THE National Gallery of Australia director Nick Mitzevich this morning unveiled the most ambitious exhibition of Pre-Raphaelite masterpieces ever shown in Australia. With seminal 19th century works of art from the Tate’s phenomenal collection and […]
INTIMATE, powerful and rhythmic are just a few descriptions of the sound of the classical guitar, but when the composer and guitarist Chrystian Dozza from Brazil is playing, he creates a world of resonance that could move anyone.
Without reading a note of music throughout the whole concert and beginning in an almost meditative state, Dozza started with the “Prelude No 3” by Heitor Villa-Lobos.
Immediately he captured the attention of the audience with his playing, and he moved to the sound of the music as he played in an animated but gentle manner.
Dozza has won numerous music contests, he also plays in the Quaternaglia Guitar Quartet, he has recorded three CDs and teaches guitar at the school of music in São Paulo.
Dozza spoke shortly about every piece he performed. In the first part of the concert he played traditional Brazilian rhythms, which turned out to also contain some beautiful melodies, and the second part was his compositions.
His ability to switch from one plucked harmonic note to a full-on fortissimo strum is seamless and we saw and heard this throughout the night, but in “Se ela perguntar”, which means “If she asks” by Dilermando Reis, this was pure seduction. Music does not get more seductive than a Brazilian waltz. The passion and sensuality in this tune is like few other pieces of music. The slow seduction that came from the composer to the player and then to the audience, was intimate, tantalising and complete.
Paulo Porto Alegre, who was Dozza’s teacher, dedicated his “Pequena Suite em Sol” to Dozza. This piece sounded like a popular song and it was full of affection. Over its three parts it maintained that song-like quality but with a rocking and moving short finale.
Dozza’s compositions ranged from a minimal rock piece, to a jig, a Pavan and even a work titled “Battle Piece”. The jig was most interesting, it combined an Irish folk tune and a Brazilian Samba. The technical proficiency that is required in this piece is startling and it had some foot tapping as a percussive effect through this highly original and complex composition.
The final work titled “Baião de Dois” was a heavily rhythmic and technically brilliant work, with styles that this reviewer cannot even describe in words. Needless to say, it was a display of breathtaking mastery of the guitar. The sweet piece Dozza played as an encore left no one in doubt that his ability as a musician and as a composer is something to be searched for and listened to often.