As a composer of music for students of the guitar, Fernando Sor was criticised for creating works that were too difficult for them to play. Yet Sor, whose last painful days were spent sitting at the piano, playing the funeral music he had composed after his only daughter's death a year before - could create works full of charm, light and tenderness, as expertly revealed in this recording by the American guitarist William Carter. Most works last only a few minutes, yet they are as affecting as they are varied, and make you want to hear more. Wonderful.
World-renowned baroque guitarist William Carter presents an appealing collection of early works by Spanish guitar virtuoso and composer Fernando Sor. Sor's guitar music is some of the finest ever written for the instrument and this recording is unique as Carter employs a performance practice endorsed by Sor himself - playing with the finger tips
The fluidity of his playing on this album is amazing. Each note falls in place at exactly the right moment. Besides the well-known J.S. Bach, he also introduces us to several other less-known Baroque composers: Gaspar Sanz, Fernando Sor, S.L. Weiss, & Robert de Visee. Too often, Baroque music is presented as just an exercise in counterpoint. In this album, the rhythm is matched to human emotions in such a way that it's not just an academic exercise. The music is both exhilarating and soothing.
25 disc box set featuring music for the classical guitar from the 16th century up to the present day. Some of the works performed include 'Chaconnes' by Bach and Telemann, '12 Sonatas' by Scarlatti, 'Guitar Concertos' by Vivaldi, Rodrigo's 'Concierto de Aranjuez' and Brouwer's 'Music for Solo Guitar'.
This second volume of the Guide to Musical Instruments explores the history of musical instruments in the period from 1800 to 1950. Its purpose is both to discuss improvements and transformations of instruments dating from before 1800 and to investigate all the novelties thought up by instrument makers during this era. All these developments took place in a context in which the process of instrument making moved from artisans’ workshops to commercial firms which became veritable factories, typical of the ‘age of industrialisation’. The majority of the musical examples are recordings of individual instruments that allow us to hear timbres often lost under the weight of the orchestral mass.This second volume of the Guide follows the same principles as the first.
An acclaimed Italian guitar virtuoso and composer, Mauro Giuliani, along with Fernando Sor, was one of the last great classical proponents of his instrument until its revival in the early twentieth century. He studied counterpoint and the cello, but on the six-string guitar he was entirely self-taught, and that became his principal instrument early on. Italy abounded with fine guitarists at the beginning of the nineteenth century (Carulli remains the most familiar today), but few of them could make a living because of the public's preoccupation with opera. So Giuliani embarked on a successful tour of Europe when he was 19, and in 1806 he settled in Vienna, where he entered the musical circle of Diabelli, Moscheles, and Hummel. He solidified his reputation with the 1808 premiere of his Guitar Concerto in A major, Op. 30, and was soon heralded as the greatest living guitar virtuoso. Even Beethoven noticed Giuliani, and wrote of his admiration for him. Perhaps to return the favor, Giuliani played cello in the 1813 premiere of Beethoven's Symphony No. 7.