Bye the Sea - Rapsodie Pastorale

 “By the Sea” is a programmatic composition conveying my impression of the serene shoreline spot named Spornes on the island of Tromøy outside Arendal, Norway. Spornes is well known to the local residents, a favorite destination for leisure and contemplation. It provides a unique nature experience as the shoreline was shaped during the ice age leaving an edgy landscape and large boulders just off the water. Moreover, winter storms will change the shoreline from year to year, some years providing a fine sandy beach and other years a tumultuous rocky seaside terrain. Always, though, the waves from the sea gives a soothing backdrop and the enormity of the ocean is a reminder of the mightiness of the earth.

“By the Sea” captures an imaginary trip to Spornes from the nearest town, Arendal. The majestic and resolute introduction depicts glimpses of the growing town as I saw it in my upbringing in the 1970s and 80s, when sporadic industrialization had eagerly paved the way for buildings in the brutalist architectural style (cement brut), concrete structures randomly interrupting the nature. The trip would then take you over the bridge to Tromøy, a Golden Gate lookalike and a engineering feat that had been completed a couple of decades earlier. Reaching the destination, the calmness of Spornes is captured by a lyrical melody in D-Major which becomes the main thread of the “By the Sea.” The lyrical melody is interrupted by a tumultuous rhythmic section in B-Minor depicting the playful gusts of the winter storms. In the end, tranquility is restored by the sentimental melody in a romantic arrangement.

 

Postludium

 

"Postludium" is a poignant and evocative composition by Norwegian composer Kjell Marcussen. Written for classical guitarist Espen Jensen, the piece serves as a heartfelt tribute to Bengt Martinussen, Espen's childhood guitar teacher and Kjell's lifelong friend.
 
Bengt and Kjell shared a deep bond, having grown up together in Arendal, Norway, during the 1950s, 60s, and 70s. Their friendship was further strengthened through their studies at the Agder Music Conservatory. Bengt passed away in 2013, and this composition reflects the deep sense of loss and remembrance felt by both Espen and Kjell.
 
The composition captures the essence of nostalgia and remembrance, reflecting on the cherished memories and the profound impact Bengt had on both Espen and Kjell's lives. Through its delicate melodies,intricate harmonies, and vast dynamic range, "Postludium" not only honors Bengt's legacy but also celebrates the enduring power of friendship and music.

Gallerianas No. 3 “The Met”

 
Gallerianas No. 3: The Met is a captivating composition by Espen Jensen, part of his Gallerianas series initiated in 2018. This series reflects his experiences and observations from various galleries and art museums, capturing the essence of the places and the stories they tell.
 
Gallerianas No. 3 specifically commemorates Espen's first visit to The Metropolitan Museum of Art in New York City. His primary goal was to see the guitar of the legendary Andrés Segovia, crafted by Hermann Hauser (1882-1952). Segovia (1893-1987) played this guitar from 1938 to 1963 and referred to it as the greatest guitar of his time.
The journey to find this guitar, hidden away from the main collections, is mirrored in the composition's structure. 
 
The piece is rich with diverse melodies and rhythms, symbolizing the exploration of the museum's vast array of artifacts from different cultures and eras. The music takes listeners on a journey through the museum, evoking the sense of discovery and wonder. The climax of the composition is marked by a poignant and expressive guitar melody, celebrating the moment Espen finally finds Segovia's guitar.

Seconds

 
Espen Jensen's 2015 composition "Seconds" for guitar and bassoon is a captivating exploration of dynamic contrasts and emotional depth. The piece traverses a broad spectrum of expressions, from the soft and tender to the extremely loud and powerful, creating a rich and immersive auditory experience.
 
Commissioned for the Agder Camerata tour, "Seconds" features a unique scordatura tuning for the guitar (E-A#-G#-D-G-C), which enhances the instrument's expressive range with a very low bass, providing additional options for sustain, resonance, and power. Agder Camerata is an annual project in Norway that showcases a different combination of performers each year, offering a wonderful variety of styles and timbres.
 
A central element of the composition is the major second interval, prominently featured throughout the piece and embedded within the scordatura tuning between the second and third strings. The title "Seconds" not only refers to this compositional technique but also reflects on the concept of time. The piece explores how our perception of time can vary depending on our emotional state and the circumstances around us. Sometimes, a second can feel fleeting, while at other times, it can seem to stretch endlessly.
 
This thoughtful reflection on time, combined with the dynamic interplay between the guitar and bassoon, makes "Seconds" a deeply evocative and innovative work.

Isolation by Chrystian Dozza is a poignant reflection on the pandemic and its far-reaching ramifications. Composed for and dedicated to the Jacobs Guitar Ensemble, this piece captures the essence of solitude and introspection experienced during the global crisis. Through its evocative melodies and harmonies, "Isolation" conveys a deep sense of longing, resilience, and hope, mirroring the emotional journey many endured during these unprecedented times.

The piece was filmed and recorded by the Jacobs Guitar Ensemble, featuring each performer in their own space, separated from each other.  

Chrystian Dozza is a renowned Brazilian classical guitarist and composer, celebrated for his contributions to instrumental music. He has won several prestigious competitions, including the Concurso de Violão Musicalis, Concurso Novos Talentos de Música Erudita, and Concurso Violão sem Fronteiras.
 
Dozza has released three albums: Songs from the Land (2006), Fantasia Mineira (2010), and Despertar (2014), featuring his original compositions and creative arrangements of Brazilian classics2. He is also a member of the Quaternaglia Guitar Quartet and Trio Opus 12, showcasing his versatility as a performer2.
 
In addition to his performance career, Dozza is a dedicated guitar teacher at the Escola de Música do Estado de São Paulo (EMESP)2. His work is highly regarded for its innovative quality and contribution to Brazilian music, earning praise from notable musicians like Sérgio Assad and Paulo Bellinati2