Daniel Nistico | Un Viaje Mistico ... a Mystical Journey

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Un Viaje Mistico ... a Mystical Journey

by Daniel Nistico

Let this album take you on a journey through many different times and places of the world with a mixture of well-known and rare works for solo classical guitar. Features Paraguayan, Spanish, Australian, American and English composers.
Genre: Classical: Traditional
Release Date: 

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  Song Share Time Download
1. Mazurka Appasionata - Agustin Barrios
6:15 $0.99
2. La Catedral: Preludio Suadade - Agustin Barrios
2:27 $0.99
3. La Catedral: Andante Religioso - Agustin Barrios
2:02 $0.99
4. La Catedral: Allegro Solemne - Agustin Barrios
3:09 $0.99
5. Sevilla - Isaac Albéniz
5:50 $0.99
6. Collectici Intim: La Serenor (The Serenity) - Vicente Asencio
4:17 $0.99
7. Collectici Intim: La Joia (The Joy) - Vicente Asencio
2:52 $0.99
8. Collectici Intim: La Calma (The Calm) - Vicente Asencio
3:00 $0.99
9. Collectici Intim: La Gaubanca (The Delight) - Vicente Asencio
1:54 $0.99
10. Collectici Intim: La Frisanca (The Haste) - Vicente Asencio
2:41 $0.99
11. Kinkachoo I Love You - Phillip Houghton
2:57 $0.99
12. Sonatina After an Enchantress - John Anthony Lennon
8:11 $0.99
13. This Morning in Omagh the Sun Rose Again - William Lovelady
6:59 $0.99
Downloads are available as MP3-320 files.


Album Notes
Australian born guitarist Daniel Nistico has performed in numerous countries across the globe, including New Zealand, Chile, Serbia and the USA, establishing himself as a guitarist of high calibre. Daniel frequently participates in major competitions and has been the recipient of several awards and prizes. Daniel has regularly been featured on radio stations ABC Classic FM and 3MBS Fine Music Radio and has performed at prominent venues across Melbourne including the National Gallery of Victoria and Iwaki Auditorium.

In 2011 Daniel won 1st place representing Australia and New Zealand in the Lions Global Youth Music
Competition held in Seattle, USA. In 2013, Daniel won 2nd place in The World Competition, an open instrumental competition run entirely online. In 2014 Daniel won 1st place in the Great Lakes Guitar Society Competition held in Buffalo, NY, USA.

Daniel was first taught by his father at the age of twelve and soon studied at the Victorian College of the Arts Secondary School (VCASS), a specialist music and dance school, winning the Most Outstanding Soloist award in 2007. Daniel completed his undergraduate degree at the Victorian College of the Arts, studying with award winning guitarist Tonié Field and internationally renowned pianist and Eastman alumna Dr. Donna Coleman. Daniel completed his Masters of Music Performance at the Melbourne Conservatorium of Music in 2013.

In 2013, Daniel recorded his debut album “Un Viaje Mistico … A Mystical Journey,” containing both familiar works and hidden gems of the guitar repertoire.

Daniel is currently undertaking a Doctor of Musical Arts (DMA) at the Eastman School of Music, studying with Nicholas Goluses and Paul O’Dette. Daniel is the first guitarist in the school’s history to be nominated for an Artist Certificate, an award that acknowledges rare excellence in performance standard.


Born in Paraguay, child musical prodigy Agustin Barrios was one of the early
20th century's leading guitarist/composers. Barrios wrote a vast number of works
in varying styles, including music inspired by his own Paraguayan and South American
folk origins, such as the Milonga and the Maxixe. Barrios also composed several
Waltzes and Mazurka Appasionata, all in a style influenced by the
revolution of Chopin. Composed in 1919, Mazurka Appasionata,
(or Impassioned Mazurka) also titled “The Soul of María Ester”, describes the
relationship Barrios had with María Ester.
Another style of composition identifiable with Barrios is his Bach inspired neo-baroque
style, clearly evident in La Catedral. The first movement, Preludio “Suadade” was written
after the following two movements. “Suadade” is a Portuguese word that
denotes deep sadness. This “Suadade” quality is prevalent in many of the works of
Barrios. Andante Religioso was inspired by an organist playing the music of Bach
and this organ quality and power can be heard in the dense repeated chordal passages.
The work concludes with the hustle and bustle of the streets in the Allegro Solemne,
demonstrating the incredible virtuosic writing that displayed Barrios' abilities on the guitar.
His playing can be heard on recordings, as in fact Barrios was the first guitarist to record.

Spanish composer and pianist Isaac Albéniz was also a child prodigy
making his first public appearance at the age of 5. As well as being
a gifted composer and pianist, Albéniz was also a prodigious improviser.
Suite Espagnola began its existence in this way, being partly improvised in
an 1886 recital. Like many other works of Albéniz, Sevilla and the remaining
6 movements of the Suite are evocative of different regions of Spain.
The Sevillana is a vivid and lively folk dance in three that derives from the Seguidilla dance.
Sevillana often contain lyrics based on country life, love and pilgrimage.
In this particular case, Sevilla contains two main contrasting sections, where one could
attribute the first rhythmical, lively one as being dance and the second slower, lyrical section
as being song. Sevilla and the remaining movements from Suite Espagnola have been transcribed
for guitar and are widely played today. Upon hearing Spanish guitarist Francisco Tárrega
play these works on the guitar, Albéniz is reputed to have said that he thought his works
suited the guitar more than the piano.

Vicente Asencio was born in Valencia and undertook his musical training
as a young child with his father. Asencio studied with Joaquin Turina and his
early style shows clear influences from Manuel De Falla. Narciso Yepes, one of
Spain's foremost 20th century guitarists, undertook musical studies with
Asencio. According to Yepes Asencio “was a pianist who loathed the guitar
because a guitarist couldn't play scales very fast and very legato, as on a piano
or violin.” Through dedicated practice and technical improvement, Yepes managed
to match the rapid figures that Asencio demanded.
Collectici íntim was a work dedicated to Yepes and the importance of their relationship
is highlighted in the foreword of the work - “…[Asencio] was no guitarist,
but he was a great musician and an exceptional educationalist. I dare say that at the time
he had little interest in the guitar. But day-by-day he showed more interest in the beauty
and limitations of this instrument, until he decided to dedicate a good deal of his time to
my musical formation. Within me grew an unlimited enthusiasm for musical analysis and for
the application of instrumental technique to the problems that music posed for me…”

Australian composer Phillip Houghton has written many solo and chamber works
for guitar. Houghton was originally trained as an artist;
a clear influence of his incredible sensitivity to colour and timbre on the guitar.
Houghton was self taught as a composer, being influenced by a variety of genres
including classical, jazz, rock and world music.
Houghton's scores are notoriously marked with fascinating advice as to the
types of sounds to be achieved. On the score of Kinkachoo, I Love You,
Houghton writes “with a sense of weightlessness; to hover and glow.”
The score itself, only 2 pages long, is heavily peppered with expressive indications
and markings, demonstrating Houghton's musically colourful understanding of the guitar.
Houghtons works are often inspired by myths and nature.
Underneath the title Houghton writes, “ … the Kinkachoo, a mythical bird, once
wounded in the Spirit-Realm, heals and flies into the world.” This almost semi-programmatic
dialogue can be interpreted in the musical structure, where the climax towards the end could
be interpreted as being the mythical bird flying into the world.
This kind of programmatic story telling is usually a special feature in Houghton's music,
and is often done with very minimal compositional resources, but with maximum effect.

John Anthony Lennon (not to be confused with the Beatles member, John Lennon!)
was born in North Carolina and currently resides in Atlanta as a professor of
composition and theory at Emroy University. Lennon is known for his lyrical
compositional style that often contains evocative titles. The guitar has fascinated Lennon
since childhood. Lennon's first true understanding for the guitar came to him by none
other than Andrés Segovia at a concert in San Francisco.This experience gave Lennon a
deeper knowledge of the way the fretboard and it's patterns and symmetries created music
on the guitar. Further to the influence of Segovia, Lennon had also witnessed other legendary
guitarists, Chet Atkins, Eric Clapton and Django Reinhardt, perhaps further deepening his
knowledge, understanding and curiosity for the instrument. Concerning his compositions,
Lennon says, “the best pieces spring from small ideas and follow a path as though they
compose themselves.” Lennon's guitar works make effective use of the instrument's
patterns and symmetries, producing a unique blend of sounds and effects. Sonatina is
a fine example of late 20th cenury compositional style, within a fairly tonal system.

William Lovelady has written works for guitarists Slava Grigoryan, Craig Ogden
and Amanda Cook. Cook describes his music as "evocative and atmospheric",
resulting in a style that responds well to audiences. His use of clever techniques
and unusual harmony results in music of great poignancy and nostalgia. The title
of this work serves as a tribute to the devastating 1998 car bomb attack that occurred
in the town of Omagh, Northern Ireland, killing 29 people and injuring 220. This work is an
exemplary example of Lovelady's expressive harmonic language. It opens with
an introductory section that displays a very unique writing style for the guitar.
It combines spaciousness with rapid flourishes that I find reminiscent of the
ornamental figurations of an Irish Bagpipe. This section concludes with a thrice-
repeated figure and transitions into a bass line that serves as the main
motivic material for the rest of the work. Here Lovelady demonstrates a wonderful
understanding of the tremolo which, combined with his expressive
harmonic vocabulary, creates a work that is easily appealing but still contains musical,
aesthetic and expressive depth.

Written by Daniel Nistico



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