Classical guitar magazine critique
Critique dans le magazine "Classical Guitar Magazine"par Steve Marsh,concernant ma composition pour guitare-piano productions d'oz (canada et territoire américain)
Esperanza [score & guitar part]
"From the opening few bars of the solo piano introduction, Esperanza has immediate appeal. This composition is of the late-night, mood music variety and when the guitar eventually joins forces with the piano part, a new dimension is added to the piece. The composition's plaintive and imaginative melody lines plus attractive harmonies and interesting rhythmic directions all add up to a most haunting, charming new addition to the repertoire. Both instruments are on equal par from a musical interest viewpoint. The technical requirement is of around the Intermediate standard and the publication comes with a separate part for the gitar. Altogether a lovely work from a composer I have not come across before but will be watching out for from now on." Steve Marsh (Classical Guitar Magazine)
Critique de ma composition "5 préludes" aux productions d'oz (canada et territoire américain) dans le magazine "classical guitar magazine"par Chris Dumingan.
A handful of preludes that stand on their own
'I had not come across Serge Di Mosole's music before it arrived recently at my door. The five preludes are of decent size, not little 12-bar preludes, but rather each is its own separate little item. Like the SilIs miniatures mentioned elsewhere, the first of these preludes sounds like it could have come from a children's TV program; it's warm and beautifully worked-out harmonies instantly took me back to the days of BBC's Children's Hour. Set in 6/8 in a friendly C major, it nevertheless migrates in and out of several keys along the way in a very natural fashion, and completes with a warm and luscious coda that brought a smile to my face. No. 2 is slower and sadder, with some jazzy chords and a penchant, as well, for arriving in a number of remote keys, only to land again in the home key without any difficulty; a lovely contrast. No. 3 is in dropped-D tuning in A major, and is set three to the bar [...] No. 4 didn't seem to have the same amount of inspiration as the first three. Set in A minor and instantly reminiscent of the Bach A minor Prelude in its figuration.[...] Likewise, "No. 5" was pleasant-reliant on open strings clashing against fretted notes for much of its appeal, but to me, didn't seem as effective as the first three. Nevertheless, the quality of the first three is enough for you to realize that a lot of Serge Di Mosole's music is definitely worth getting to know.'
Chris Dumigan (Classical Guitar Magazine)
Date de dernière mise à jour : 15/12/2017