Krystin O'Mara | Obsession

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Classical: Contemporary Classical: Romantic Era Moods: Type: Instrumental
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Obsession

by Krystin O'Mara

OBSESSION explores the darker side of the classical guitar literature, taking the listener on a journey through beautiful, beloved works by Fernando Sor, Regino Sainz de la Maza, and Augustin Barrios, and new works by Viet Cuong and Ian Krouse.
Genre: Classical: Contemporary
Release Date: 

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1. Zapateado
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2:53 $1.49
2. Andante Largo
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7:31 $1.49
3. Marche Funebre
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8:45 $1.49
4. Obsession
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10:31 $1.49
5. Julia Florida
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4:15 $1.49
6. Le Rossignol (The Nightingale)
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10:08 $1.49
7. La Petite Fille aux Allumettes (The Little Match Girl)
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4:17 $1.49
8. Les Souliers Rouge (The Red Shoes)
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7:10 $1.49
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ABOUT THIS ALBUM


Album Notes
OBSESSION is an album that explores the darker side of the classical guitar repertoire. Performed by classical guitarist Krystin O'Mara, the album consists of beloved favorites and new works, including Zapateado by Regino Sainz de la Maza, Fantasie Elegiaque by Fernando Sor, OBSESSION by Viet Cuong, Julia Florida by Augustin Barrios Mangore, and Trois Tableaux d'Andersen by Ian Krouse.

Of the recording, composer Ian Krouse writes, “I have waited twenty-five years for the Trois Tableaux d’Andersen to find such a lovely and convincing advocate! Krystin’s breath-taking command of this early, epic proto-sonata is simply awe inspiring. How appropriate that my youthful effort, composed at the age of 26, should find its ideal match in a young virtuoso of just about the same age. She makes it sound as if it were written for her.”

For additional artist information, please visit: www.krystinomara.com.





Reviews


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Tom Poore

Confident & Searching Artistry
In her early 20s, guitarist Krystin O’Mara has until now slipped under the radar. Never touted in her youth, she’s quietly worked at her craft in the shadow of better known players. But she watched, listened, and learned. With this debut solo CD, she now proves herself worthy of attention.

Debut recordings are often a hodgepodge of whatever the young musician happens to have under his or her fingers. But O’Mara shows great care in this CD. The centerpiece—and the piece that gives the CD its name—is “Obsession,” a ten minute tour de force written by the young award winning composer Viet Cuong. O’Mara and Cuong met while both were students at the Peabody Conservatory in Baltimore. Much back and forth accompanied the work’s genesis. “Obsession” is Cuong’s first work for guitar, and its composition wasn’t easy. (Told that something he’d written wasn’t possible on the guitar, Cuong needled O’Mara: “Can’t this instrument do anything?”) Hearing “Obsession,” however, one would be loathe to brand the composer as a novice to the guitar. With his first effort, Cuong has added a substantial work to the guitar repertoire, an impression underscored by O’Mara’s driven and committed performance.

Around this world premier O’Mara offers a journey from light to dark. She opens with the frothy and spirited “Zapateado” by Sainz de la Maza. Then, with barely time to catch our breath, we’re plunged into the 19th century nihilism of Fernando Sor’s “Fantaisie élégiaque.” In lesser hands, programing an early romantic work just before Cuong’s “Obsession” might have been a jolting miscalculation. Amazingly, O’Mara pulls it off, conjuring the illusion that Cuong picks up where Sor left off. When a player makes such an unlikely juxtaposition work, one begins to realize that we’re in the hands of a confident musical guide.

After cleansing the palate with a quirky but beautiful performance of “Julia Florida” by Barrios, O’Mara concludes with the shadowy “Trois Tableaux d’Andersen” by Ian Krouse. Her recording spurred this response from Krouse himself: “I have waited twenty-five years for the Trois Tableaux d’Andersen to find such a lovely and convincing advocate! Krystin’s breath-taking command of this early, epic proto-sonata is simply awe inspiring. How appropriate that my youthful effort, composed at the age of 26, should find its ideal match in a young virtuoso of just about the same age. She makes it sound as if it were written for her.”

Out of the gate O’Mara has created a remarkable document. If she’s one to worry, she might wonder how she’ll top such a worthy debut. But that need not trouble us. For the moment, we can relish the introduction of a new artist who’s started so well.