GOLDBERG VARIATIONS BWV 988
Version without fingering
CHF
55
OPTION
Originally titled "Keyboard Practice, consisting of an Aria with divers variations for the harpsichord with 2 manuals," the Goldberg Variations were first published in 1741. Legend has it that Bach wrote them to soothe Count Hermann Carl von Keyserlingk of Dresden during his sleepless nights, upon the Count's request for "gentle and somewhat merry" music. The Count's harpsichordist, Johann Gottlieb Goldberg, would play these pieces for him. The Aria and its thirty variations represent a peak in Bach's counterpoint, featuring nine canons, pieces with French and Italian stylistic elements, and intricate, virtuosic passages, all interconnected structurally yet diverse in character and mood.
This arrangement of the Goldberg Variations is for two ten-string guitars, incorporating the later corrections and musical indications by J.S. Bach as found in the composer's personal copy. Unlike other guitar arrangements, the addition of four bass strings on each instrument extends the lower range by a full octave, allowing for nearly the entire original musical text to be played without altering octaves or the original keys. This preserves the natural flow of the musical phrases.
While most multi-string classical guitars used for Bach's music are tuned diatonically in the lower range and typically played with only the right hand on the extra strings, Angela and Dimitar of Duo Synaphé, founders of Éditions Synaphé, have developed new playing techniques. These techniques enable them to play chromatically with both hands, accessing all notes in the added lower octave. Their innovative tuning involves doubling the lowest four strings of a standard six-string guitar an octave lower. This provides an intuitive understanding of the entire guitar neck and facilitates phrasing and richer harmonic possibilities with the higher strings.
The unique utilization of the four extra strings on both guitars significantly shapes the character of the Aria and each variation. Their interpretation has evolved through careful consideration of phrasing, fingering choices, technical execution, and articulation, aiming for the most natural expressiveness, technical ease, and musically cohesive performance.
Recognizing the vast sonic possibilities of the guitar, Duo Synaphé pays close attention to the instrument's organic and natural harmonic content, revealing a rich palette of expression. Through their performance of the Goldberg Variations, they invite listeners to an engaging and sensitive exploration of the composition's profound beauty.
Éditions Synaphé will publish two versions of the arrangement: one without integrated fingerings or additional indications, and the other with, based on the performance as developed by Duo Synaphé. The numerous ways of performing this work are the reason for the double release.
Listen to it here
Watch the video performance here
This arrangement of the Goldberg Variations is for two ten-string guitars, incorporating the later corrections and musical indications by J.S. Bach as found in the composer's personal copy. Unlike other guitar arrangements, the addition of four bass strings on each instrument extends the lower range by a full octave, allowing for nearly the entire original musical text to be played without altering octaves or the original keys. This preserves the natural flow of the musical phrases.
While most multi-string classical guitars used for Bach's music are tuned diatonically in the lower range and typically played with only the right hand on the extra strings, Angela and Dimitar of Duo Synaphé, founders of Éditions Synaphé, have developed new playing techniques. These techniques enable them to play chromatically with both hands, accessing all notes in the added lower octave. Their innovative tuning involves doubling the lowest four strings of a standard six-string guitar an octave lower. This provides an intuitive understanding of the entire guitar neck and facilitates phrasing and richer harmonic possibilities with the higher strings.
The unique utilization of the four extra strings on both guitars significantly shapes the character of the Aria and each variation. Their interpretation has evolved through careful consideration of phrasing, fingering choices, technical execution, and articulation, aiming for the most natural expressiveness, technical ease, and musically cohesive performance.
Recognizing the vast sonic possibilities of the guitar, Duo Synaphé pays close attention to the instrument's organic and natural harmonic content, revealing a rich palette of expression. Through their performance of the Goldberg Variations, they invite listeners to an engaging and sensitive exploration of the composition's profound beauty.
Éditions Synaphé will publish two versions of the arrangement: one without integrated fingerings or additional indications, and the other with, based on the performance as developed by Duo Synaphé. The numerous ways of performing this work are the reason for the double release.
Listen to it here
Watch the video performance here
THREE CONTINENTS
CHF
18
OPTION
The composition of the piece Three Continents, which I dedicate to my friends Dimitar Ivanov and Derek Gripper, involved a curious rhythmic project. Coming from three different countries and even continents, I proposed to compose a piece whose metrical feel of each part followed the number of syllables that make up the name of each of the countries or continents in which my friends and I lived or from which we came: Bra-zil, (South) A-fri-ca and Bul-ga-ri-a.
The melody attributed to each part therefore follows a melodic-rhythmic pattern whose periodicity respects the number of syllables of each country or continent among those already mentioned: Brazil (two syllables/ two beats), Africa (three syllables/ three beats) and Bulgaria (four syllables/ four beats).
Thus, although the time signature used for the metric unification of all the parts was a compound binary time signature (6/8), the metric sensation of each of the parts tends to be unique because it does not respect the hierarchy of a single musical time signature. I hope the interpretation of this piece will be thought-provoking and entertaining for the groups that dedicate themselves to it.
The melody attributed to each part therefore follows a melodic-rhythmic pattern whose periodicity respects the number of syllables of each country or continent among those already mentioned: Brazil (two syllables/ two beats), Africa (three syllables/ three beats) and Bulgaria (four syllables/ four beats).
Thus, although the time signature used for the metric unification of all the parts was a compound binary time signature (6/8), the metric sensation of each of the parts tends to be unique because it does not respect the hierarchy of a single musical time signature. I hope the interpretation of this piece will be thought-provoking and entertaining for the groups that dedicate themselves to it.
Alexandre Gismonti
Listen to it here12 ARPEGGIO STUDIES
CHF
12
OPTION
12 arpeggio studies were composed for teaching and learning the arpeggio technique on the guitar. The work offers an alternative to the mechanical practice of repetitive exercises that may not sound like music.
Each one of the studies explores a combination of right-hand (or left-hand for left-handed) arpeggio fingering. Studies 1 to 6 explore the combination of 3 fingers of the right hand while studies 7 to 12 explore the combination of 4 fingers of the right hand. All the studies have the thumb as the fixed finger.
The order of difficulty is progressive as the studies range from simple and short pieces to more complex and extensive ones. I hope this collection of arpeggio studies is stimulating and helps you improve your arpeggio technique on the guitar.
Listen to them here
Each one of the studies explores a combination of right-hand (or left-hand for left-handed) arpeggio fingering. Studies 1 to 6 explore the combination of 3 fingers of the right hand while studies 7 to 12 explore the combination of 4 fingers of the right hand. All the studies have the thumb as the fixed finger.
The order of difficulty is progressive as the studies range from simple and short pieces to more complex and extensive ones. I hope this collection of arpeggio studies is stimulating and helps you improve your arpeggio technique on the guitar.
Listen to them here
PRÉLUDE Opus 3, No. 2
CHF
38
OPTION
This arrangement for two guitars includes an optional part for a 10-string guitar, equipped with additional strings in the lower register.
It is a revision of its original version recorded by the duo Synaphé for their album Classical Fragments in 2020, which had never been released before.
The arrangement transposes the power and emotion of the piano to the delicate sonority of the guitar, alternating between majestic moments and intimate passages. The rich sound of the guitar and the multi-string guitar adds a new dimension to this romantic classic, while preserving the dramatic intensity and sensitivity unique to the work.
Listen to it here
It is a revision of its original version recorded by the duo Synaphé for their album Classical Fragments in 2020, which had never been released before.
The arrangement transposes the power and emotion of the piano to the delicate sonority of the guitar, alternating between majestic moments and intimate passages. The rich sound of the guitar and the multi-string guitar adds a new dimension to this romantic classic, while preserving the dramatic intensity and sensitivity unique to the work.
Listen to it here
EAST WINDS
CHF
38
OPTION
East Winds was composed for the debut of Balkan Moods, a quintet of renowned Bulgarian musicians. Premiered during a concert series in Switzerland in October 2024, the piece blends classical, jazz, and Balkan traditional styles.
Its improvisatory elements, complex rhythms, and melodic themes provide space for interpretative freedom between musicians with diverse classical, jazz, or Balkan traditional musical backgrounds.
The third guitar part includes advanced cross-rhythmic techniques that challenge musical dexterity and offers a multi-string guitar part.
Listen to it here
Its improvisatory elements, complex rhythms, and melodic themes provide space for interpretative freedom between musicians with diverse classical, jazz, or Balkan traditional musical backgrounds.
The third guitar part includes advanced cross-rhythmic techniques that challenge musical dexterity and offers a multi-string guitar part.
Listen to it here
KINDERSZENEN
CHF
35
OPTION
Angela Kleger arranged this work for 10-string guitar with a careful choice of tuning and with included fingering involved into the musical features giving a technical ease to the performer.
The additional notes, which must be played also with the left hand on the 4 additional strings is an innovative technique, which Angela also encourage to experiment with.
The arrangement preserves the original piano text and it’s tonal range between all different voices.
Playing on solo 10-string guitar, the work flows within it’s intimate character flourishing with colorful timbres and curious unexpected beauty.
The additional notes, which must be played also with the left hand on the 4 additional strings is an innovative technique, which Angela also encourage to experiment with.
The arrangement preserves the original piano text and it’s tonal range between all different voices.
Playing on solo 10-string guitar, the work flows within it’s intimate character flourishing with colorful timbres and curious unexpected beauty.
BIANCA
CHF
25
OPTION
This piece is dedicated to the daughter of Egberto - Bianca.It is originally for 6 string guitar and is often integrated as a contrasting piece into the 10-string guitar repertory from the composer.
In order to highlight some of the musical shapes created from the the accent- changing voice Dimitar adds more harmony and accompany notes during the repetition of the first part of the piece.
The two parallel voices enchant within a feeling coming from a momentary perception of a new beginning.
Listen to it here
In order to highlight some of the musical shapes created from the the accent- changing voice Dimitar adds more harmony and accompany notes during the repetition of the first part of the piece.
The two parallel voices enchant within a feeling coming from a momentary perception of a new beginning.
Listen to it here
THE EVER EVOLVING ETUDE
CHF
25
OPTION
This composition is written in 4/4 time with smaller rhythmic divisions through sixteenth notes passing mainly through two parallel melodic lines where both alternate between notes and rests. This movement gives defined staccato rhythms in a subtle pulse of salsa - basically a Cuban genre strongly developed in the eastern neighbourhoods of New York in the 1960s.
Listen to it here
Listen to it here