Recensies

Hommages pour Guitare

HOMMAGES POUR GUITARE for solo guitar by Eugène den Hoed Muziekuitgeverij lduna VOF 28pp. Here are nine contemporary pieces for solo gultar composed by a guitarist who, as well as studying classical guitar, also has strong connections with pop and blues bands (e.g. the instrumental progressive rock group of the 70s, Bonfire). Each composition in this album pays its own tribute to some of the best-known composers which should be recognisable to most classical guitarists. Hence there are homages to Bach, Sor, Rodrigo, Ponce, Giuliani, Piazzolla, Tárrega, Carlevaro and Brouwer. Most of the music has strong connections, stylistically, with the dedicatees but there are a few where this connection is a trifle tenuous and it is difficult to ‘get’ the association, but even so, all the collection are very well written and thoughtfully constructed for the guitar, with most of the notes falling neatly under the fingers. Of particular interest are the cormpositions paying tribute to Ponce and Carlevaro, the former one, a very beautiful work being in the manner of a Nocturne and the latter one a delightfully animated Sicilienne. These compositions are, without a doubt, a really valuable addition to the contemporary repertoire for the intermediate student and this is a book I will be uslng with my students. Recommended. Steve Marsh – Classical Guitar, march 2007 

Fantasias for Guitar

FANTASIAS FOR GUITAR for solo guitar by Eugène den Hoed Muziekuitgeverij Iduna VOF 36pp.

These nine fantasias are aimed around the intermediate level of difficulty; their intention is to try and augment the repertoire of contemporary guitar music and enable the student to try out and appraise ‘modern’, atonal music without having to struggle with the likes of Bennett, Henze, Martin, etc. Despite the dictionairy definition of a Fantasia being a compositlon structured according to the composer’s fancy, these nine pieces are actually written in a stricter form than that implies and are quite accessible both to the ear and from a technical viewpoint. There is some very good writing contained within these pieces and a brief set of three or four pieces could easily be created from this book to be included in the informal student concert or the like. Presentation is very good with clear printing and sensible fingering by the composer. Steve Marsh – Classical Guitar, march 2007 

Guitar Reflections

GUITAR REFLECTIONS for solo guitar by Eugène den Hoed Muziekuitgeverij Iduna VOF 34pp. This is the third book of compositions to date which I’ve reviewed by this composer, who, until just a few weeks ago was an unknown name to me. Guitar Reflections shows Eugène den Hoed in a different manner to his other two reviewed works which dealt with intermediate level contemporary atonal music in the one book and compositions written in the styles of renowned composers in the other. This new edition is aimed more at the lower intermediate student and is composed in a more ‘traditional’ style as regards tonality. I didn’t think the 20 studies in this book were as attractive and appealling as his more difficult compositions but nevertheless there are quite a number of pieces here which many students will surely find pleasing and with diligent practise should help develop techniques such as legato, scale passages, arpeggios, higher positions, etc. The music is very well presented and is adequately fingered. Steve March – Classical Guitar, march 2007 

Impressionatas

IMPRESSIONATAS for solo guitar by Eugène den Hoed Muziekuitgeverij Iduna VOF 26pp. This compilation of grades 3-4 pieces are in a similar vein to the same composer’s Guitar Reflections, where a collection of studies, sixteen in this book, are presented to the student to improve not only their repertoire but also various guitar techniques such as arpeggios, slurs, scales, phrasing, high positions, etc. From a personal viewpoint I found these pieces a little more attractive than the ones contained in the afore mentioned book. They contain some nice melodic lines, interesting harmonies and some excellent rhythmic material for the student to get to grips with. Well worth a look at. Steve Marsh – Classical Guitar, march 2007 

Twelve Different Moods

TWELVE DIFFERENT MOODS by Eugène den Hoed Muziekuitgeverij Iduna V.O.F. 16pp. Here is another book from this fine Dutch composer whose 12 Evocations so impressed me recently. Here his little pieces are aimed squarely at the lesser grades, these being graded 3—4. Each little piece is one page in length and they do vary considerably from the slightly enigmatic Breeze on the Water whose mostly quaver movement manages to be sad and restless at the same time to Another Drunken Sailor, which sounds like a sea shanty. On the other hand we have A Fancy, which is quasi-Elizabethan in style, or A Story Without Words which goes almost pictorially through a number of contrasting moods. Noisy Traffic speaks for itself with its semitonal clashes imitating car horns, whereas Latin Holidays has a certain amount of offbeat accents and would help the less able players to understand how to approach this style of music. I found this little set very useful, quite fun and well-written for the guitar. Any interested parties should have no hesitation in given it a chance. Chris Dumigan – Classical Guitar, march 2007 

 

 

 

 

Evocations for guitar 7 – 12

EVOCATIONS 7- 12 by Eugène den Hoed Muziekuitgeverij Iduna V.O.F. 28pp. Book 2 of these ‘Six Impressionistic Pieces for Guitar’ as they are subtitled, are all astep harder than the Book 1 (See separate review) The composer grades them as 6—7, and like Book 1 they are composed in a modern – impressionistic idiom with each evocation having its own characteristics in structure, tempo and harmonies. Yet again this book, like its companion reveals some surprisingly adventurous music, completely tonal yet never obvious and each of the pieces is a wonderfully complete separate item on its own. I could see a small number of these being perfect as a suite to play in the middle of your recital. Great! Chris Dumigan – Classical Guitar, march 2007 

 

Theme and Variations

THEME AND VARIATIONS by Eugène den Hoed Muziekuitgeverij Iduna V.O.F. 12pp. Right from the start this piece makes quite an arresting effect as the Theme itself is in single notes and its intervals are quite wide in range, thus making for quite an unusual yet completely tonal idea that immedaitely makes one wonder exactly the composer could go with such an idea as this. Having seen a number of this gentleman’s pieces now I can firmly recommend them as music worth playing, and Eugène den Hoed as a composer whose ideas are excitingly original yet utterly approachable. Chris Dumigan – Classical Guitar, june 2007

Gitaar Duetten – Joseph Bodin de Boismortier

GITAAR DUETTEN by Joseph Bodin de Boismortier. Arranged from flute duets by Eugene den Hoed, Muziekuitgeverij Iduna v.o.f. 27pp plus CD. Eleven Baroque dances here, arranged from flute duets by the prolific French composer de Boismortier (1689-1755). They lend themselves well to transcriptiod for two guitars, and the result is effective and enjoyable, requiring a level from around grade two to grade five. The arranger consistently gives the higher part to guitar one, sometimes thinly harmonised, with the lower part taking the bulk of the harmony, often playing in two parts. The lines frequently run in parallel thirds and there is plenty of interest in each part with imitation and suggested ornamentation. Doucement , in C major, is straightforward to put together with an attractive melody. Sauteuse is lively with imitation and the two Tambourins are stylistic and mostly homophonic. The Rondeau is more challenging in its running quavers and semiquavers requiring accurate articulation from both players and I particularly liked the characterful Menuets, in C major and C minor. This very well presented volume contains a useful amount of rewarding and unusual material, suitable for intermediate duos. Linda Kelsall-Barnett – Classical Guitar, december 2007