Word: fisk
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Dates: during 1990-1999
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Ironically, Marlowe feels at home in Algeria. It reminds her of Beirut, where she lives with her husband Robert Fisk, Middle East correspondent for the London newspaper the Independent. "Like Lebanon," she says, "Algeria is marked by French as well as Arab culture. Both countries have been tugged back and forth, and the resulting identity crises led in both cases...
Throughout four Scarlatti keyboard sonatas (in D Major, G Major, E minor and A Major), Fisk's concentration on the fingerboard and frets never lapsed. He did take some liberty with the first two sonatas by allowing for dynamic contrasts and a ringing bass line that would be impossible on a harpsichord. Fisk might have expanded these liberties to include a thinning of the sonatas' ornamentation, whose technical difficulty sometimes weighed down his otherwise ebullient accounts. In the E minor sonata, Fisk allowed himself to be tossed easily between its simple lines with more delicacy than one would expect from...
...whole piece sort of works towards the grand finale," Fisk said to introduce Mauro Giuliani's Rossiniana No. 1. Indeed, this setting of themes primarily drawn from 'Italiana in Algiri., fraught with acrobatics through which Fisk easily maneuvered, spent a third of its time reaching a long-sought conclusion. Though it resisted breaking into opera for the most part, the Giuliani did finally have the chance to simulate a Rossiniesque stampeding finale on the guitar...
...from George Rochberg's "American Bouquet" offered a completely different view of the guitar's capabilities. His adaptations of "My Heart Stood Still" and "I Only Have Eyes for You" lent an improvisatory, introspective tone to the guitar; it was much like viewing the old melodies through a kaleidoscope. Fisk would have done well to lose himself a little more in the ideas of these pieces, rather than focusing significantly on embellishment. He executed the last selection, a genuine if overly scripted "Notre Dame Blues," With appropriate gusto, smiling visibly for the first time while playing. Perhaps he was considering...
...Fisk rounded out the program with another short and mystically impressionistic de Falla transcription ("Homenaje Pour le Tombeau de Debussy"), and a clearly well-rehearsed 24th Caprice of Paginini. Here, transcribed pizzacati, though sometimes lacking in volume, were remarkably distinguishable from regularly bowed notes. As an encore, Fisk offered a similarly effortless and energetic rendition of Julio Segruras' "El Colibri...