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“Evening in Granada” Los Angeles Guitar Quartet DELOS DE 3144 Released: July, 1993

Contains: Folías, (Guitar Quartet No. 4) _______

“The epic length “Folías” is one of the most fascinating pieces on this disc. Composed by the contemporary composer Ian Krouse for the quartet, it blends a range of styles and is called a “time travel’ by the composer – starting with a pulsating, lightning fast chorus of plucking and developing to the main theme midway, moving to a fascinating modern sound and then back to its theme, slowing and quietly tapering to its conclusion. Its diverse sound, from Flamenco to Baroque to modern, creates a piece that sounds both classical and contemporary, its composition much like the group itself.

“Ian Krouse is a composer whose works the [LAGQ] has played for many years, here a work whose theme is a Spanish dance. The traditional theme is played after the half-way point, revolving through versions made famous by Sanz and Guererra. Krouse understands this traditional pattern very well and how to distance himself from it, bringing it to life with a new meaning.”

~GUITAR AND LUTE, 1996

“This remarkable 15 minute piece is an absolutely compelling work, which only reveals its famous them halfway through, and moves in a circle of “time travel” as the composer puts it. Commencing with a sort of minimalistic whispering alternated with powerful chords, it journeys backwards in style from today to the Baroque and Renaissance, with guitarists sure to recognize Gaspar Sanz en route. I loved its use of prolonged motifs changing by voice, tonal sounds occasionally becoming dissonant, and then gradually evolving majestically with strong themes coming and going against a backwash of murmuring arpeggio. Folias concludes by the disappearance of each player in turn, gradually becoming nothing. A terrific composition.” CLASSICAL GUITAR, June, 1994 “...a heated contemporary piece by guitarist Ian Krouse that begins where Boccherini’s flamenco strums end. Boisterous rasgueado jump starts the 15-minute set of variations, which travel back in time as each new treatment of theme gets closer to the original Spanish Renaissance dance; by the fade-out finish, the players have exited one by one…giving Folias a ghostly ending that sweeps away the music like so much desert sand and collective memory…a stirring premiere written especially for them.” Ellis, AMERICAN RECORD GUIDE, September/October, 1994
“Ian Krouse’s entrancing Folias…leaps into the 20th century, only to commence a journey back to the popular Renaissance dance theme known to students of the Baroque music though Corelli’s famous Op. 5, No, 12 Variations. Krouse’s intricate development of the old melody extends the concept of variations well beyond Corelli’s simple musical geometry, and we are almost relived to hear the familiar theme directly stated after 8 ½ minutes of ingenious exploration and extrapolation. There is anticipation in this piece, and maybe a little frustration, but the purposeful motion of the music keeps us involved and always waiting for the next note.” Tom Vernier, CD REVIEW, February, 1994 “Folias” even has some vague acoustic echoes of contemporary pop guitarists like Robbie Kreiger of the Doors…” Stuart S. Penn, THE MORNING NEWS, January11, 1994



CLICK HERE FOR MORE INFO ON THIS ALBUM

“Evening in Granada” Los Angeles Guitar Quartet DELOS DE 3144 Released: July, 1993

Contains: Folías, (Guitar Quartet No. 4) _______

“The epic length “Folías” is one of the most fascinating pieces on this disc. Composed by the contemporary composer Ian Krouse for the quartet, it blends a range of styles and is called a “time travel’ by the composer – starting with a pulsating, lightning fast chorus of plucking and developing to the main theme midway, moving to a fascinating modern sound and then back to its theme, slowing and quietly tapering to its conclusion. Its diverse sound, from Flamenco to Baroque to modern, creates a piece that sounds both classical and contemporary, its composition much like the group itself.

“Ian Krouse is a composer whose works the [LAGQ] has played for many years, here a work whose theme is a Spanish dance. The traditional theme is played after the half-way point, revolving through versions made famous by Sanz and Guererra. Krouse understands this traditional pattern very well and how to distance himself from it, bringing it to life with a new meaning.”

~GUITAR AND LUTE, 1996

“This remarkable 15 minute piece is an absolutely compelling work, which only reveals its famous them halfway through, and moves in a circle of “time travel” as the composer puts it. Commencing with a sort of minimalistic whispering alternated with powerful chords, it journeys backwards in style from today to the Baroque and Renaissance, with guitarists sure to recognize Gaspar Sanz en route. I loved its use of prolonged motifs changing by voice, tonal sounds occasionally becoming dissonant, and then gradually evolving majestically with strong themes coming and going against a backwash of murmuring arpeggio. Folias concludes by the disappearance of each player in turn, gradually becoming nothing. A terrific composition.” CLASSICAL GUITAR, June, 1994 “...a heated contemporary piece by guitarist Ian Krouse that begins where Boccherini’s flamenco strums end. Boisterous rasgueado jump starts the 15-minute set of variations, which travel back in time as each new treatment of theme gets closer to the original Spanish Renaissance dance; by the fade-out finish, the players have exited one by one…giving Folias a ghostly ending that sweeps away the music like so much desert sand and collective memory…a stirring premiere written especially for them.” Ellis, AMERICAN RECORD GUIDE, September/October, 1994
“Ian Krouse’s entrancing Folias…leaps into the 20th century, only to commence a journey back to the popular Renaissance dance theme known to students of the Baroque music though Corelli’s famous Op. 5, No, 12 Variations. Krouse’s intricate development of the old melody extends the concept of variations well beyond Corelli’s simple musical geometry, and we are almost relived to hear the familiar theme directly stated after 8 ½ minutes of ingenious exploration and extrapolation. There is anticipation in this piece, and maybe a little frustration, but the purposeful motion of the music keeps us involved and always waiting for the next note.” Tom Vernier, CD REVIEW, February, 1994 “Folias” even has some vague acoustic echoes of contemporary pop guitarists like Robbie Kreiger of the Doors…” Stuart S. Penn, THE MORNING NEWS, January11, 1994



CLICK HERE FOR MORE INFO ON THIS ALBUM

Artist: Los Angeles Guitar Quartet Album: Delos - 20th Anniversary Celebration Released: January, 1994 Label: DELOS DE 3509 Contains: FOLÍAS (Guitar Quartet No. 4) _______ “This remarkable 15 minute piece is an absolutely compelling work, which only reveals its famous them halfway through, and moves in a circle of “time travel” as the composer puts it. Commencing with a sort of minimalistic whispering alternated with powerful chords, it journeys backwards in style from today to the Baroque and Renaissance, with guitarists sure to recognize Gaspar Sanz en route. I loved its use of prolonged motifs changing by voice, tonal sounds occasionally becoming dissonant, and then gradually evolving majestically with strong themes coming and going against a backwash of murmuring arpeggio. Folias concludes by the disappearance of each player in turn, gradually becoming nothing. A terrific composition.” CLASSICAL GUITAR, June, 1994 “a heated contemporary piece by guitarist Ian Krouse that begins where Boccherini’s flamenco strums end. Boisterous rasgueado jump starts the 15-minute set of variations, which travel back in time as each new treatment of theme gets closer to the original Spanish Renaissance dance; by the fade-out finish, the players have exited one by one…giving Folias a ghostly ending that sweeps away the music like so much desert sand and collective memory…a stirring premiere written especially for them.” Ellis, AMERICAN RECORD GUIDE, September/October, 1994 “Ian Krouse’s entrancing Folias…leaps into the 20th century, only to commence a journey back to the popular Renaissance dance theme known to students of the Baroque music though Corelli’s famous Op. 5, No, 12 Variations. Krouse’s intricate development of the old melody extends the concept of variations well beyond Corelli’s simple musical geometry, and we are almost relived to hear the familiar theme directly stated after 8 ½ minutes of ingenious exploration and extrapolation. There is anticipation in this piece, and maybe a little frustration, but the purposeful motion of the music keeps us involved and always waiting for the next note.” Tom Vernier, CD REVIEW, February, 1994 “Ian Krouse is a composer whose works the [LAGQ] has played for many years, here a work whose theme is a Spanish dance. The traditional theme is played after the half-way point, revolving through versions made famous by Sanz and Guererra. Krouse understands this traditional pattern very well and how to distance himself from it, bringing it to life with a new meaning.” GUITAR AND LUTE, 1996 “Folias” even has some vague acoustic echoes of contemporary pop guitarists like Robbie Kreiger of the Doors…” Stuart S. Penn, THE MORNING NEWS, January11, 1994



CLICK HERE FOR MORE INFO ON THIS ALBUM

“Evening in Granada” Los Angeles Guitar Quartet DELOS DE 3144 Released: July, 1993

Contains: Folías, (Guitar Quartet No. 4) _______

“The epic length “Folías” is one of the most fascinating pieces on this disc. Composed by the contemporary composer Ian Krouse for the quartet, it blends a range of styles and is called a “time travel’ by the composer – starting with a pulsating, lightning fast chorus of plucking and developing to the main theme midway, moving to a fascinating modern sound and then back to its theme, slowing and quietly tapering to its conclusion. Its diverse sound, from Flamenco to Baroque to modern, creates a piece that sounds both classical and contemporary, its composition much like the group itself.

“Ian Krouse is a composer whose works the [LAGQ] has played for many years, here a work whose theme is a Spanish dance. The traditional theme is played after the half-way point, revolving through versions made famous by Sanz and Guererra. Krouse understands this traditional pattern very well and how to distance himself from it, bringing it to life with a new meaning.”

~GUITAR AND LUTE, 1996

“This remarkable 15 minute piece is an absolutely compelling work, which only reveals its famous them halfway through, and moves in a circle of “time travel” as the composer puts it. Commencing with a sort of minimalistic whispering alternated with powerful chords, it journeys backwards in style from today to the Baroque and Renaissance, with guitarists sure to recognize Gaspar Sanz en route. I loved its use of prolonged motifs changing by voice, tonal sounds occasionally becoming dissonant, and then gradually evolving majestically with strong themes coming and going against a backwash of murmuring arpeggio. Folias concludes by the disappearance of each player in turn, gradually becoming nothing. A terrific composition.” CLASSICAL GUITAR, June, 1994 “...a heated contemporary piece by guitarist Ian Krouse that begins where Boccherini’s flamenco strums end. Boisterous rasgueado jump starts the 15-minute set of variations, which travel back in time as each new treatment of theme gets closer to the original Spanish Renaissance dance; by the fade-out finish, the players have exited one by one…giving Folias a ghostly ending that sweeps away the music like so much desert sand and collective memory…a stirring premiere written especially for them.” Ellis, AMERICAN RECORD GUIDE, September/October, 1994
“Ian Krouse’s entrancing Folias…leaps into the 20th century, only to commence a journey back to the popular Renaissance dance theme known to students of the Baroque music though Corelli’s famous Op. 5, No, 12 Variations. Krouse’s intricate development of the old melody extends the concept of variations well beyond Corelli’s simple musical geometry, and we are almost relived to hear the familiar theme directly stated after 8 ½ minutes of ingenious exploration and extrapolation. There is anticipation in this piece, and maybe a little frustration, but the purposeful motion of the music keeps us involved and always waiting for the next note.” Tom Vernier, CD REVIEW, February, 1994 “Folias” even has some vague acoustic echoes of contemporary pop guitarists like Robbie Kreiger of the Doors…” Stuart S. Penn, THE MORNING NEWS, January11, 1994



CLICK HERE FOR MORE INFO ON THIS ALBUM

Artist: Los Angeles Guitar Quartet Album: Delos - 20th Anniversary Celebration Released: January, 1994 Label: DELOS DE 3509 Contains: FOLÍAS (Guitar Quartet No. 4) _______ “This remarkable 15 minute piece is an absolutely compelling work, which only reveals its famous them halfway through, and moves in a circle of “time travel” as the composer puts it. Commencing with a sort of minimalistic whispering alternated with powerful chords, it journeys backwards in style from today to the Baroque and Renaissance, with guitarists sure to recognize Gaspar Sanz en route. I loved its use of prolonged motifs changing by voice, tonal sounds occasionally becoming dissonant, and then gradually evolving majestically with strong themes coming and going against a backwash of murmuring arpeggio. Folias concludes by the disappearance of each player in turn, gradually becoming nothing. A terrific composition.” CLASSICAL GUITAR, June, 1994 “a heated contemporary piece by guitarist Ian Krouse that begins where Boccherini’s flamenco strums end. Boisterous rasgueado jump starts the 15-minute set of variations, which travel back in time as each new treatment of theme gets closer to the original Spanish Renaissance dance; by the fade-out finish, the players have exited one by one…giving Folias a ghostly ending that sweeps away the music like so much desert sand and collective memory…a stirring premiere written especially for them.” Ellis, AMERICAN RECORD GUIDE, September/October, 1994 “Ian Krouse’s entrancing Folias…leaps into the 20th century, only to commence a journey back to the popular Renaissance dance theme known to students of the Baroque music though Corelli’s famous Op. 5, No, 12 Variations. Krouse’s intricate development of the old melody extends the concept of variations well beyond Corelli’s simple musical geometry, and we are almost relived to hear the familiar theme directly stated after 8 ½ minutes of ingenious exploration and extrapolation. There is anticipation in this piece, and maybe a little frustration, but the purposeful motion of the music keeps us involved and always waiting for the next note.” Tom Vernier, CD REVIEW, February, 1994 “Ian Krouse is a composer whose works the [LAGQ] has played for many years, here a work whose theme is a Spanish dance. The traditional theme is played after the half-way point, revolving through versions made famous by Sanz and Guererra. Krouse understands this traditional pattern very well and how to distance himself from it, bringing it to life with a new meaning.” GUITAR AND LUTE, 1996 “Folias” even has some vague acoustic echoes of contemporary pop guitarists like Robbie Kreiger of the Doors…” Stuart S. Penn, THE MORNING NEWS, January11, 1994



CLICK HERE FOR MORE INFO ON THIS ALBUM

Artist: Sharon Isbin, Laurindo Almeida and Larry Coryell (guitarists) Album: 3 Guitars 3,” , Label: Pro Arte Records PAD 235 Released: 1986 Contains: MILLER’S DANCE, (Falla - arr. Krouse) (1980)



CLICK HERE FOR MORE INFO ON THIS ALBUM

Artist: Los Angeles Guitar Quartet Album: Delos - 20th Anniversary Celebration Released: January, 1994 Label: DELOS DE 3509 Contains: FOLÍAS (Guitar Quartet No. 4) _______ “This remarkable 15 minute piece is an absolutely compelling work, which only reveals its famous them halfway through, and moves in a circle of “time travel” as the composer puts it. Commencing with a sort of minimalistic whispering alternated with powerful chords, it journeys backwards in style from today to the Baroque and Renaissance, with guitarists sure to recognize Gaspar Sanz en route. I loved its use of prolonged motifs changing by voice, tonal sounds occasionally becoming dissonant, and then gradually evolving majestically with strong themes coming and going against a backwash of murmuring arpeggio. Folias concludes by the disappearance of each player in turn, gradually becoming nothing. A terrific composition.” CLASSICAL GUITAR, June, 1994 “a heated contemporary piece by guitarist Ian Krouse that begins where Boccherini’s flamenco strums end. Boisterous rasgueado jump starts the 15-minute set of variations, which travel back in time as each new treatment of theme gets closer to the original Spanish Renaissance dance; by the fade-out finish, the players have exited one by one…giving Folias a ghostly ending that sweeps away the music like so much desert sand and collective memory…a stirring premiere written especially for them.” Ellis, AMERICAN RECORD GUIDE, September/October, 1994 “Ian Krouse’s entrancing Folias…leaps into the 20th century, only to commence a journey back to the popular Renaissance dance theme known to students of the Baroque music though Corelli’s famous Op. 5, No, 12 Variations. Krouse’s intricate development of the old melody extends the concept of variations well beyond Corelli’s simple musical geometry, and we are almost relived to hear the familiar theme directly stated after 8 ½ minutes of ingenious exploration and extrapolation. There is anticipation in this piece, and maybe a little frustration, but the purposeful motion of the music keeps us involved and always waiting for the next note.” Tom Vernier, CD REVIEW, February, 1994 “Ian Krouse is a composer whose works the [LAGQ] has played for many years, here a work whose theme is a Spanish dance. The traditional theme is played after the half-way point, revolving through versions made famous by Sanz and Guererra. Krouse understands this traditional pattern very well and how to distance himself from it, bringing it to life with a new meaning.” GUITAR AND LUTE, 1996 “Folias” even has some vague acoustic echoes of contemporary pop guitarists like Robbie Kreiger of the Doors…” Stuart S. Penn, THE MORNING NEWS, January11, 1994



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