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MP3 Adam Khan - For the Delight of Shiva

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MP3 Adam Khan - For the
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2oth Century music for classical guitar by Leo Brouwer, Carey Blyton, Gilbert Biberian, John W. Duarte and Ottavio Negro. Includes Leo Brouwer's third book of Estudios sencillos.

17 MP3 Songs in this album (55:25) !
Related styles: CLASSICAL: Twentieth Century, LATIN: Afro-Cuban

People who are interested in John Williams Julian Bream Leo Brouwer should consider this download.

Adam Khan was born in Neath, Wales. He began to play the Guitar at the age of 12. After his first recital 3 years later he was hailed by the press as âOne of Britainâs most promising young musiciansâ.
His main teacher over the years has been Oxford based English guitarist Raymond Burley. He also studied in London with the composer John W. Duarte. Adam also spent a great deal of time abroad where he had the chance to study with the great Cuban composer Leo Brouwer in Spain, Germany and Portugal. He also played extensively in master classes with Argentine Guitarist Roberto Aussel.

Adam has been a prize winner and finalist in several international guitar competitions including 2nd Prize at the âCitta de Cortemilia â competition in Turin (Italy), The âBrescianello â prize at Savona (Italy) and finalist at the âSimoni Salmassoâ competition in Pisa (Italy). In 1997 he was selected for the final stage of the âStotsenbergâ guitar competition in Malibu, Los Angeles, and at the Bucharest international guitar festival in Romania.

Adam has given recitals and master classes at leading venues and festivals through out the world including solo performances at the âGuitar festival of Great Britainâ in Chichester, the Abu Dhabi music foundation international series in the Gulf, The Delhi international music festival in India,â 3rd Cumbres de Guitaresâ Mar Del Plata, Argentina, the Dundee international guitar festival Scotland, The Peruvian-British Guitar festival in Lima, Peru, The Bucharest Guitar festival in Romania, The Ordu international guitar festival in Turkey and a duo charity concert with Sitar player Nafees Ahmed in the grounds of Lahoreâs botanical gardens in Pakistan.
Adam has also given solo recitals in Italy, Spain, America, Patagonia, Germany, Turkey, United Arab Emirates, Bahrain, Qatar, Portugal, and Wales.

In 2003 Adam was chosen as a young guitarist in residence (along with fellow guitarists Amanda Cook, Simon Thacker and Vasilis Besas) at the Dundee international guitar festival in Scotland. This project involved the formation of a guitar quartet and a series of concerts, master classes and cd recording of new music written especially for the project by composers David Fennessey and David Ward Mclean.

His debut solo recording âA day in Novemberâ for Dinmore records was released in 2003 and has enjoyed great critical acclaim and radio airplay around the world. It includes music by Cuban composer Leo Brouwer, French composer/guitarist Roland Dyens and Argentinaâs Maximo Diego Pujol. His most recent album âINTERLUDIOâ was recorded in Buenos Aires with Guitarist Luis Orias Diz and features music from Argentina, Cuba and Great Britain including Leo Brouwerâs complete guitar duos.

Adam has worked on many diverse musical projects including collaborations with Nafees Ahmet (sitar), Sara Egan (mezzo-soprano),The Royal Philharmonic Orchestra, The Allegri string quartet, Harrow Symphony orchestra, Flor Vega (Flute), The Opera Babes, Chrome, Mr Who, Matrix and in duo with Argentine Guitarist Luis Orias Diz (Welsh-Argentine guitar duo).



Cuban composer Leo Brouwerâs contribution to the guitar is vital to the instruments development over the last 50 years, Born in Havana in 1939 into a musical family that included his great uncle Ernesto Lecuona, Brouwer began composing from an early age, His studies in Cuba began with Guitarist Isaac Nicola and by 1959 he received a scholarship to continue his studies in America, taking guitar at Hartford university and composition at the Julliard school of music in New York. He returned to Cuba in the early 60âs and was appointed as director of the Instituto Cubano de Arte y industria cinematográficos, providing him with the opportunity to devote his time to composition, teaching, performing and collaborating with visiting musicians all of which had a great effect on his music. He attended the Warsaw Autumn festival in 1961 where the music of the European avant-garde composers such as Berio, Penderecki and Bussotti left a great impression on him.

The compositions on this disc show some of Brouwerâs most inventive writing and all three works were composed at the beginning of stark directional changes in his compositional process and musical language.
Canticum composed in 1968 marks the opening of his avant-garde period which continued into the late 70âs and included 4 major works for solo guitar, Tarantos, Parabola* and La espiral Eterna. All 4 pieces are linked by ideas of cosmology and science in music and rely heavily on repeated musical cells that grow from a simple group into large almost anarchic bodies of sound. Brouwerâs interest in the universe and its scientific structure are vital to this whole period of his output.

The first part of Canticum is subtitled âEclosionâ (hatching) and this title works on two levels, it marks the beginning of a new compositional direction for Brouwer away from his previous tonality and looks forward to a period of musical experimentation.
After three violent chords that cover extreme intervals on the instrument and create an almost unforgettable background of resonance he begins the process of musical growth by building on the smallest interval available, this growth is sporadic, uneven and loosely based on a three note motif. The second section is played with the 6th string detuned by a semi-tone and it is upon this open note that Brouwer builds a solid ostinato rhythm as a basis to further develop the theme used in the first movement and essentially organise the chaos of âEclosionâ into some kind of order. As well as the solo works mentioned this period in Brouwerâs compositional journey bore many pieces of chamber music including âPer Suonare a due#â for 2 Guitars, His first guitar concerto and âPer Suonare a treâ for Guitar, Viola and Flute.
The popularity amongst guitarist around the world of Brouwerâs first two books of âEtudes simples*â( written in 1960 as technical aids to improve various elements of students playing and to continue a legacy begun in the 19th century by composer guitarists Fernando Sor and Mauro Giuliani ) was so great that it was inevitable that Brouwer would return to this genre at some point in the future as not only were they becoming the basis of any students study but also making frequent appearances on the concert platform. The 3rd book was completed in 1981 at the beginning of Brouwerâs journey into his most recent compositional style which he has referred to as ânational hyper-romanticismâ. It is clear from the opening Etude that these works are of a much higher technical level than the previous two books and make many demands on the performer, The musical language is quite different to his compositions of the previous 10 years and show a great level of maturity and the ability to compose concise almost perfect musical miniatures that encapsulate melody, rhythm and various technical aspects in brief musical snapshots.
Running in parallel to his âNational Hyper-Romanticismâ has been Brouwerâs compositions called âPaisaje Cubanosâ Cuban landscapes. The idea was inspired by the landscape paintings of Flemish artist Adriaen Brouwer (1605-1638). Paisaje Cubano con Campanas/Cuban landscape with bells was the first of these and completed in 1986. Brouwer uses various techniques to evoke the feeling of the listener drifting over the landscape of his homeland towards the sound of distant bells. It is also a series of mini homageâs to various musicians that Brouwer holds in high regard, the first section has a dark brooding Moorish flavour evoking the playing of flamenco guitarist Paco de Lucia and leading into a campanella section imitating the cellist Mislav Rostropovic, Then Brouwer introduces the technique of using both hands to tap the strings over the fret board a style favoured by rock guitarist Eddie Van Halen and this also incorporates a rhythmical/visual homage to Tabla maestro Zakir Hussain. There are several other landscape pieces including âPaisaje Cubano con Rumbaâ and âPaisaje Cubano con Tristeza*â.

*Previously recorded by Adam Khan on âA day in Novemberâ DRD 052.
# Previously recorded by Adam Khan and Luis Orias Diz on âInterludioâ Pairecords,


Gilbert Biberian writesâ¦â¦
âThe first things that inspired me with the Haiku were the imagery, the sparseness and the conciseness. As I studied the form more and got to know it more deeply, the structure peculiar to it impressed me increasingly. The Haiku provided me with the opportunity to use their â syllabic â structure to create musical poems reflecting this architecture. It was also an opportunity to compress, to distil in musical terms.
The words of the Haiku are printed on the page of the score and the performer has the choice to read this aloud and combine it with the played notes, thus creating an additional stream of sound to the performance.â

Haiku 1 Ashes my burnt hut,
But wonderful
The cherry blooming on my hill.


Haiku 2 The first snow
Just enough to bend the leaves
Of the daffodils.


Haiku 3 White clouds of mist
Above white cherry blossomsâ¦.
Dawn-shining mountains.


Haiku 4 A fallen flower
Returning to the branch?
It was a Butterfly.


Haiku 5 Now in sad autumn
As I take my darkening pathâ¦..
A solitary bird.


Haiku 6 Mountain-rose petals
Falling, falling, falling nowâ¦.
Waterfall music.



John Duarte was an important figure in the guitar world, composer, teacher, arranger and writer. His earliest musical experiences were in the world of jazz and he draws on that genre in his 1983 tribute to his friend French guitarist Ida Presti a player whose death while at the height of her powers left a void in the guitar world. The outer sections are built on ascending campanella chords (a favourite technique of Presti) and the middle section is more lyrical and melancholic, both sections portray different sides of Prestiâs character.


Music for a languishing Prince was commissioned in 1995 by the Park Lane Group for guitarist Jonathan Leathwood and premiered the same year at Londonâs Purcell room. The title of the piece refers to Italian composer and minor royal Carlo Gesualdo who spent time in jail for murdering his first wife. The piece is subtitled âHomage to Gesualdoâ and Negro quotes directly from two of his famous madrigals for 5 voices published in 1613. The first âLanguisco e moroâ makes itâs appearance after a six bar Dirge like thoughtful introduction, the second âEcco, moriro dunqueâ grows out of a phrase of frantic trills before a return to the calmness of the beginning of the piece.


Carey Blyton was an English composer and nephew of the childrenâs writer Enid Blyton, His most famous work is the song âBananas in pyjamasâ. He wrote music for a variety of combinations including several works for guitar.

He wrote the following about âFor the delight of Shivaâ

âThis piece is based on a Rag recorded by the composer in Pondicherry, Southern India, on April 27th 1985. It was played on the Sarod by Debiprasad Ghosh, a teacher at the International centre for education at the Sri Aurobino Ashram founded in 1910.

The Rag, âMisra Sivaranjaniâ, is best translated as âMisra-mixed, indicating the use of material from Rags other than Sivaranjani itselfâ and âSivaranjani=That which delights Shiva (the patron Deity of music and dance)â.

The first section of the piece comprises the Alap-the first part of the performance in which the Rag in unfolded and explored over the whole compass of the instrument in free time.

The second section is a purely âwesternâ continuation, which explores, in a simple fashion, the canonic implications of an extraordinarily âBlueâ or Gershwinesque phrase which occurred many times during the recorded performance.

No attempt has been made to compose an Indian Rag, it is a piece written in the spirit of this ancient form of music making.

For the Delight of Shiva

La contribución hecha por el compositor cubano Leo Brouwer a la obra guitarrística ha sido vital para el desarrollo del repertorio de este instrumente en los últimos 50 años. Nacido en La Habana en 1939 en el seno de una familia musical (que incluye a su famoso tío Ernesto Lecuona), Brouwer comienza con la composición a una edad temprana. Comenzó sus estudios de guitarra con el célebre Isaac Nicola y en 1959 recibe una beca para continuar sus estudios en Estados Unidos de Norteamérica, guitarra en la Universidad de Hartford y composición en la Julliard School of Music de Nueva York. Regresa a Cuba en los años â60 y es nombrado Director del Instituto Cubano de Arte e Industria Cinematográfica: esto significó para él la posibilidad de dedicar su tiempo a la composición, la enseñanza, las presentaciones en concierto y la el trabajo en colaboración con músicos visitantes. Todo esto tuvo una gran influencia en sus creaciones. En 1961 tuvo la posibilidad de participar del Festival de Otoño de Varsovia donde pudo conocer la propuesta musical de la música avant-garde europea, de compositores como Berio, Penderecki y Bussotti que dejaron una gran impresión en él.

Las tres composiciones de Brouwer que se incluyen en este CD muestran el aspecto más radical y creativo en la escritura musical de Brouwer que marcaron un cambio en la dirección de su proceso compositivo y en su lenguaje musical.
Canticum fue compuesta en 1968 y marca su apertura hacia el período Avant- Garde que continuará hasta entrados los año70â e incluye la producción de obras para guitarra solista como, Tarantos, Parabola* y La espiral Eterna. Estas 4 piezas se apoyan en un criterio cosmológico y científico y se apoya en células musicales repetitivas que se desarrollan desde un grupo simple hasta convertirse en un amplio cuerpo anárquico de sonido. El interés de Brouwer en el universo y su estructura científica fueron vitales en este período.

La primera parte de Canticum, se subtitula Eclosión y su título funciona en dos niveles: por un lado marca el comienzo de una nueva dirección musical compositiva, alejándose de un período tonal y al mismo tiempo se coloca de cara a un período de experimentación.
Luego de presentar tres violentos acordes cubriendo un amplio espectro interválico sobre la guitarra y creando una difícilmente olvidable resonancia, comienza el desarrollo a partir del intervalo más pequeño posible. Este desarrollo se presenta en forma esporádica basado en un motivo construido sobre tres notas que aparecen en forma esporádica.
La segunda sección se ejecuta con la 6ta cuerda descendida en un semitono (Eb) y sobre la resonancia de la misma arma un sólido ostinato rítmico que sirve de base para el desarrollo del tema utilizado en el primer movimiento y esencialmente organiza el caos de âEclosiónâ en una especie de orden. Así como esta pieza solista, Brouwer amplía esta experimentación sobre algunas obras camarísticas, tales como âPer Suonare a Due** (para dos guitarras), su primer concierto para guitarra y âPer Suonare a tre (para guitarra, viola y flauta)

Las primeras dos series de âEstudios Simplesâ escritos por Bouwer en 1960 siguiendo alguna manera la tradición del s. XIX, ya que fueron concebidos para que los estudiantes de guitarra desarrollen diferentes aspectos de la técnica instrumental, tal cual lo hicieran Fernando Sor o Mauro Giuliani. La popularidad que alcanzaron fue enorme, y esto se notó no sólo entre los estudiantes, sino tambien en la frecuencia con la que los mismos aparecían en los programas de concierto. Esto hizo inevitable el hecho de que Brouwer vuelva a trabajar en este sentido. Así es como completa en 1981 su tercera serie de estudios que marcan además un Nuevo cambio en su dirección compositiva hacia lo que él ha denominado como âhiper-romanticismo nacionalistaâ
Desde el primer estudio de esta serie se aprecia una exigencia técnica mayor al que tienen las anteriores series y cuenta con muchas más indicaciones para el ejecutante. El lenguaje musical es muy diferente al de sus composiciones de los años â70 y demuestran un alto grado de madurez y habilidad para componer perfectas miniaturas musicales que encapsulan melodía, ritmo y variados aspectos técnicos en breves escenas.
En forma paralela a este âhiper-romanticismo nacionalistaâ Brouwer compone su serie denominadaââPaisajes Cubanosâ.Se inspira en las pinturas del artista holandés Adriaen Brouwer (1605-1638). Paisaje Cubano con Campanas fue la primera y la concluyó en 1986. Brouwer utiliza diferentes técnicas de ejecución instrumental buscando evocar en el auditor el paisaje relacionando su tierra natal con el sonido de lejanas campanas. A la vez, funcionan como pequeños homenajes a diferentes músicos vistos desde su perspectiva personal: la primera sección tiene un oscuro sabor la música del norte de África, que evoca la particular manera de tocar de Paco de Lucía que deriva luego de una sección de campanelas imitando el estilo de Miroslav Rostropovich Luego, Brouwer recurre a la técnica denominada âtappingâ que tan popular hiciera el guitarrista de rock Eddie Van Halen e incorporando al mismo tiempo un homenaje rítmico y visual al Maestro de la Tabla Zakir Hussain. Hay muchas otras obras paisajísticas, como por ejemplo âPaisaje Cubano con Rumbaâ y âPaisaje Cubano con Tristeza*â.

*Grabada por Adam Khan en su primer CD âA day in Novemberâ DRD 052.
**Grabada por Adam Khan y Luis Orias Diz en âInterludioâ PAI Records

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