Artist Profile
Giacomo Fiore
Giacomo Fiore is an artist that any guitar lover should know. I have had a unique opportunity to hear three of his albums in the past few days, and they have given me such a respect for his artistry and a vivid demonstration of his musicality that I am presenting here my very first Artist Profile.
I began by listening to Mr. Fiore's wonderful album Genteel. This was a fortunate choice because it is a great introduction to the various sides of his musical personality. I was immediately impressed with his beautiful interpretations of Milano's Ricecar IV and Fantasia XXXIII. Giacomo Fiore's sensitive approach and intelligent playing brings out the beauty of the contrapuntal flow while never losing the sense of melody. This same care is taken in Scarlatti's Sonata in A Major (K. 208), and in all of the classical guitar pieces, including his own fine piece Genteel, here played in its solo version.
When I first saw that he was to play two Lennon-McCartney tunes, In My Life and Yesterday, I looked forward to his interpretation, but I have to admit that by the time I got there I felt just a bit let down. Not that Mr. Fiore does not play them well - he plays them very well - but his superb performance of contrapuntal classical works left me wanting more. However, if my selfish wish was not met, I was more than compensated with a rich variety of works: A Dance For Muriel, a fingerstyle homage to one of his former teachers Muriel Anderson; Yocoh's intricate Sakura Variations; Giacomo Fiore's own selections From the Scottish Lute Manuscripts; and finally Peter Maxwell Davies' Farewell to Stromness.
At this point I realized that Giacomo is that rare artist who is equally at home in the classical and more popular worlds of music, with stunning technique for both classical and fingerstyle guitar; gorgeous tone and impeccable playing.
When I next listened to Tones from an Open Heart, I had my earlier judgment confirmed. Giacomo Fiore is that rare artist who will appeal to both classical and fingerstyle guitar lovers, and pretty much anyone who loves good music.
Tones from an Open Heart is a magnificent collection of original pieces by Giacomo Fiore. Every one burns with a fiery passion that many search for but few attain. As with virtually every piece he plays, Mr. Fiore is utterly convincing that this is how the piece should sound. You can hear his commitment to each piece in his playing. Don't ask me how you can hear "commitment" because I don't think I could tell you, but unless I'm deaf I can hear it in every single piece. Here is an artist who is holding nothing back.
It is hard to single out tracks as each is outstanding in its own way. I was very happy to hear that Genteel did not lose any of its freshness with the addition of viola and cello (in a lovely arrangement by Michael Ferrari). This is a standout track if only for that. Lee Holland has his work cut out for him adding percussion to these spirited pieces, and he brings an excellent sub-structure over which Mr. Fiore's guitar just flies.
This outstanding album will impress and delight both classical and fingerstyle guitar fans. Mr. Fiore's music, like his playing, clearly comes straight from an open heart.
Not one to repeat himself, Giacomo Fiore's album colors/modern music for the guitar is a devoted to classical guitar music of the past 50 years. This is a repertoire that is neglected by players as well as audiences, so presenting an entire album of it is both a bold and brave move. And it works wonderfully. These composers could not ask for a more sensitive or sympathetic reading of their works.
The album begins with Takemitsu's 1988 All in Twilight. The four movements of this piece are a challenge to read as much as to play, and yet Mr. FIore plays them with a flow and gentle touch that brings out the subtlest nuances - and Takemitsu was a master of subtlety.
Michael Tippett's 1983 The Blue Guitar completes an illustrious link of 20th century masterworks. Picasso's painting of "The Old Guitarist" from his "Blue Period" inspired Wallace Stevens' poem "The Man with the Blue Guitar." The poem in turn inspired Tippett to write this sonata wherein each movement reflects a mood or gesture taken from his reading of the poem.
Possibly the most fascinating piece is Lou Harrison's 2003 Scenes from Nek Chand. The work might be exotic enough as it commemorates architectural elements of Nek Chand's Rock Garden of Chandigarh, India combined with Harrison's recollection of Hawaiian music he heard as a child. However, the instrument trumps all of this: it is written for a steel-string resonator guitar refretted in just intonation. (Just intonation is a system of tuning that contains purer intervals than our standard equal temperament, but only for a single key.) This is an amazing piece of music and kudos to Mr. Fiore for even finding the instrument, never mind bringing it to the world on this album!
Benjamin Britten's 1963 Nocturnal after John Dowland, like the Takemitsu and Tippett pieces is dedicated to and edited by Julian Bream. Given Segovia's famously conservative tastes in music, Bream performed a major service to the guitar world by convincing some of the best modern composers to write for the instrument. I have always been impressed by Bream's magnificent performance of this piece, and Giacomo Fiore's is the first interpretation I have heard that stands beside that of Bream, bringing out a few new details that keep the piece fresh and fascinating.
Giacomo Fiore is an artist that you want to get to know.
You can hear samples from every track on all of these albums on Giacomo Fiore's web site.