Guitarcosmos
by
Reginald Smith Brindle
Although this website is primarily focussed on the studies of Fernando Sor and other 19th-century composers, I think it is highly appropriate to include studies by more recent composers who have either been influenced by Sor and his contemporaries, or have found new methods of expression on the guitar. Reginald Smith Brindle certainly did the latter with his Guitarcosmos series (published by Schott) and longer works such his Polifemo de Oro, recorded by Julian Bream and others.
The studies contained in Volume 1 of Guitarcosmos are very varied. As the composer states in the introduction: 'There is tonal music, and atonal music, pieces using whole-tone and pentatonic scales, modal music, bitonality, serial techniques and music in the style of free dissonance'. As played by Julian Bream, Smith Brindle's music is imbued with a very wide tonal spectrum. By playing these pieces on a short-scale classical guitar of 60cms string length, strung in gut trebles and silk basses, and plucked with just the flesh of the fingertips, the tonal pallet is more muted. I actually prefer this restricted range as it focusses the attention more on the intervalic relationships within a piece, and brings out an almost Renaissance lute-like quality which you may or may not find attractive.
Eight Little Canons No.1 [Page 8]
Eight Little Canons No. 2 [Page 8]
Eight Little Canons No. 3 [Page 8]
Eight Little Canons No. 4 [Page 9]
Three-part Chorale [Page 11]
Four Chromatic Melodies No.1 [Page 11]
Four Chromatic Melodies No.2 [Page 12]
Four Chromatic Melodies No.3 [Page 12]
Four Chromatic Melodies No.4 [Page 13]
Canto [Page 23]
Aeolian Mode [Page 23]
Simple Serial Melody [Page 24]
Atonal Melody [Page 24]
Artificial Harmonics [Page 29]
Here is a wiki page on Smith Brindle, and a Guardian Obituary.