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Program - Including MP3 Audio Excerpts
Astor Piazzola
 1. Milonga del Ángel [3:57]
2. La Muerte del Ángel [3:31]
3. Resurrectión del Ángel [6:45]
Albeniz
4. Sevilla (Sevillanas) [5:29]
5. Cordoba [7:00]
Manuel De Falla
6. Spanish Dance from “La Vida Breve” [4:08]
Traditional/J. E. Marlow
7. Niño Precioso [4:56]
G. Fauré
8. Aprés un Rêve [2:16]
9. Pavan (op. 50) [5:11]
10. Dolly (op. 56, no.1) [3:06]
Beethoven
11. Adagio from Sonaté Pathetique (OP, 13 NO. 8) [5:00]
V. Galilei/J. E. Marlow
12. Saltyrello [6:21]
Trio and quartet arrangements
featuring, guitar, flute, cello and viola by Phil Mathieu.
(Tracks 8 and 9 arranged by J. E. Marlow)
Phil Mathieu moves easily between the worlds of classical and popular music and is also a well versed studio musician, teacher, composer and arranger. He was recently awarded “Best Classical Instrumentalist” by the Washington Area Music Association (WAMA) and has been nominated for numerous awards including “Musician of the Year.” Mathieu is a regular guest with Kennedy Center opera house orchestra and has also appeared with the National Gallery orchestra. His recent recording credits include Lisa Moscatiello, Ruthie and the Wranglers and a guitar duo record with Giorgia Cavallaro (American Music for Two Guitars-featuring the music of William Foden). Mathieu has performed with internationally acclaimed Guitarist, Carlos Barbosa-Lima, and was a member of the prestigious Washington Guitar Quintet led by Charlie Byrd.
I initially became interested in expanding
the chamber music with guitar repertoire
arranged by my teacher John E. Marlow. His work
inspired me to explore the many possibilities
beyond the traditional classical approach. Presented here is a modern collection of
distinctive trio and quartet arrangements
featuring, guitar, flute, cello and viola.
This recording represents a new direction for the guitar in the chamber music setting. With improved developments in amplifying
nylon string guitar, the role the
instrument plays has become more flexible. It is not just delegated to a strictly accompaniment role,
or as in a concerto setting, a strictly soloist role. The
guitar can now gracefully interact with the
other instruments, weaving together melody and counterpoint. It can switch
from upper register chordal arpeggios, to low
rhythmic driving bass passages. The guitar's softest
subtle nuances are clearly audible. In these arrangements the cello and viola trade off themes and counter melodies, and the lower register of the flute
is explored.
Phil Mathieu
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