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Editorial Reviews
Review
"Santiago de Murcia (1682 - 1732) was the last, and possibly greatest, Spanish exponent of the five-course Baroque guitar, his music achieving a perfect balance between strummed and plucked styles that were prevalent at the time. As if to reinforce this point, William Carter opens his recital with a superb account of Murcia's Folias españolas, which starts with some highly percussive strumming before slowly giving away to delicately plucked lines. Such nuanced playing is just as effective in the Passacalles, each of which gradually builds in excitement, as it is in the funereal "Del Rey Francia" (in the Suite after Gaspar Sanz), the melancholy Marionas or the lullaby-like Gaitas. Throughout, Carter somehow conjures up the sights and sounds of a bygone age with the mastery of a real dramatist, counterbalancing flurries of overlapping scales, energetic strumming and virtuoso trills with the richness and warmth of the more reflective passages. Not to be too pedantic about flying solo, Carter is joined by fellow Palladian Ensemble member Susanne Heinrich on bass viol. Her pizzicato accompaniments bring a pleasing depth to dances like the Zarembeques and the Cumbees, but are especially effective in Murcia's transcription of the prelude and gigue from Corelli's Violin Sonata, Op 5 No 3, to which she restores the original bass-lines. The effect is like hearing the last two movements of some ghostly guitar concerto. This is more than just a worthy follow-up to Carter's first solo disc "La guitarre royalle" (12/04) - quite simply, it contains some of the finest Baroque guitar playing you'll ever hear." --Gramophone
"The performance of guitar music from the Baroque has never been an exact science. As an instrument that enjoyed equal standing in both folk and art music, and whose performers straddled the same conflicting worlds, the tendency was to hand the music down by practical example rather than the printed sheet. The greatest evidence of that came from 17th-century Spain. William Carter, the American-born guitarist and a member of the excellent Palladian Ensemble, has done more than most to explore the truth behind Baroque performance practice on the Baroque guitar. And this disc, with its flamboyant cocktail of Passacalles, Canarios and Zarambeques, is yet another highly enjoyable example. The music focuses on one of the few Spanish Baroque composers who wrote his music down - Santiago de Murcia. It is high-art music, with transcriptions of Corelli violin sonatas using the same borrowing technique Bach displayed when he transcribed Vivaldi concertos for the organ. This whole disc is an effusion of passion, flavoured with Mediterranean sunshine. From the frothy Folias Espanolas to a bagpipe-inspired Gaitas, you could be in no other part of the world." * * * * --Scotsman newspaper
"The performance of guitar music from the Baroque has never been an exact science. As an instrument that enjoyed equal standing in both folk and art music, and whose performers straddled the same conflicting worlds, the tendency was to hand the music down by practical example rather than the printed sheet. The greatest evidence of that came from 17th-century Spain. William Carter, the American-born guitarist and a member of the excellent Palladian Ensemble, has done more than most to explore the truth behind Baroque performance practice on the Baroque guitar. And this disc, with its flamboyant cocktail of Passacalles, Canarios and Zarambeques, is yet another highly enjoyable example. The music focuses on one of the few Spanish Baroque composers who wrote his music down - Santiago de Murcia. It is high-art music, with transcriptions of Corelli violin sonatas using the same borrowing technique Bach displayed when he transcribed Vivaldi concertos for the organ. This whole disc is an effusion of passion, flavoured with Mediterranean sunshine. From the frothy Folias Espanolas to a bagpipe-inspired Gaitas, you could be in no other part of the world." * * * * --Scotsman newspaper
Product Description
Import Hybrid-SACD pressing.
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Most Helpful Customer Reviews
4 of 4 people found the following review helpful:
5.0 out of 5 stars
Bright and luscious,
By
This review is from: La Guitarra Espanola (Audio CD)
I have thousands of classical discs and this recent purchase immediately ranks among the best. Carter's album of Corbetta's music, La Guitarre Royalle, was excellent but this one really takes the cake. The recording quality is astonishing, so real, so much ambience (if a bit loud for a small instrument so keep the volume down), while the playing has lashings of flair. Clearly the artist, a real virtuoso, is revelling in this material, sometimes delicate, sometimes swaggering, always poetic. Occasionally there's an improvisatory feel too. Andres Segovia recorded some of Santiago de Murcia's music but otherwise it hasn't been freely available on disc. This is remarkable because his music is so beautiful - sunny, evocative and melodious. This is a must for fans of this genre, but even if you just appreciate a nice Spanish tune, a sweet sound and great talent, this is for you.
2 of 8 people found the following review helpful:
4.0 out of 5 stars
GOOD OLD MUSIC,
By
This review is from: La Guitarra Espanola (Audio CD)
This cd is really amazing. Spanish music needs to be revisited more often. William Carter plays almost perfectly.
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