Atlantic Guitar Quartet - Debut Recording
The Atlantic Guitar Quartet is a Baltimore-based chamber ensemble dedicated to expanding the guitar repertoire by commissioning and performing new works by some of today's most exciting and innovative composers.
This debut album will feature music by French composer and guitarist Olivier Bensa, as well as works written specifically for the quartet by composers Christopher Gainey, Ronald Pearl and David Smooke.
All music is performed by Petrit Ceku, Kevin Shannon, Zoe Johnstone Stewart and Jonathan Zwi.
The quartet has already completed the recording of the raw tracks and is raising funds to complete the editing, mastering and final production of the album.
Your contribution will help the Atlantic Guitar Quartet present this great music with the highest possible quality and detail.
About the Music:
Be Not Afeard: Music From Prospero's Island (2012) Ronald Pearl
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Be not afeard; the isle is full of noises,
Sounds, and sweet airs, that give delight and hurt not.
Sometimes a thousand twangling instruments
Will hum about mine ears, and sometime voices
That, if I then had waked after long sleep,
Will make me sleep again: and then, in dreaming,
The clouds methought would open and show riches
Ready to drop upon me that, when I waked,
I cried to dream again.
Shakespeare, The Tempest
"I have always been fond of this moment in The Tempest where Caliban describes for the newcomers to the island that the sounds they’ll hear around them will be foreign and strange, enchanting and enticing. In looking to write a work for the Atlantic Guitar Quartet, I turned to this passage for inspiration. The result was a five-movement suite, Be Not Afeard: Music from Prospero’s Island. Each movement takes its title and mood from a different extract of the passage"....Ronald Pearl
Meltwater (2012) Christopher Gainey
"Over the past 10 years, I have lived in three different time zones, and this has caused a certain increase in my appreciation for large environmental processes. When I was living in Baltimore and visiting my family in Pennsylvania, I vividly remember the first time I drove past a sign marking one edge of the “Chesapeake Bay Watershed.”
The immensity of this system, stretching as far north as upstate New York and as far south as Virginia, and the beauty of the slowly flowing water that shapes it fills me with a type of awe that I am unable to adequately describe.
From Baltimore, I moved to Iowa, gaining an hour and crossing the Mississippi into an unassuming Grant Wood dream world of languid muddy rivers and bucolic rolling hills. Little did I know that I was soon to have the extremely humbling experience of frantically stacking sandbags as the floods of 2008 consumed portions of Iowa City and Cedar Rapids. This was a tragedy to be sure, but I don’t remember ever seeing people working so hard to save the houses of total strangers.
I live now in Vancouver, British Columbia, three hours behind Baltimore and across a well- guarded invisible line. Despite this barrier, I have been able to spend time hiking the mountains and coastline of the Pacific Northwest from Tacoma to Whistler often witnessing water flowing off of a melting glacier in the morning, and streams rushing into the Salish Sea in the evening. This condensed and dramatically dynamic environmental system has helped to solidify my conception of the scope and impact of water as a natural force, and as a metaphor for musical form.
Meltwater would not have been possible without this shift in perspective. At times the music trickles, at other times it engulfs. Often serene, but sometimes violent, the music moves between textures, beautiful and harsh. But it always flows"..... Christopher Gainey
Topographies: map (and Distortions) (2012) David Smooke
"The Topographies series of pieces consider how our memory of a place differs from the place itself. As I was conceiving this composition, I kept in mind the images found in the series of light boxes created by the guitarist and artist Jonathan Zwi, which for me evoked the idea of alien landscapes as viewed from a great height. I convey this ideal vision of impossible maps in the music as motives echo throughout the ensemble, but distorted through the use of various unusual objects to create the sounds themselves and also through the detuning of the middle two guitars. The music of Topographies 2 gradually explores various sonic regions".... David Smooke
La Grande Terre (2010) Olivier Bensa
French composer and guitarist Olivier Bensa's musical identity has been strongly influenced by two guitar greats: Pedro Soler (a flamenco guitarist) and Oscar Cacérès (his first major guitar teacher). From Cacérès, Bensa claims to have inherited his craving for music of all genres and his passion for baroque music, chamber music and an instinct for transcription.
In La Grande Terre, Bensa evokes different stages of the Earth's development, its beings and the ideas and concepts they create.
Through carefully selected extended techniques, Bensa elicits a sense of the Earth's primordial beginnings in Mineral.
Eclosion presents an insatiable rhythmic drive and unique timbres and textures to represent the hatchings and evolutionary multiplication of simple creatures.
Cercle represents the mysterious cyclical existence found on the smallest scale to the largest in a movement that has points to an undefinable quality in the cycles of life.
Words, ideas and cultural constructs are represented in Paroles with more explicit references to contemporary culture.
Memoire acts as a compositional synthesis of the entire work by quoting representative motivic fragments that were presented and developed in previous four movements. However, the quotations are not employed ah hoc, but rather the entire movement function on a psychological level, giving the impression of distant sounds and ideas that once were.
Painting, photography and poster design by Jonathan Zwi
The meaning of a musical work goes beyond notes written on a page
Or even the sounds that represent those notes
The interpretation and presentation of a musical work have as much to do with its artistic meaning as do such fundamental aspects as notation or pitch
The Atlantic Guitar Quartet is dedicated to presenting unique works of significant artistic and intellectual value by living composers -
- works that are musically accessible and emotionally Inspiring
With major institutional support from the Presser Foundation and the Peabody Conservatory - and in collaboration with composers, dancers, choreographers, painters, photographers and filmmakers -
- the Atlantic Guitar Quartet serves as a catalyst for the creation and presentation of important new works in the expansion of an entire genre
Their debut album will feature music by Olivier Bensa as well as world premieres by Christopher Gainey, Ronald Pearl and David Smooke who have written and dedicated their music to the Atlantic Guitar Quartet
Help support the Atlantic Guitar Quartet in actively expanding the concept, presentation and definition of classical guitar performance
Video by Caleb Freese
Music by Olivier Bensa
Performance by David DeDionisio, Kevin Shannon, Zoe Johnstone Stewart and Jonathan Zwi
Risks and challenges
We are glad to say that the hard work is already done!
The most demanding and artistically challenging work is now behind us. After years of innumerable rehearsals and three days of recording in the studio, the biggest part of the project has been completed.
We are now in need of the funds for the final phase of post production: mixing, editing, art direction and manufacturing of the actual CDs.
If you help us meet our goal, it will be smooth sailing until the CDs are ready to ship!Learn about accountability on Kickstarter
- (30 days)