Migot: Complete Works for Guitar Valerio Celentano

• Georges Migot (1891 - 1976): Pour un hommage à Claude Debussy:
• 1Migot: Pour un hommage à Claude Debussy: I. Prélude04:40
• 2Migot: Pour un hommage à Claude Debussy: II. Pastorale03:55
• 3Migot: Pour un hommage à Claude Debussy: III. Postlude02:52
• Sonate pour guitare:
• 4Migot: Sonate pour guitare: I. Prélude04:43
• 5Migot: Sonate pour guitare: II. Allant04:48
• 6Migot: Sonate pour guitare: III. Andante grave03:02
• 7Migot: Sonate pour guitare: IV. Final05:45
• Trois chansons de joye et de souci de Pierre Moussarie:
• 8Migot: Trois chansons de joye et de souci de Pierre Moussarie: I. Chanson à danser05:19
• 9Migot: Trois chansons de joye et de souci de Pierre Moussarie: II. Chanson à retenir03:57
• 10Migot: Trois chansons de joye et de souci de Pierre Moussarie: III. Ronde03:33
• Préludes pour deux guitares:
• 11Migot: Préludes pour deux guitares: I. Sur le nom de Graciela Pomponio02:41
• 12Migot: Préludes pour deux guitares: II. Sur le nom de Jorge Martínez Zárate04:01
• Sonate à deux guitares:
• 13Migot: Sonate à deux guitares: I. Prélude06:29
• 14Migot: Sonate à deux guitares: II. Comme une danse à deux08:05
• 15Migot: Sonate à deux guitares: III. Andante05:44
• 16Migot: Sonate à deux guitares: IV. Final07:47
• Sonate pour flûte et guitare:
• 17Migot: Sonate pour flûte et guitare: I. Prélude05:44
• 18Migot: Sonate pour flûte et guitare: II. Grave05:37
• 19Migot: Sonate pour flûte et guitare: III. Conclusion08:01
• Total Runtime01:36:43

Info for Migot: Complete Works for Guitar

Georges Migot (1891–1976) authored a vast oeuvre founded on two principles that in various ways pervade all of his work: a nationalist aesthetic and a link to the past. This emerges and is reinforced in repeated references to the French lutenists of old, as well as troubadours and trouveÌres, folk song and ancient monodic forms, particularly plainchant. Rather than limit himself to copying their external structure, however, Migot sought to extract the spirit, sensitivity, grace and sense of freedom from these historic forms, which he believed better suited the infinite nature of human sensitivity. Despite strong and professed ties to his contemporaries Faureì and Debussy, Migot cannot be placed in any school or branch of 20th-century music.

Pour un Hommage aÌ Claude Debussy (composed May 1924) coincided with the Paris debut of Andreìs Segovia and is dedicated to him. Migot composes lines with a modal flavour supported by rich and resonant arpeggiated chords, with densely packed notes providing a thorough exploration of all the instrument’s colours.

His four-movement Sonate pour guitare, two PreÌludes pour 2 guitares dedicated to the Argentinian Duo Pomponio-ZaÌrate, and a substantial and tricky Sonate pour 2 guitares date to the early 1960s. These pieces have a more clearly defined and linear style, and feature a profound musical idiom, brimming with emotion.

The three movements of the Sonate pour flûte et guitare – dedicated to Brazilian guitarist Turíbio Santos – are stylistically similar to the above compositions. Migot gives both instruments various solo opportunities, and the two accompany each other, both during the more evanescent passages, where the writing is extremely sparse, and in more densely notated sections.

The 3 Chansons de joye et de souci originate in a cycle of 6 PoeÌmes setting Pierre Moussarie for voice and piano. They were arranged for voice and guitar in 1969 by the composer himself. In these, his final works for guitar, Migot provides us with a sample of his highly refined aesthetic, obtaining sounds not commonly heard on the instrument.

Valerio Celentano, classical guitar

Valerio Celentano
graduated in guitar with top marks and honours from the Conservatorio 'G. Martucci' in Salerno under the guidance of Maestro Antonio Grande. He studied with artists such as Alirio Diaz, Mario Gangi, Pavel Steidl, David Russell, Alvaro Company, Carlo Marchione and Edoardo Isaac. He continued his studies with Jyrki Myllärinen, Frédéric Zigante and Oscar Ghiglia. Both as a soloist and in a duo, he has won numerous competitions, both national - "Ansaldi-Servetti" Mondovì (Cuneo), 2nd place at the Premio delle Arti 2011 - and international - 2nd place at the Concorso Chitarristico Internazionale di Gargnano 2009, and at the "Alirio Diaz"- Rome 2013, 3rd place "E. Pujol" 2010 Sassari, Sanremo International Guitar Competition 2015.

He also holds a degree in Modern Literature with a thesis on musical aesthetics entitled 'The Neapolitan Musical Seventeenth Century through the Fashion of the Spanish Guitar' and obtained a Biennial Master's Degree in Ancient Music at the Naples Conservatory under the guidance of maestros Toni Florio and Franco Pavan, with a thesis on the musical relationship between Kapsperger and Gesualdo da Venosa. With regard to this very topic, he was invited to play at the Castello Sforzesco in Milan the admirable copy of the Spanish guitar that belonged to the Prince of Venosa, a specimen made by the luthier Antonio Dattis. At the same time, he continued to deepen his knowledge of performance practice on the theorbo and baroque guitar with Massimo Lonardi at the 'Vittadini' Higher Institute of Music Studies in Pavia and, as a continuist, he had the opportunity to collaborate with artists such as Renata Fusco, Pino de Vittorio, with the baroque ensemble Accademia Reale, with the Milanese ensemble Effimere Corde and with the ScarlattiLab orchestra. He was the creator and artistic director of the Barocco summer music festival in Baronissi from 2016 to 2020.

He is passionately dedicated to musicological research and transcriptions for guitar: in 2017 his elaborations for solo guitar (published by Da Vinci Publishing -Osaka and by Armelin-Padova) were finalists at the International Competition in Thessaloniki (IGFT 2017).

In the chamber music field, in 2018 he published with double bass player Marco Cuciniello -Chi Asso duo- the album Sul Sur - A South American Anthology for the dotGuitar.it label, reworking music by guitarist and non-guitar composers from South America inspired by both the baroque and the more strictly folkloric tradition.

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