Carinhoso composed by Pixinguinha (1897-1973) arranged by Roland Dyens performed by Roland Dyens. Video of guitarist Alexandra Whittingham performing Saudade No.3 by Roland Dyens on classical guitar. Sheet Music link included.

ROLAND DYENS left this world on October 29, 2016. He was one of the most famous guitarists, performers and composers of the planet, who traveled relentlessly to play in front of an increasing number of audiences and to teach in the the master classes.

He leaves us a considerable and eclectic musical work, in his image of musician without ruts or borders: compositions and arrangements for solo guitar, duo, trio, quartet, octuor or set of guitars like his Concerto in Si for 21 guitars, but also concertos for guitar(s) and string orchestra, or compositions for string quartet, guitar, flute and percussion such as Tambourou. His last arrangements of 10 musics of Astor Piazzolla of which he placed the last note at the end of September 2016 after 3 years of passionate work will be published at d'Oz productions in 2017-1018. Né le 19 octobre 1955, l’interprète, compositeur, arrangeur et improvisateur français Roland Dyens commence l’étude de la guitare à l’âge de neuf ans. Quatre ans plus tard, il devient l’élève du Maître espagnol Alberto Ponce dans la classe duquel il obtient, en 1976, la Licence de Concert de l’École Normale de Musique de Paris. Parallèlement à ses études instrumentales, Roland Dyens suit également le précieux enseignement du compositeur et chef d’orchestre Désiré Dondeyne (classe d’écriture) auprès duquel il lui sera décerné un 1er Prix d’Harmonie, de Contrepoint et d’Analyse. Parmi les distinctions majeures qu’il obtiendra dès le début de sa jeune carrière, notons le Prix Spécial du Concours International Città di Alessandria (Italie) ainsi que le prestigieux Grand Prix du Disque de l’Académie Charles-Cros, tous deux obtenus lors d’hommages rendus à Villa-Lobos. Également lauréat de la Fondation Menuhin, Roland Dyens fut classé à 33 ans par le magazine Guitarist parmi les meilleurs guitaristes mondiaux, tous styles confondus.

Born on October 19, 1955, French interpreter, composer, arranger and improviser Roland Dyens began guitar studies at the age of nine. Four years later he became a student of Spanish Master guitarist Alberto Ponce and, in 1976, was awarded the Licence de Concert de l’École Normale de Musique de Paris. While learning his instrument, Roland Dyens also studied compo- sition with the renowned teacher, composer and conductor Désiré Dondeyne under whose guidance he was awarded the First Prize in Harmony, Counterpoint and Analysis.

Among the most distinguished awards obtained during the early years of his career, Roland Dyens received the Special Prize at the International Competition Città di Alessandria (Italy) and the Grand Prix du Disque de l’Académie Charles-Cros, both in honor of the major Brasilian composer Heitor Villa-Lobos. CD Night & Day (Minor 7th on line) It’s not a shift, but a paradigm chasm from classical to jazz guitar playing. Although all music shares a common vocabulary, the vernacular of jazz with its odd idioms of syncopation and blue notes might seem like an exotic dialect to a classical player, a southern drawl to one raised speaking an Irish brogue.

Truly authentic communication with an instrument via classical or jazz, as with a brogue or drawl, demands there be no mimicry. The dialect must be a native tongue. Roland Dyens proves on 'Night and Day' that he is fabulously bilingual. Although having firmly established his preeminence as a classical guitar player with prior recordings of Villa-Lobos, Satie, Sor and Weiss, Dyens has shown perhaps more fluency with modern genres, including arrangements of Georges Brassens songs, Thelonius Monk and Django Reinhardt standards, even a tribute to the music of Frank Zappa. 'Night and Day' likewise showcases Dyens’ facility with novel and virtuosic renderings of classic American jazz standards on solo nylon-string guitar.

Like Martin Taylor, Dyens plays on one guitar that which sounds to be impossible, both in speed and articulation of diverging counterpoints. Particularly on 'Bluesette', 'All the Things You Are' and 'Take the A Train', one must pause to verify that these are not duos. And as any serious musician strives to do, the technical difficulty of these arrangements is camouflaged, made subliminal by the carefree and contagious exuberance Dyens infuses into these tunes. Even the simpler, slower melodies 'I Love Paris', 'Misty', and 'Over the Rainbow' find a very complex expression with Dyens’ genius for arranging.

But in the process of finding their way to your ear become simple again, natural, a native tongue that speaks to you sincerely in a dialect you’ve always heard. The official newsletter of the New York City Classical Guitar Society Roland Dyens/ John Williams The Two Ends of the Spectrum by Mark Greenberg Solo Guitar Recitals by Roland Dyens American Youth Hostel- April 3, 2005 Long Island Guitar Festival- April 9, 2005 and John Williams Zankel Hall- April 11, 2005 An earlier article discussed ‘introspective’ more ‘extroverted’ type of classical guitar style.

Two rarely-seen soloists in NY--the divine R. Dyens, and wonderful (and legendary) J. Williams provide examples of supremely accomplished approaches that could scarcely be more different. Roland Dyens is perhaps better known as a composer.

As a player, if Verdery represents the Tibetan Buddist school of guitar, Dyens hails from the Zen campus. Less is more. Or, to paraphrase a Dyens-ism—to play loud, you have to play soft. Slow demands fast. And, ultimately, to be heard, one has to be not heard. At least, one has to be very, very, very, very quiet. And surely he is.

Oddly, though, no matter how quietly he plays, he somehow remains audible. It is one of the anomalies of time and space that the guitar, though seemingly a very reserved instrument, carries long and far into the night. (Watch out for neighbors!) In addition, there is something calculated about Dyens’ approach and the ear of the mind may anticipate what Dyens is getting at, and fill in the occasional aural gap. All this is, of course, eccentric. In fact, Roland Dyens is another example of an artist about whom specifics—how he played this piece, how he played that piece—are pretty much irrelevant. One does not so much watch him perform as watch him exist.

One gets the feeling that he is simply a genius of a human being with strong opinions about pretty nearly everything, and he would do equally well on another guitar, another instrument, or even another medium. I would be willing to eat a Darryl Perry guitar if this guy doesn’t occasionally paint or draw; his books and conversation clearly show talent with language. A few words now have to be said to give a better sense of Dyens’ sound.

First, compared to other guitarists, he has a far greater range of dynamics and tone-color. Dyens never gets very loud--I imagine harsh sounds make him wince--but when he plays softly, he gets to the threshold of audibility, and then some. There are times when he may or may not be producing sound. Only he knows, and it is very much part of his sense of humor not to let you in on the secret. Amcap Full Version Rapidshare Premium. He impels (rather than compels) you to listen.

As far as tone-color, Dyens uses far more flesh than the average classical guitarist. On the other hand, he often plays even inner strings, even the 2nd string, with his thumb.

In fact, Dyens can beautifully mimic the sound of either an electric or steel-string guitar. He can also provide a wide spectrum of special effects. I guess we’ve all fooled around with the tight stretch of strings above the nut. The difference is that for Dyens, they are a regular stop. Presumably he can tell you their pitch. On this subject of pitch, Dyens is (I hope he will forgive me for saying so) a bit of a crank. If your concentration is not good, you do not want to play for him in a master class.

He will retune your guitar, even if you are in the middle of the Bach Chaconne. Even if you are in the middle of the runs in the Bach Chaconne, he will retune your guitar. Not that he is a mean person; he is extremely warm and kind. I simply think he cannot bear to hear an out-of-tune guitar, and his ear demands that he administer an instant remedy. Had Dyens lived at the time of Bach, I think there is little question of where he would have stood regarding the issue of equal temperament.

In fact, even in this, the 21st Century, he is distinctly a relativist and, in fact, Dyens’ book, 20 Letters, provides a specialized tuning regimen for the main intervals of each piece. Of the two recitals that I heard, though there was an overarching structure, there was no specific program. Each Dyens recital starts with an improvisation. Do you think, though, that he plays more-or-less the same thing?

I assure you, the two I heard were widely varied. The first, at the NYCCGS recital, was a nearly classical and extremely beautiful extended tremolo study. The Long Island improvisation was a jazzier number, composed of chords and runs. Next were Sor variations, nicely done but very, very quiet. Three waltzes completed the first halves of both programs. Dyens’ affection for Chopin is unsurprising.

An equally subdued player of similar subtle sensibilities, Chopin reportedly said ‘Nothing is more beautiful than one guitar, save two.’ But then again, he never heard Dyens. It is difficult to imagine any other guitarist transcribing Chopin more sensitively or playing such music with greater refinement or delicacy. Apart from the exceptional palette of colors used, Dyens has a sense of rubato that transcends that of most modern musicians. Though he once told me he did not like photography because he likes to live in the present, the logical extension of Dyens’ thinking is that to live in the present, one must live in the past and future. Of this, he is in fact a master.

If there is one weakness to his playing, it is also its strength. Everything Dyens touches turns pretty much to Dyens. Barrios, Sor, Villa-Lobos all end up more-or-less assimilated into Dyens/Barrios, Dyens/Sor and Dyens/Villa-Lobos.

Even those who have played the V-L Prelude #5 for decades will come out of a Dyens concert wondering if what he played were the same notes they’ve had under their fingers all those years. But who can complain?

Dyens’ performance practices are riveting and hold your attention completely. As suggested, much of his art happens inside his head; it is, in a way, conceptual, and as such, Dyens is fairly unconcerned with the physical realities of time and space. He takes big chances in performing suicidal feats of speed and change of hand position and, as he is a genius at calculating the odds, they always pay off. Who needs frets?

If need be, he skates right off the neck of the guitar, into the clear void above the soundhole, still maintaining hand-position and obtaining his own odd tonalities. Though subtle and refined, Dyens is also a showy and exciting performer, who can (and does) get his audience to its feet. His arrangements of jazz standards that took up the bulk of the second halves of both programs included Take the A Train and Over the Rainbow; what Dyens does with these pieces has to be seen (and heard) to be believed. At both programs, Dyens served up an encore of the newest of his ravishing works—the Angel Waltz (composed in a green room in LA). At the Long Island concert, there was a very charming moment when Roland forgot what came next, put his finger to his head like the proverbial absent-minded professor, and after only a second, his face lit up, and without breaking stride, he completed this most lovely Lauro-like piece(Dyens/Lauro, of course). John Williams, you can say, takes up where Dyens leaves off.

The softest sound that Williams produces equals Dyens’ loudest. Dyens is relaxed and casual. Williams is wound tight. Dyens arrives barehanded and borrows a guitar. Williams is loaded for bear and has a Smallman, a mike and two speakers. Dyens compels, or impels, you to listen. Williams orders you to listen (sometimes quite literally).

Dyans requires (and gets) a noiseless audience. Williams’ audience coughs, sneezes, and in general makes a hell of a racket. Greenberg’s law: Artists get the audience they deserve. Born on October 19, 1955, French interpreter, composer, arranger and improviser Roland Dyens began guitar studies at the age of nine. Four years later he became a student of Spanish Master guitarist Alberto Ponce and, in 1976, was awarded the Licence de Concert de l’École Normale de Musique de Paris. While learning his instrument, Roland Dyens also studied composition with the renowned teacher, composer and conductor Désiré Dondeyne under whose guidance he was awarded the First Prize in Harmony, Counterpoint and Analysis. Among the most distinguished awards obtained during the early years of his career, Roland Dyens received the Special Prize at the International Competition Città di Alessandria (Italy) and the Grand Prix du Disque de l’Académie Charles-Cros, both in honor of the major Brasilian composer Heitor Villa-Lobos.

At the age of 25 he became a laureate of the Yehudi Menuhin Foundation. Eight years after this, he was recognized as one of the “Best Living Guitarists” in all styles by the French magazine Guitarist.

On the of September 30th 2006, he was awarded the “Chitarra d’Oro 2006” for his body of compositions by the Presidency of the Città di Alessandria International Competition. On this same year he joined Productions d’OZ. The following year, in 2007, he was honoured by the Guitar Foundation of America (GFA), which chose him to compose the set piece for its prestigious annual competition, held in Los Angeles. Note that to this date, in less than 6 years, this International Guitar Event has honored three of Roland Dyens’s students at the Conservatoire of Paris with three Top Prizes. In October 2007, during his autumn tour of North America, Roland Dyens’s October 6th recital in Winnipeg earned five stars from the Winnipeg Free Press.

It was only the second time that the daily paper, established in 1872, had awarded such high praise. On the 27th of July 2008, his works are again recognized in Italy with the Premio per la Composizione at the 2nd International Festival of Città di Fiuggi, near Rome. A few months later, he was privileged to be asked to compose the music and conduct the ensemble which will be performing in order to commemorate the 20th anniversary of the prestigious Guitar Ensemble Association of Japan.

“Soleils levants” was finally premiered on November 9th 2008 in Nakano Main Hall of Tokyo. On the 21st of January 2010, Roland Dyens is honored with the privilege of being the only classical guitarist invited to participate to an homage to the great Django Reinhardt for the centenary of his birth, in a concert given by 100 guitarists at the Théâtre du Châtelet in Paris.

In July, 2011, his recital at the International Córdoba Guitar Festival received the highest accolade of the coveted “Five Stars” from the Spanish Press, titling its review “Roland Dyens, El Mago de la guitarra” (the Wizzard of guitar). Until 2016, among living composers, Roland Dyens was ranked highest in the “Top 100” list of most recorded original works for the guitar throughout the world. Furthermore, 3 of his works are officially part of this ranking, according to the remarkable eponymous work of the Canadian musicologist Enrique Robichaud, published in 2013. Roland Dyens shared the joy of his musical talent through his performing, composing and teaching accross the world. This three-dimensional profile provided the basis for his phenomenal success and his constant evolution.

Always transformative events, Roland Dyens’ concerts unfolded as personal experiences of emotional awakening for the audience. Inspired by the musical unity demonstrated in his concerts, audience members would often later use the impact of the artist’s virtuosity and creativity to guide own perception of music and, more broadly, their lives as well. For those who are unfamiliar with the contours and nuances of classical guitar performance, one often witnessed an inspirational discovery of the instrument and its musical potential. Roland Dyens had a sensitive and colorful approach to the guitar an unfailing open-mindedness which brought together all forms of music to each and every one of his programs.

His stage presence, his improvised openings and unique relationship with the listeners undeniably positioned him at the forefront of contemporary guitar performance. For a long time now, his music has been an integral part of the instrument’s repertoire, placing him at the heart of a select group of contemporary guitarist/composers who enjoy such a privileged position. His compositions and arrangements are widely performed and highly acclaimed throughout the world. They provide a new breath of life for the guitar as this player and composer never ceased to challenge the limitations of his instrument. The growing number of participants and auditors in Roland Dyens’ master classes was surely due to the depth of his approach which has been rich in innovative themes. With a keen sense of quality and emotional strength, his natural ability to communicate with younger generations of guitarists transformed the formality of a master class into a joyful encounter.

Teacher at the Conservatoire National Supérieur de Musique de Paris, Roland Dyens passed away on October 29th 2016. Ati Radeon Mobility 9000 Driver Download.