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Most substantial is the four movement Guitar Sonata subtitled as a ‘Homage to Boccherini’: an elegant essay in neoclassicism which evokes the courtly elegance of Boccherini’s Guitar Quintets while sounding entirely true to Castelnuovo-Tedesco’s own language. (Brilliant Classics)\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46907811725592,"sku":"5028421966625","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4164095-3141790.jpg?v=1777722792"},{"product_id":"kuffner-serenades-for-guitar-classico-terzetto-937372","title":"Küffner: Serenades For Guitar","description":"\u003cp\u003eThe first album dedicated to a Bavarian contemporary of Schubert, featuring a trio of easy-on-the-ear serenades in new recordings, played by an experienced Italian ensemble with a track record of success in reviving forgotten corners of 19th-century salon music. 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What was likely the first ever conservatory programme for the guitar was inaugurated in 1923 at the Weiner Akademie under the tutelage of Jakob Ortner, and this class nurtured an interest in the classical guitar in composer Ferdinand Rebay (1880–1953) who served at the Weiner Akademie as a piano teacher from 1920–1944. Born to a family from Lake Como, Rebay studied theory with Robert Fuchs and piano with Josef Hofmann. After first emerging as a composer of lieder (a genre that remained central to his compositional output), he was encouraged by Fuchs to write both chamber and symphonic instrumental music. In an important 1926 article in the O¨sterreichische Gitarre-Zeitschrift (a journal published by Ortner) Rebay boldly intervened in the debate over the languishing guitar repertoire: ‘I set out to write duets for individual wind instruments with guitar accompaniment, delighted to discover that the mixture of oboe or clarinet with the guitar sounds much more appealing than the mixture of these wind instruments with piano’. For the first time in the history of the guitar, a composer – not a guitarist! – had identified chamber rather than solo music as the most suitable means for the creation and promotion of the instrument’s identity. 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His beautifully crafted music is accordingly modest in expressive ambition: elegant, reflective, at times melancholic, generally characterized by introspective, meditative qualities – nothing brilliant or demonstrative. Very little of it has been recorded, making this new album a valuable contribution to a wider appreciation of postwar Italian music. Rosetta taught composition to Angelo Gilardino, who eventually encouraged him to write guitar music, resulting in the Preludi per GIlardino of 1970. These are beautifully and idiomatically written for the instrument after close consultation with the guitarist. Also from 1970, the Canti della Pianura (Songs of the Plain) is a personal evocation of the countryside of the Po Valley where Rosetta lived and worked. The four movements correspond to times of day: the dawn (Mattutino), the afternoon (Meridiana), the evening (Vespertina) and the night (Serenata). The Fantasia dates from 1979, but Rosetta’s conservative idiom recalls the language of his teacher Respighi and contemporaries such as Casella and Pizzetti: he wrote out of time, vividly evoking a lost era of Romanticism on an instrument that sings naturally of nostalgia and regret. As a student of Gilardino, Gian Luca Barbero has become intimately familiar with the private musical world of Giuseppe Rosetta, and is himself a guitar teacher of renown in Italy. 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Exploration of the guitar’s expressiveness ranges from the lyrical amiability of Brescianello’s Partita No. 7 to Paganini’s delightful miniatures, and the improvisational austerity of Bettinelli’s Cinque preludi. Virtuosity can be found in Malipiero’s only guitar work, the dramatic Preludio, and Giuliani’s extraordinary Rossiniana. 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John Dowland’s beautiful Pavanis followed by Britten’s Nocturnal after John Dowland, written for Bream and one of the most significant guitar works of the 20th century. Cyril Scott’s Sonatina, overlooked for decades, is heard here in the premiere recording of Bream’s revised edition. Volume 1 can be heard on 8.557040.\u003c\/p\u003e","brand":"Naxos","offers":[{"title":"CD","offer_id":46907967963416,"sku":"747313369270","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/3945895-2685450.jpg?v=1777771453"},{"product_id":"j-s-bach-cello-suites-vol-2-arr-j-mcfadden-for-guitar","title":"J.S. Bach: Cello Suites, Vol. 2 (Arr. J. Mcfadden For Guitar","description":"\u003cp\u003eJ.S. Bach’s Cello Suites are believed to have been written in the Saxon town of Cöthen between 1717 and 1723. They stand near the apex of Bach’s compositions for a single instrument and contain some of his most beautiful and vivid writing. Jeffrey McFadden’s guitar arrangements augment these elements with their own harmonic complexity, creating a new string medium for these epochal works. Volume 1, containing the first three suites, is on 8.573625. ‘McFadden’s ability to make the guitar sing is second to none’ (Daily Telegraph, UK). J.S. Bach’s six Cello Suites have been arranged for guitar in the past, with Francisco Tárrega starting this tradition in the 19th century, followed by the likes of Andrés Segovia and John W. Duarte. 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The advent of guitar phenomenon John Williams, whom Duarte taught for 18 months before the young musician’s entry into the Royal College of Music, London, gave the composer an opportunity to expand his chamber music oeuvre. An article by Williams’s father, Len, in The Classic Guitar Journal (January–April 1956) informed readers that ‘Duarte is already at work’ on what became the Concertante Quartet Op.22, a substantial work in four movements. The 1st movement, in a Neo-Baroque style, is in Sonata form with a substantial guitar cadenza. The sharp-eared listener may hear a reference to the folk song ‘Barbara Allen’. The 2nd movement is a lovely lilting siciliana, and the opening theme is first a guitar solo, then for violin with a guitar descant in the style of Renaissance divisions. The 3rd movement, also arranged as a guitar duet for the Presti\/Lagoya duo in 1964 under the title Badinerie, also suggests baroque origins. In 2021 the composer’s son, Christopher Duarte, discovered some folk songs arranged for guitar and small orchestra among his father’s manuscripts. There is no mention of these arrangements in his list of works and no correspondence relating to their creation, but from the composer’s handwriting these probably date from the mid-late 1950s and may have been written for John Williams to play with fellow RCM students. Next Market Day, scored for piccolo, snare drum and strings, is an energetic rendering of an Irish love song which Duarte revisited several times. The Coolin of Rùm (or, The Rùm Cuillin), scored for flute, oboe and strings, is a tune from the Isle of Rùm, one of the small islands near the Isle of Skye in the Hebrides. Cuillin is the name for a range of mountains in this area and Duarte may have been alluding to the name of a previous owner of Rùm, Maclean of Duart. Duarte began work on what became A Tudor Fancy in early 1967, at the suggestion of the great French guitarist, Ida Presti. The composer wrote: ‘The 1st movement is based on Tower Hill by Giles Farnaby, named after the area outside the Tower of London where executions used to take place. The 2nd movement is based on The Fall of the Leafe by Martin Peerson.’ Following A Tudor Fancy, a concerto in all but name, nearly 15 years would pass before Duarte began work on another concerto. In 1985 he received a commission from Alfonso Montes and Irina Kircher, a Venezuelan\/German Duo. The orchestration of the resulting Concierto alegre Op.101 (1986) is deliberately light in woodwind (2 flutes, one each of the rest), a trumpet, strings, but with a battery of percussion, including two vibraphones. As with A Tudor Fancy, the music proceeds in a variety of ‘conversations’, with the orchestration kept deliberately light when the guitars are playing. As a nod to the Venezuelan origins of the duo’s Alfonso Montes, Duarte included a reference to the opening of Antonio Lauro’s waltz, La Negra, in the 1st movement. The \"cheerful\" (alegre) aspect of the concerto’s title is immediately apparent with flutes and guitars duetting. The 2nd movement is in a lilting 6\/8, the use of the vibraphone(s) and the often piquant and surprising harmonies provide much interest when the instrumentation changes. The last movement is overtly joyous and maybe a little stylised, with bongos and claves setting up a base for the stepwise theme in the guitars and flutes.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46908056207640,"sku":"5028421965109","price":8.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4412841-3337378.jpg?v=1777536058"},{"product_id":"ruiz-pipo-complete-music-for-guitar-5028421963006","title":"Ruiz-Pipo: Complete Music For Guitar","description":"\u003cp\u003eBorn in Granada, Antonio Ruiz-Pipo (1934-1997) learned the guitar in his youth but trained as a pianist. This new recording presents Ruiz-Pipo's complete works for guitar, unmistakably Hispanic in character, but seamlessly integrated within his own, distinctive musical language. Elements of the Spanish folk tradition bridge the divide between a tonal-modal center and the prevalence of free atonal chromaticism. (Brilliant)\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46908057354520,"sku":"5028421963006","price":16.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4136055-2905139.jpg?v=1777722488"},{"product_id":"english-guitar-music-of-the-20th-century","title":"English Guitar Music Of The 20Th Century","description":"\u003cp\u003eIt’s easy to identify the classical guitar with Spanish repertoire. After all, Andrés Segovia, who revived the fortunes of the instrument in the early decades of the 20th century after long neglect, was a Spaniard. This does not do justice, however, to the major contribution made to 20th-century guitar repertoire by a number of national schools, among which the United Kingdom’s is particularly outstanding for the quantity and quality of the pieces. This album offers a significant sample of music for solo guitar by four important composers: Cyril Scott, Lennox Berkeley, Benjamin Britten and William Walton. Despite being relatively unfamiliar to the wider public, the figure of Cyril Scott (1879–1970) is one of real interest. Though it was written in 1927, Scott’s Sonatina has only entered the repertoire of today’s guitarists in recent years. Its solid compositional mastery gives rise to a beauty at once enigmatic and captivating. Lennox Berkeley’s (1903–1989) compositions for the guitar span almost half a century and are a faithful record of his stylistic evolution. Berkeley’s 4 Pièces pour la guitare is a sparkling collection in spirit very close to the style of composers such as Albert Roussel and Francis Poulenc. The Nocturnal after John Dowland Op.70 (1963) by Benjamin Britten (1913–1976) is also a theme and variations, but rather than present the theme and develop it with variations, Britten inverts the form, revealing the theme only at the very end of the piece after it is gradually unveiled in fragments of a musical mosaic cleverly scattered across the preceding variations. The irreverent japes of William Walton’s (1902–1983) Façade for speaker and instrumental sextet, which in 1922\/3 marked the composer’s debut as an enfant terrible, soon gave way to a late-Romantic style closer to Bax and Vaughan Williams.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46908058960152,"sku":"5028421959375","price":16.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/3945391-2701264.jpg?v=1777794912"},{"product_id":"the-golden-age-of-the-guitar-in-europe","title":"The Golden Age Of The Guitar In Europe","description":"\u003cp\u003eOne of the world’s foremost experts on the 10-string guitar, Pascal Boels offers us a cross-section of the finest music for his instrument from around Europe in the Renaissance and the Baroque. He identifies this as the guitar’s ‘golden age’ – rather than the later proliferation of guitar music in pre-Romantic Europe, from Spain and Italy through Paris, London and Vienna, even as far as Moscow – because in the 16th and 17th centuries, the guitar and its plucked-string ancestors reigned supreme, whereas the later guitar music, although often of great quality, could not compete with the genius poured by the great composers of the day into the fortepiano. Renaissance Spain in particular was a bastion of the art, where the 12-string vihuela inspired an immense corpus of great quality, often enhanced with the mystical qualities of plainchant. The musical range on Disc Two of this set is quite comprehensive: court music, fantasies, variations or glosses on secular melodies (Josquin des Prez’s Mille regretz for example) and liturgical music. As the piano did in the 19th century, the vihuela in the Renaissance served as a platform for reductions of works for larger forces, making the great polyphonic music of the time more readily accessible to the masses and to individual players. The artist devotes Disc One to lands further north, where the guitar was often overshadowed by the lute, especially in England and Germany. Yet a portrait of this age in Europe would not be complete without the lute players Dowland (early Baroque) and Weiss (late Baroque) whose music is a perfect match for Boels’ instrument.  This very personal selection is a small but evocative sample of a vast yet paradoxically little-known repertoire, that nevertheless goes a long way to helping the classical guitar further stand the test of time.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46908158017816,"sku":"5028421961576","price":17.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/3873837-2661800.jpg?v=1777752170"},{"product_id":"roncalli-complete-guitar-music","title":"Roncalli: Complete Guitar Music","description":"\u003cp\u003eThe Capricci armonici sopra la chitarra spagnola by Count Ludovico Roncalli (1654–1713) is believed to be the last collection of music for the five-course baroque guitar published in Italy and one of the first collections of baroque guitar music to attract attention in modern times. It was the complete transcription in staff notation by distinguished Italian scholar Oscar Chilesotti that inspired Ottorino Respighi to include an orchestrated version of the Passacaglia in G minor in his Antiche danze ed arie per liuto in 1931. For this reason, Roncalli’s music has always been popular with classical guitarists, but this wonderful recording allows it be heard on the kind of instrument in use at the time, and therefore to be appreciated fully. The guitar of Roncalli’s day had five gut-strung courses, the first often single and the fourth and fifth either octave-strung or re-entrant (only the fourth course is octave-strung on this recording). The Capricci armonici comprises nine sonate (suites), one in each of eight tuoni (modes) and one in the tuono trasportato, following the classification system in use at the time. Roncalli has, however, arranged his sonate in order of key, rather than mode, pairing one in a major key with one in the relative minor, although those in A minor and C major are separated by the pair in F major and D minor. 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This exceptional recording highlights the great differences in their music, and thereby also the versatility of the guitar, able to inspire such contrasting expressions from two composers belonging to the same time, the same nation, even the same family. Regino’s virtuosic spirit was apparent from the start, and in a short time his technical skill had made him a fixture in concert halls across Spain, and by the end of the 1920s Regino already had toured Argentina, Uruguay, Brazil, Germany and England. In 1930 he accepted a post as guitar teacher at the Madrid Conservatory, and in 1940 he premiered the famous Concierto de Aranjuez, dedicated to him by its composer, Joaquín Rodrigo. Regino’s own works are characterized by a strong national character: his ‘Zapateado’, ‘Seguidilla’, ‘Rondeña’ and ‘El Vito’ are a ‘manifesto’ of 20th-century Spanish guitar composition, with writing that is always idiomatic – ‘made to measure’ for the guitarist. Regino’s younger brother, Eduardo, has a completely different style and character. As a youth, Eduardo was overwhelmed by Regino’s talent and decided to study cello instead at conservatory and play guitar only privately. He would give up the cello in 1930 and finally devote himself to the guitar, but with an introverted personality unlike his brother’s he had retired from the concert stage by 1960, devoting himself entirely to teaching and composition. Stylistically also very different from his brother, Eduardo’s music does not rely on virtuosity, but is instead rich in harmony, combining Spanish nationalism with jazz and, above all, impressionism.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46908162441496,"sku":"5028421954172","price":17.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/3968973-2740924.jpg?v=1777801296"},{"product_id":"galilei-music-for-lute-8007194107852","title":"Galilei: Music For Lute","description":"\u003cp\u003eGerman musician Christian Zimmermann presents this interesting anthology dedicated to the lute works by the Galilei family: Vincenzo and Michelangelo. 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Conspirare is a virtuoso choir. The Grammy-winning ensemble comprises distinctive solo artists who are also committed to the highest level of ensemble performance. These professional singers travel to Austin from around the country to perform together, providing their audiences with a rare level of choral music making.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Delos","offers":[{"title":"CD","offer_id":46908280635672,"sku":"013491359526","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/3846992-2713677_863f7d1f-dd66-4e07-9c00-46ea731357f2.jpg?v=1777627520"},{"product_id":"bach-barrios-guitar-works","title":"Bach \u0026 Barrios: Guitar Works","description":"\u003cp\u003eThis album brings together things that at first glance don’t appear to have much in common: works by the two artists Johann Sebastian Bach and Agustín Barrios, who lived in distinctly different cultures many generations apart. 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The additional bass strings of these instruments provide an entire lower octave, giving access to the full range of musical timbres in this eternal masterpiece. Angela Kleger and Dimitar Ivanov founded Duo Synaphé in 2020 to present and record new repertoire for two ten-string guitars. These works were originally written for symphony orchestra, solo piano and other instruments. Having an extra four bass strings, the ten-string guitar offers the striking resonances of an extra octave below the normal guitar. This brings wider flexibility to voicing in arrangements, and retains the extended bass range of piano, harpsichord or other lower range instruments. 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