Compositions

This cycle of twelve arpeggio studies was created by the composer in the Spring of 2019 and is reminiscent of the long tradition of concert studies (Études de Concert) that had been established not only by the guitar composers Sor, Regondi, Villa-Lobos, and Brouwer but also the piano-composers such as Chopin, Liszt, Skrjabin, Debussy und Ligeti.

The “Arpeggio Experience” is based on a great variety of patterns of chordal divisions which explore the entire fingerboard of the guitar. They are primarily designed for the concert stage. Since the composer consciously avoided creating extreme virtuosic difficulties in both hands, he has given the performer more freedom to find an aesthetic musical form without having to depend on additional performance indications or directions. The actual purpose of these compositions is to help the performer to work out an individual interpretation which focusses on the development of musical emotionality and personality, structural consciousness, as well as a distinct sensitivity for character of sound. 

The notation has intentionally been kept as simple as possible. It is conceivable to shape the inherent polyphonic and harmonic textures with the assistance of an attentive ear. In some of the studies the bar-lines have been omitted to ensure that the aperiodic phrases are not affected negatively. Within a fundamentally tonal environment the stylistic ambit ranges from the classical romance to minimal music. This cycle is intended to be regarded as a tongue-in-cheek treatment of the cliched tradition of classical guitar studies which are beloved but also have the danger of becoming a little tiresome.