even leave out certain passages for more easy digestability.

Frédéric Zigante

An interpreter has a great power in his hands because without him the work has no life and can’t be heard. After this reserach I bring out my personal emotions on the condition that they do not affect the composer’s idea. First I need a contract then I shall begin thinking about it! About Our aim The team History. What or who was zzigante biggest influence as an artist? It is necessary to know exactly what the composer intended but this isn’t always possible on the only basis frdeeric the written text.

15 Questions to Frederic Zigante

How do you balance the need to to put your personal emotions into the music you play and the intentions of the composer? Community Links Countries Recording Services. What really makes the difference is the music that is written for it. Complete editions are Frederic Zigante’s specialty: This is what some performers do sometimes, they even cut off some parts of the works! The hardest part about being a musician is to often be alone and the best is to get emotion during a performance. I live between two beautiful Italian towns: Someone who takes care ziganet other people’s problems.

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During the next two months I will be preparing a new repertory for my CD recordings and I will be working on my critical edition of Villa-Lobos’ Etudes. I would probably be a medical doctor or a politician.

Frédéric Zigante on Spotify

Have you ever tried playing a different instrument? But I know that I shall certainly not: Interpretation is a task: You are given the position of artistic director of a concert hall. But his power can be negative and he can destroy music, modify it or misinterpret it.

My father and my brother Manuel. Just imagine what would frdderic if someone went to a museum and decided to change the colors on a painting: I haven’t noticed any crisis.

What do you tell them? There are still so many works to be discovered and recorded even for instruments like the guitar. False, the only thing about which people need to be educated is listening with curiosity: I play both baroque and classic guitar and I consider them two different instruments.

If a perfomer has nothing to say and simply plays the music, he should stay home. This is the way to discover beauty in all music, not only classical.

Is there a crisis? What would be on your program for this season? If yes, how good were you at it? And yet, he is by no means an anachronism. What constitutes a good live performance in your opinion? With a clear mind, he recognises current cross-over tendencies and hip genre-bending see his answers to our Festival-question! You need to see the whole picture here – after all, that is what Frederic Zigante is all about. Behind this desire for integrity hides no pathologically prolific mind, but a man who searches for profundity and who wants to use the power of interpretation to the good.

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This is how an interpreter and a composer can cope to “travel” together without any conflict. In essence, his tendency for established values and the ongoing fascination for the infinite possibilities within the purity of a piece is not a sign of conservatism – but rather of class.

What really matters is to transmit emotions and feeling. People need to be educated about classical music, before they can really zzigante it. How would you describe the relationship with your instrument? The one that mediates between the written text and the auditors. A good live performance requires good technical standards and fredeirc contents for the audience. I am a little bit annoyed by crossovers but I do realize that it is just a fashion that will pass without too many damages.

An interpreter’s task is to give life to emotions that are latent in the musical text not only to play them!

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