| Frank Bungarten - J. K. Mertz: The Last Viennese Virtuoso - This recording is my personal favorite of all Mertz recordings. It is truly a reference recording, reflecting the musical style, interpretation, and timbre of the original music. Featuring 67 minutes of the works of Mertz, it is performed on a replica of what was likely the exact style of guitar used by Merz: an 1861 10-string Sherzer made by Gary Southwell, with a top from the stock of Julian Bream. Frank Bungarten is one of the top classical guitarists today, who in 1981, Andrés Segovia honoured him with the first prize at the Guitar Competition of Granada. The playing is musical and impeccible. The 10 strings enable playing the pieces as intended, for example, the Fantasie Hongroise is written for a 10-string guitar and we hear the full range, with thankfully a very musical rendition of this piece (anyone wishing to learn these pieces should get the recording or check out Frank's YouTube videos). The recording covers the concert repertoire by Mertz, providing welcome recordings of substantive but neglected repertoire. With virtuosity in abound, Frank's musicality and style presents an historically informed, exceptional rendition. 10 of 10 stars! |
Sections Below:
Solo Guitar - Various Artists
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The Century That Shaped The Guitar James Westbrook assembled this CD to accompany the book of the same title (reviewed on the "Accessories" page of this site). It features performances on historical instruments by Ulrich Wedemeier, Taro Takeuchi, and Paul Gregory. The performances are good, and each player brings a different angle, as Ulrich and Taro are early music specialists, while Paul is more of a modern classical guitarist (and is as good as anyone I've heard). The choice of instruments and choice of repertoire is to be commended. Instrumentation includes many important historical guitars: 9 different instruments (1798 and 1830 Fabricatore, 1802 Juan Pages 6-course, 1828 Panormo, 1830 Lacote, 183x Staufer-Legnani, c1833 CF Martin, c1880 Boullangier/Pratten, and an 1889 Torres). Music includes rare and probably debut recordings of Nuske, Ferandiere, Janon, Holland, and Pratten. Also included are more familiar pieces by Sor, Aguado, Giuliani, Legnani, Huerta, Arcas, and Tarrega - but here, the historical instruments and interpretation makes them unlike nearly any other recording. The Panormo was owned by Huerta, and here we have a recording of Huerta on his own guitar. The 1802 Juan Pages is an early Spanish 6-course (double-strung) instrument as probably played by early Sor - thus the inclusion of the early Grand Sonata opus 14 on double-course was an eye-opener. The Ferandiere with strummed double courses strongly hails the Baroque guitar in this transitional period, and Takeuchi does full justice to the music. The Lacote is a special double-top guitar (probably where Contreras got the idea) outfitted for a tripodison as Aguado specified; thus this may have been Aguado's guitar or one of his students. The Lacote sounds amazing, as does Paul Gregory's rendition. The Torres also stands out as a highlight: a mahogany-backed Torres; it sounds sweet and yet more close to the sound of the other 19th century guitars than today's modern guitar. The Torres tone is resonant, sweet and full, and again Paul Gregory gives a superb performance of an extended operatic fantasy by Julian Arcas (a welcome addition to recorded repertoire), and Tarrega's arrangement of the Malats Serenata Espanola which was transcribed from Tarrega's own hand via the Leckie manuscripts. Very highly recommended. Limited edition available from the author. |
 | The Last Rose of Summer - Patrick Appello - This recording features an historical instrument from the Augustine collection, an original 1846 Lacote, performed by professor Patrick Appello from New York, USA. The selection of repertoire draws a well-chosen set of musically satisfying pieces which have not been overplayed from J.K. Mertz and Mauro Giuliani. The Mertz works are solo guitar arrangements of vocal works, first a large-scale (12-minute) Mertz operatic fantasy on the Donizetti opera 'Lucia di Lammermoor' followed by two Schubert song arrangements (Message of Love, The Mail). The 7 Giuliani pieces are 3 of the 6 Irish Airs op. 125, and 4 pieces from op. 148 (Sentimentale, Allegria, Melanconia, Armonia). The highlights of the CD for me were the Schubert pieces, which were played with elegance and grace, and a good match to the timbre of the Lacote, as were the first two Irish airs by Giuliani ("Last Rose of Summer" and "My Lodging is on the Cold Ground"). This particular Lacote seemed highly treble-dominated whether due to the recording engineering or its age, which in my opinion matched more effectively on some pieces but not as well on others. This particular instrument, when pushed to Forte and especially Sforzando (e.g. a forceful, sudden accent), in the treble registers sounded a bit thin and brittle to my ears, for example, on the second measure of the opening Mertz selection. On a modern guitar, an aggressive playing style would be effective, or perhaps had it been played a tad more lightly, elegantly, and less ponticello to compensate for the guitar's personality. |
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Jens Bang Rasmussen: Romantic Guitar Sonatas This CD of Sonatas consists of 3 complete works and all of their movements. The selection is among the guitar's best repertoire: Sor's Grand Solo Op. 14, Giuliani's Sonata in C op. 15, and Sor's Sonate op. 22. Although there are many recordings of these works available, it is nice to hear all of the movements. Jens plays these works in a very musical manner with excellent interpretation; indeed it brings out the phrasing in ways that I felt it should be played. The guitar is a modern instrument, and although it exhibits slight buzzing in certain passages, this is a trivial issue on an otherwise well-played CD. Although titled "Romantic Guitar Sonatas" all of these works are actually from the Classical period. |
 | La guitarra revolucionaria y romantica - Gabriel Schebor - This important and delightful recording is primarily devoted to Latin American music for classical guitar composed in the 1800's (click on the link to obtain the CD). During this time, works by Sor, Carulli, and others were known and performed in South America, where trade and cultural ties to Europe brought these influences. The CD begins with the 6 Bagatelles by Fernando Sor, op. 43, to highlight as documented in the CD liner notes that certain prominent South American guitarists studied with Sor and brought back this technique. There is an interesting but short number of pieces composed for romantic guitar which have survived in Latin America, many of which are in this recording. This work deals mostly with Bolivian, Peruvian, Argentinian and Uruguayan works. A real highlight is the 7 Minuets by Abril Tirado (Peru 1780-1856), released in Paris in a set of 100 Minuets (a few of these Minuets are on the Boije site). These gems are similar in style to the Minuets of Sor (Tirado and Sor were born only 2 years apart), and could easily pass as works of Sor's quality. Most of the works are short, with the exception of a Sonata composed in Bolivia circa 1820 similar in style to Carulli, at 11 minutes in length. The 6 Divertissements by Fernando Cordero are included, available from Ophee. The instrument used is a Bonnel period guitar of circa 1820 with gut strings. Gabriel strictly follows Carcassi and Sor's technique: no nails, pinkie on the soundboard, and thumb rest stroke to play the instrument as detailed in the period method books. The match between technique and instrument is extraoardinary. Gabriel performs with this technique in Youtube (search for gschebor). The recording is musically satisfying and beautifully performed. Gabriel is mainly a lutenist, with a classical guitar diploma in 1991, studying with Graciela Pomponio and Víctor Villadangos. Since 1994 Gabriel has been devoted to lute, theorbo, vihuela and baroque guitar, taking up the romantic guitar in 2009 with the aim of recovering and helping to spread the unknown repertoire composed in Latin America. Gabriel teaches modern guitar, chamber music and early music in the Conservatorio Provincial Juan José Castro (Buenos Aires, where Roberto Aussel studied, and where Víctor Villadangos teaches). |
 | Jerry Willard's Night At The Opera - Jerry Willard - This recording presents six operatic fantasy / overture works arranged for solo guitar from the operas of Rossini (Semiramide and Cenerentola arranged by Giuliani), Verdi (La Traviata, Rigoletto, and Il Trovatore arranged by Mertz), and Bellini (La Sonnambula arranged by Mertz). Willard plays an original instrument made by one of the greatest guitar makers of the early 19th century: Rene Francois Lacote, Paris 1820's, and tuned to low pitch A=415. These works are a welcome addition to the recorded repertoire. The Lacote used on the recording is characteristic of the early 19th century French romantic guitar tone, and Lacote in particular. Willard performs these virtuosic works with sensitivity, fluidity and a keen sense of phrasing. The Giuliani arrangements are from his works without Opus number, and the Mertz works are from the Opern-Revue, Opus 8. Each work is from 7-12 minutes in length, at 62 minutes total. |
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Lorenzo Micheli - Dionisio Aguado Guitar Music. Lorenzo Micheli is a major artist in the world of classical guitar; a major competition winner (including GFA), professor, and concert artist. Lorenzo has recorded an exceptional CD entirely of Aguado's music, including his best works - the entire opus 2 Rondos, opus 15 Menuet affandango, opus 16 Fandango variations, and selections from the studies. Long overdue, this CD is a standout effort, with impeccable musicianship and style of the period, and recorded on an 1850's French romantic guitar. The guitar was well-chosen; from the period, made in Paris, in excellent playing condition, and with the distinctive French / Lacote tone very suited to the music. This is on the "Stradivarius" label, and I was able to find copies on most major online CD retailer sites. These works are virtuosic and operatic, fiery and idiomatic, and Lorenzo plays them with finesse, excitement, and precision. Liner notes were well researched and informative, under the direction of Frederic Zigante. |
 | Nicola Jappelli - Carulli Solo Guitar Music - In making this recording, Nicola Jappelli brings to light Carulli as an unjustly forgotten composer for the guitar of concert works. While most students of the classical guitar are immersed in the studies that Carulli published for beginners, excellent though they are, the more serious works of Carulli are often overlooked and under-explored. Here we are presented with over 76 minutes of interesting and high quality debut recordings of Carulli, many of which were recovered from various libraries in the world. As an accomplished interpreter of 19th century repertoire, Nicola plays these works brilliantly, and with authenticity of style. This recording stands up to repeated listening as each hearing unveils new nuances of the music. These works were recorded on a modern replica of a 19th century guitar, a Kresse Stauffer-Legnani model concert guitar which brings a timbre to the sound in line with the composer's own instrument type. The first track is a work dedicated to L'Hoyer, a 9-minute showpiece beginning with lyrical adagio phrasing and ornamentation, developing into a virtuosic showpiece. Next is the complete opus 84 of 3 Menuets and Valses, two jewels selected out of the opus 114 compilation, and Carulli's Folias variations, which rival those of his more famous contemporaries Sor and Giuliani. These are followed by two selections from opus 262 "Petits solos brillants" and an 8-minute showcase piece "Les Sons harmoniques" which features many impressive harmonic effects on the guitar. The last track is a work in E-Major tuning that creates unusual resonances and timbre. The recording is available on both Amazon and I-Tunes. |
 | Homage to Fernando Sor - John Doan - This work is a set of new, original compositions by John Doan, each of which was inspired by Sor's works, often quoting Sor's material for development in each piece. The works were conceived and recorded on an early Panormo guitar, possibly with a connection to Sor himself. Doan plays his works beautifully to produce this enjoyable recording. Click the link to read more about the recording. |
  | Semiramide - Giuliani/Rossini - Izhar Elias - Giuliani, as with most other guitar composer / arrangers of the period, created compositions around popular operas of the day. This was especially the case with Giuliani's arrangements of Rossini operas, as Giuliani enjoyed a relationship with Rossini himself. Giuliani devoted a large portion of his total output to arrangements of Rossini's opera "Semiramide" - indeed enough material to fill 2 complete CD's for 116 minutes of music. This recording is likely the first time that the entire Semiramide has been recorded, making it a welcome addition to the repertoire. Izhar Elias extensively researched the Rossini score and the opera itself, as well as the early facsimile editions for guitar, and wrote in the opera text into the guitar edition in order to correctly phrase and stress the music, and in some cases adding cadenzas in appropriate sections, as period performers were known to have done, all in all producing a recording in a style appropriate to the period. (See also the "Omaggio a Guadagnini" CD write-up on this page for his other CD). For the recording, Izhar employs an original 1812 Italian guitar by the famous luthier Carlo Guadagnini with gut strings. Please see the artist profile below. Available through Brilliant Classics. |
 | Rolf van Meurs - Luigi Legnani - Works for 8-String Guitar - This disc is highly recommended for its repertoire, as well as for the exceptional musicality, style, and instrumentation. Luigi Legnani is one of the most important guitar figures of the 19th century, and yet very little of Legnani's concert repertoire has been recorded except for the 36 Caprices. This disc presents a cross section of Legnani's excellent concert material: 3 national dances, 2 Fantasias, and 2 Rossini overture arrangements, one of which is a stunning rendition of the famous William Tell Overture by Rossini. It is fitting that 2 Rossini arrangements are presented, as Legnani was also an opera singer, whose music reflects the Italian Bel Canto style. As a performer and interpreter, Rolf van Meurs brings energy, musicality, and appropriate stylistic treatment of this virtuosic material with ease. Likewise, the instrument is perfect for the occasion. Legnani is known for his collaboration with Staufer to design the "Legnani Model" with its elevated fingerboard, resonant construction, adjustable neck action, and other innovations. Legnani later in life focused on guitar building. The Staufer-Legnani guitar is made by Kresse, an exceptional guitar builder for 19th century guitar reproductions. The guitar sounds powerful, dynamic, and punchy, with the distinctive romantic guitar tone, perfectly suited to the repertoire. The guitar is outfitted with 2 additional bass strings, as indeed Legnani himself utilized. The William Tell arrangement was published for 8-string, while the remaining pieces were adapted to the additional range by van Meurs, to bring out a greater orchestral effect. Mertz, Legnani, and others were known to use guitars with additional bass strings, but published for the 6-string mass market, and would have almost certainly made similar alterations in their own performances. |
 | Legnani: Fantasia, op. 19 / 36 Caprices, Op. 20 - Pavel Steidl - Although the Legnani caprices have been widely recorded, this CD presents what I consider to be the definitive edition, a must-have recording, on a modern replica of a Staufer guitar, of the sort Legnani would have played. Steidl's playing is second to none, emphasizing musical interpretation in an informed manner stylistic to the period, with dazzling and amazing virtuosity where required. Also included is the Fantasy Opus 19, a brilliant pot-pourri. While the playing is top rate, unfortunately the CD does not include a booklet or notes. This recording is widely available at a low cost on the Naxos label. |
 | Pascal Valois - Guitar Works of Victor Magnien - This recording presents, for the first time in the modern era, a ground breaking recording of the neglected solo guitar works of Victor Magnien (1804-1885). Magnien was a French musician and composer who began as a violinist, studying violin under Kreutzer in Paris, and studying guitar with Ferdinando Carulli. Magnien was well-regarded as a guitarist, as evidenced by a glowing review by Fetis. Pascal Valois is an alumni of the prestigious Schola Cantorum and presents these works on a French period guitar (Cabasse-Bernard circa 1830) to represent the time period and region of the compositions, and with carefully-rendered period technique. Valois plays without using fingernails, as was the practice of Fernando Sor and others, which renders a softer and perhaps more airy sound. The combination of instrument, music, technique, and performer results in something of a time capsule of Paris in the 1830's. For those wishing to try out the works on the CD, they can all be found in free PDF's in the Boije Collection. The CD is available on I-Tunes from Centaur Records, Inc.. |
| Frank Bungarten - J. K. Mertz: The Last Viennese Virtuoso - This recording is my personal favorite of all Mertz recordings. It is truly a reference recording, reflecting the musical style, interpretation, and timbre of the original music. Featuring 67 minutes of the works of Mertz, it is performed on a replica of what was likely the exact style of guitar used by Merz: an 1861 10-string Sherzer made by Gary Southwell, with a top from the stock of Julian Bream. Frank Bungarten is one of the top classical guitarists today, who in 1981, Andrés Segovia honoured him with the first prize at the Guitar Competition of Granada. The playing is musical and impeccible. The 10 strings enable playing the pieces as intended, for example, the Fantasie Hongroise is written for a 10-string guitar and we hear the full range, with thankfully a very musical rendition of this piece (anyone wishing to learn these pieces should get the recording or check out Frank's YouTube videos). The recording covers the concert repertoire by Mertz, providing welcome recordings of substantive but neglected repertoire. With virtuosity in abound, Frank's musicality and style presents an historically informed, exceptional rendition. 10 of 10 stars! |
 | J. K. Mertz - Barden-Klänge - Pavel Steidl - This recording represents for me, Mertz as it was meant to be heard. Presented are 17 selections from the Bardenklange ("Sound of the Bards") opus by Mertz, recorded on an original Viennese instrument by Ries, circa 1830. Pavel's playing is dynamic, expressive, and tastefully virtuosic, and especially authentic. Pavel is a leading interpreter of 19th century romantic guitar music who has based his approach on research of period performance practices. The result is a fluid and bold interpretation with wide use of dynamics, articulation, and color. Ornamentation and cadenzas are contributed by the performer and not straight from the score, as was documented to be the practice. Pavel's depth of the genre is also enhanced by his regional heritage and knowledge of the folk song idioms and dances which form the inspiration for Mertz' compositions, adding further authenticity to the performance. The Ries guitar has a tone which ideally fits the music. |
 | Alan Rinehart - J.K. Mertz - "Verdi's Guitar" - This recording consists of solo classical guitar arrangements of opera music by Giuseppe Verdi, performed by Alan Rinehart. The arrangements for guitar were composed by J.K. Mertz in the "Opern Revue" series; a set of well-known pieces in the 19th century classical guitar repertoire. The practice of arranging opera themes for guitar was prevalent in the 19th-century, and the works by Mertz are among the finest in the genre. Each piece is around 10-15 minutes long, and presents the operatic themes, variations, and transitional material idiomatically, as if it were originally conceived for the virtuoso guitar and yet evoking the opera for those who know the music. This disc is an interesting concept; it specifically presents the Mertz arrangements of Verdi's operas, with 6 works that represent Verdi's best operas, and some of Mertz's best arrangements: Nabucco, Ernani, Rigoletto, Il Trovatore, La Traviata, and Il Vesperi Siciliani. The disc comes in an attractive package with notes and artwork. The performances by Canadian guitarist Alan Rinehart are on modern classical guitar and are played with an atmosphere of delicacy. |
 | Paganini: Sonate & Ghiribizzi for guitar - Pavel Steidl - This CD presents a selection of works from Paganini's solo guitar compositions, which were not published during the composer's lifetime and became available in the 1980's. Notably, the works are played on an historical instrument perfect for the task: an original Legnani model Ries guitar from Vienna, circa 1830 (the Legnani model was made by both Staufer and Ries), which is in perfect playing order with no trace of the buzzes, rattles, or intonation issues found on some period instruments. As one of the top interpreters of 19th century repertoire, Pavel Steidl plays these works exceptionally and historically-informed, bringing verve and excitement into these pieces. Includes an informative booklet with the CD. This CD is a must-have recording, available from Pavel Steidl. |
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Jens Bang Rasmussen: Henrik Rung - Danish National Composer and Guitar Virtuoso Jens has researched, catalogued, and notated works of this previously unknown Danish guitar composer. The CD consists of solo guitar works, voice and guitar works, and works with strings and guitar. The solo works are miniatures, some of which bear a strong resemblance to Sor's works - and indeed Rung played Sor's pieces (more bio details on the Composers page or Tecla). The Polonaises, opus 2, stand out as the best of these works. The CD is well-played and gives the listener a sense of how this music should sound: Sor inspired, and yet with a uniquely Scandanavian soul. |
 | Gianluigi Giglio - Fernando Sor - The 19th Century Guitar - Although there are many CD's of Sor's music, this CD is a truly "reference recording" as I cannot imagine a more perfect and authentic rendition of these works with tone, phrasing, balance, taste, and style. The guitar is a real treat: an 1834 Lacote with silk and gut strings and 430 pitch. This particular guitar was restored immaculately and sounds strong, elegant, and magnificent, as these works were meant to be heard, on a guitar maker Sor himself highly praised and used for his music. The selection is a cross-section of gems in Sor's solo repertoire. Although Op. 9 Variations on a Theme of Mozart is often recorded, this recording offers a refreshing interpretation in a historically-informed manner and timbre. The Fantasy Op. 58 is not often heard and has many tender and beautiful moments. The CD is 68 minutes and includes an informative booklet. Gianluigi Giglio is professor of guitar in Salerno, Italy, and earned advanced guitar degrees with honors in Naples where the CD was recorded - truly a city with strong guitar roots as a home for Carulli and Giuliani. Giglio is a leading performer of 19th century guitar and the modern classical guitar. |
 | Fernando Sor Guitar Sonatas - Ricardo Gallén - While there are many recordings of Fernando Sor available, this one really stands out. The works featured are among Sor's finest concert works; the complete "Sonatas" with all movements - The Grande Sonatas opus 22 & 25, Grand Solo op. 14, and the Sonate op. 15. Ricardo's playing sounds effortless and graceful, with elegant phrasing, stylistic concern, and in service of the music. The guitar employed is a modern reproduction by Arnoldo Garcia of a Fabricatore, arguably one of the most important guitars of the early 19th century. The guitar sounds beautiful in Ricard's hands; it has the punchy and clear period guitar tone one expects, minus the challenges often encountered on antique guitars. A few highlights are the slow movement of the Grande Sonate op. 22 with bell-like, singing trebles, in a vocal manner expected for Sor's music, while the rapid arpeggios are executed in an historically-informed manner, with an authenticity of Spanish character reflecting the artist's heritage from Spain. |
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John Doan - The Lost Music of Fernando Sor. This CD is aptly titled "Lost Music" because for nearly 2 centuries, these compositions by Sor - perhaps the guitar's most important composer - have been ignored or unavailable because they were written not for the guitar, but for a close relative called the "Harpolyre". According to Richard Long in GFA Soundboard Magazine, Vol. XXXIV, No. 3, 2008 on page 86-87, "The new instrument had 21 strings on three necks; the central neck (manche ordinaire) was tuned like a standard guitar... Above the central neck was the chromatic neck, with seven silk strings with metal windings. Below the central neck was the diatonic neck, with eight gut strings.... the designations or, di or ch above certain notes [refer] to the neck on which the notes are played." This recording contains all of the known pieces Sor wrote for Harpolyre: Six Progressive Pieces, Funeral March, and "Three Pieces for Harpolyre" - for a total of 45 minutes of music. As an added treat, the music is played on a very rare original antique period instrument from around 1830, through which Doan takes us back to another time period. The very occasional fret buzzing is easily forgiven due to the rarity and originality of the instrument employed, and while perhaps noticeable to a classical guitarist listening closely, it is probably not noticeable to other listeners. Sor makes use of the instrument's resources, using the low basses and resonant chromatic strings to full effect. The pieces are very characteristically Sor's, and I very much look forward to a standard guitar transcription of these works, especially one which indicates the low basses which can be realized to a fuller extent on 8-10 string guitars. To hear the pieces as written, we have Doan's excellent reference recording, and there is probably no other person living today who has mastered the original Harpolyre. Although the instrument was never a commercial success, reviving an enjoyable suite of pieces by Sor that have not been heard in our time, is reason enough to hear it today. John Doan has solid credentials as a professional performer and plays these works with sensitivity and mastery. The packaging, booklet, and art work were informative and well produced. |
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Mauro Giuliani Complete works for guitar duo: Duo Maccari-Pugliese. This CD is a must-have recording of essential listening for anyone interested in the early romantic guitar. It consists of a 3-CD set and over 3 hours of music, with an attractive cover and liner notes. Giuliani needs no introduction, as one of the most important guitar composers of all time, and these duo works comprised a large portion of his total output, and much of his best material. The Duo Maccari-Pugliese is recognized as a leading ensemble in the field, and are sought out for their expertise by performers and researchers world-wide, including John Williams. The performances are magnificent, capturing the operatic nature of many of the works and played in a style appropriate to the time period. The duo plays with dynamics, tightness, and blazing speed where required to serve the music. All of the guitars used are period instruments, including museum-quality guitars by Guadagnini, Pons, and Fabricatore, and the CD notes indicate which guitars were used. The period guitars are strung with gut strings and tuned to A430, in order to closely reproduce the instrument timbre of the day. The guitars themselves also contribute substantially to the ambiance and the interpretation, as they respond very differently than the modern guitar. As a complete set, it features the full range of Giuliani's output: concert virtuoso works such as the Concert Variations op. 130 and 35, operatic fantasies (where Giuliani had unprecedented access to Rossini in person and to his manuscripts, and wrote probably the best rendition of Rossini works for guitar by anyone), and the many short "Landler" pieces on CD 2 probably intended for the popular audience, as well as such gems as the "Three Rondos" op. 66, and the 3 Polonaises op. 137, among others. The only omissions from being a "complete" work, are two of Giuliani's reduction arrangements of his own orchestral works, as the full versions can be heard on the duo's "Complete Guitar Concertos" CD. In addition to listening for enjoyment, guitarists who are looking for duet works to play will appreciate being able to sample the complete output. |
 | Adam Darr German Romantic Guitar Duets - Schneiderman Yamaya Duo - This is a ground-breaking 2-CD set, featuring the guitar duet works of Adam Darr (1811-1866). Darr is most known for his Zither compositions and method, but sadly his guitar works have been out of print for many decades, with a few pieces available on REX and Boije. While virtually unknown today, Adam Darr was an important guitarist and composer in the 19th century, based primarily in Germany and settling for 3 years in Russia. Stylistically, the music is German Romantic, and sounds very similar in style and quality to the compositions of JK Mertz, who is more well-known to today's guitarists. More information on Darr can be found on the following page on this web site: Early Romantic Guitar - Composers - Adam Darr. This music is brought to life by John Schneiderman & Hideki Yamaya, both of whom have impressive performance credentials and an historically-informed approach to render the music as intended with sensitivity, skill, and grace. The duo employed period instruments for the recording, including Romantic guitar, Terz guitar, and a 10-string guitar. The 10-string guitar is a period German/Austrian style harp guitar with two necks and floating basses, of the style that would have been played by Darr and Mertz. There is more than an hour of music spanning 2 CDs, and an informative booklet in German and English text, with contributions from the performers and Joseph Costello, who deserves credit for re-discovering many of these works while in Europe. |
 | Castro Sor Moretti: Seguidillas, Boleros y Canciones. Pilar Moral, Soprano & Nicola Jappelli, Romantic guitar - Featured in this recording are voice and guitar works from three early pioneering composers for guitar: Salvador Castro de Gistau, Fernando Sor, and Federico Moretti. The program is a cohesive set of works as all three composers were born in the same time period (c.1770, 1778, 1765), and native to Spain as in the case of Sor and Castro, or a naturalized Spaniard as in Federico Moretti. While Sor's guitar works are well-known, the complete Segiudillas Boleras from Sor's early period in Spain are presented in their entirety. Castro de Gistau and F. Moretti are important figures in the guitar's history, and this recording of their voice and guitar works fills a critical void. The romantic guitar used for the recording is a Stauffer-Legnani model by Kresse, which adds a distinctive timbre to the music appropriate to the style and time period. Pilar Moral is an accomplished soprano, native to Spain, who brings an authenticity of performance style to these late 18th/early 19th century Spanish works. Moral's vocal performance is sublime, with purity of tone and a rendition in accordance with historical practice. Jappelli plays with taste and adds a perfect accompaniment role during the vocal performance. |
 | Canzonetta Italiana - Duo Vitare - Consisting of 19th century works for cello and guitar duo, this recording introduces modern audiences to world premiere recordings of a few neglected or recently-unearthed gems of the cello and guitar repertoire. Presented are two works attributed to Luigi Legnani, a name well-known to solo guitarists; first is a concert pot-pourri arranging sections from Legnani's solo Caprices with other standards of the day, and the title piece "Canzonetta Italiana" with concert variations. Also included is a work by Adam Darr, which is somewhat in the romantic style of Mertz. My favorite of the set was a duo by Gatayes, a lesser-known French guitarist-composer (1774-1846), in the classical style. Both instruments are modern. The performances are well-crafted and balanced, with good sound engineering and packaging. |
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Francesco Molino - I trii per flauto, viola e chitarra. Presented on this CD are 3 complete opus works by the guitar composer Francesco Molino (1768-1847), all for flute, viola, and guitar. It contains the Grand Trio Concertant op. 30 (4 movements), Three Trios op. 4 (3 trios of 3 movements each), and the Second Grand Trio Concertant op. 45 (3 movements), a total of 66 minutes of music. The CD is on the Italian "Tactus" label and features notes in Italian and English. The performances are first-rate, bringing out finer nuances in each composition. It features the first violist and first flutist of the S. Cecilia Orchestra in Rome (Flute: Carlo Tamponi, Viola: Raffaele Mallozzi), and the noted professor of guitar and performer Gianluigi Giglio. Molino was not only an important guitar composer, but also accomplished on the violin and oboe, where he held important posts. Much of Molino's output, and possibly his best output as with many other 19th century composers, was for ensemble, thus making this CD a good representation of the composer's music. Featured on the cover, is a well-known depiction of the rivalry between followers of Carulli and Molino - both of whom were Italian ex-patriates living in Paris. |
 Arte en Parte | - A duet on Panormo copies by Kresse, specializing in music of the period. They have recorded a CD with Sor music for two guitars, using two Panormo guitars for the recording, on the Italian label Nuova Era. |
 David Jacques | David has an extensive set of credentials, multiple recordings, and is a top expert in romantic and classical guitar. David has many excellent videos of him performing on historical instruments. His interpretation is melodic and historically informed, and beautifully played. He has a depth of repertoire and knowledge. It is amazing to hear these guitars and their unique voices, so perfectly paired to the music, like a fine wine and a great meal. David is also listed on the Dealers page for restoration and sale of historical instruments. |
 James Buckland | Doctorate thesis in Terz guitar. Buckland has compiled the most comprehensive list of Terz guitar repertoire to date, and has researched instrumentation, compositions, and style. Buckland is also a luthier who features his own instruments on his recording. Currently a professor of guitar, recording artist, performer. |
 Dennis Cinelli | Dennis is featured on 2 recordings listed here, and was an expert in early music and 19th century early romantic guitar. Dennis was very knowledgeable of guitar history and identification. As a consultant for La Bella strings, he spent 4 years developing the "String Catalogue for Early Instruments" with strings for practically every form of lute, archlute, vihuela, theorbo, renaissance and baroque guitars, and the "Early Romantic Guitar" series of strings of which Dennis was the inventor. Dennis was a true gentleman, musician and a scholar who provided me with much information and expertise for the Early Romantic Guitar web site when I first created it. Sadly, Dennis passed away in December 2012; he is missed by many. |
 (large photo) Dodici Corde | The Dodici Corde Early Romantic Guitar Duo is based in the UK and was formed in 2008 with Danielle Saxon Reeves and Mark Willetts. This duo is specialized in historically informed performances of Early Romantic guitar duo repertoire on period instruments (Panormo, an unlabeled French Guitar c. 1840 and a Terz guitar by Lamy). Their website had photos and soundfiles, as well as an available CD of works by Scheidler, Coste and Diabelli. The CD can be ordered through the artist web site and is well worth getting as the duets are pieces which are not often or ever recorded, and are played brilliantly. Often appearing in 19th century period clothing as well, this duo is entertaining to watch. (Photo courtesy of www.PTGraphics.co.uk, used by permission). |
 Duo Ghiribizzo | - Specialized in 19th century guitar repertoire, and period instruments, musically this duo consistently ranks as one of my personal favorites. Tonally, the sound is full and rich, the playing is tight, and the interpretation is spot on. |
 Duo Historico | - Duo of Lars Hedelius-Strikkertsen and Ruben Ipsen, playing 19th century guitar, in 19th century clothing, music stands, and stools. Very good, and professionally-produced You Tube Video. |
| Duo Suonante | - Duo of Lars Hedelius-Strikkertsen from Duo Historico (guitar) and Katrine Roos (soprano), a Danish duo performering 19th-century music for voice and guitar, primarily in Denmark. With thorough research, Duo Suonante is able to perform as authentic as possible. Katrine's singing is light and delicate with less vibrato and clear speech as in the 19th century, and a voice suitable with the guitar. |
 Lex Eisenhardt | Lex Eisenhardt is a European experts on early guitars, like the Vihuela, the Baroque- and Romantic guitars. He currently teaches both classical guitar and historical plucked instruments at the Conservatory of Amsterdam. Lex Eisenhardt has also made recordings of music by Fernando Sor on an original period instrument. |
Izhar Elias | With degrees in music and a career in music, Elias has specialized in authentic interpretation of 19th century repertoire, including study with guitarist and conductor Carlo Barone at the Accademia l'Ottocento (www.accademia800.org). Elias also studied with the violinist Kees Hendrikse, who played for many years in the Concertgebouw Orchestra, and worked with many great solists and conductors. As an approach to the interpretation, Elias studied many guitar methods from the early 19th century like Sor, Aguado, Carulli, Molino, Giuliani, Carcassi, etc., but he is also especially interested in non-guitarist methods, in order to find and recreate the general musical language of that time. Important early sources were Quantz, C.P.E. Bach and Leopold Mozart, and later methods like Türk. Elias realised that the Italian opera had a very big influence on the instrumental music all around Europe, especially on guitar music, which is something in his opinion is very much underestimated today. In order to sing and to pronounce / articulate words on the guitar, Elias studied phrasing in singing methods like Garcia and Delle Sedie. In these methods and other methods (including guitar methods), Elias found also many examples of how to play slurs, embellishments and cadenzas. Elias studied ochestral scores and opera scores (arias), trying to create an orchestra and a singer on the guitar. For the more romantic music (by Mertz) Elias finds the information about the music of Chopin and Schubert very useful. In order to make decisions about interpretation, Elias finds it important to know also about other composers and their musical style and life. Elias also states that at the end, with all this research, the most important thing is to feel the music. (Text based on Correspondence with Elias). |
 Douglas James | Douglas James is a professor of the guitar and an expert in the 19th century style, particularly the early Italian style. |
 Nicola Jappelli | Nicola is a specialist in 19th century guitars and performance practice, with several fine CD recordings available. Nicola can also be found in several You Tube videos playing a magnificent original Fabricatore guitar as well as in voice and guitar duo. Nicola is also a composer of modern works with a fine CD available recorded by Andrea Dieci. |
 Maccari-Pugliese Duo | An Italian duo specializing in period guitars and repertoire. The duo uses original antique guitars with gut strings, A430 tuning, and historically-informed performance practice - working in duo and also with chamber orchestra. They feature mostly early Italian Guadagnini guitars, which sound radically different from the modern guitar: I describe it as inbetween the lute (airy) and mandolin (bright and short) in sound, but also with harp-like qualities. |
Agustín Maruri | Agustín Maruri has an extensive discography covering important yet less well-known 19th century guitar repertoire. Maruri has several CD's of solo guitar, and guitar with violin, cello, viola and flute. The recordings of Von Call, Matiegka, and other minor composers of the era are ground-breaking and welcome additions to expand the available recorded music. Maruri has several recordings on period instruments, including a Lacote circa 1825 and Fuentes circa 1858. Original manuscripts were utilized, and the CD biographical notes are well-researched. Click for Discography. EMEC is a Spanish label which carries the Maruri catalog and other works. |
 Leopoldo Saracino | Leopoldo Saracino has pursued a varied career as a recitalist, concerto soloist and chamber musician. He studied with Ruggero Chiesa in Milan and had subsequent studies with David Russell, Oscar Ghiglia, Leo Brouwer, and David Tanenbaum. His particular interest is the original music of the 19th century played on an original instrument of Louis Panormo. He regularly tours Europe with concert programs including works by Rossini, Paganini, Giuliani among others. His love for chamber music brought forth recordings of chamber repertoire in the classic style, including the first modern recording of the complete works of Ferdinando Carulli for guitar and Fortepiano in 8 CD's with original period instruments, and chamber works by Filippo Gragnani and Anton Diabelli. As a solo player he recorded the 36 Capricci for solo guitar by Luigi Legnani. |
 Richard Savino | Extensive discography, performing and teaching career. Noted authority on early music and romantic guitar. |
 Raphaella Smits | Raphaella Smits is best known as an 8-string classical guitarist, having won a number of competitions world-wide. She has two CD's of 100% early romantic guitar, listed above. |
 David Starobin | Starobin splits his artistry between 19th century guitar played on a period replica by Southwell, and modern compositions. Starobin is a maestro virtuoso. |
 Pavel Steidl | Pavel Steidl has made several recordings of 19th century music which have set a new standard of excellence; indeed they are among the best I have ever heard. Several professional guitarists, some well known, have come away from Pavel's concerts saying that it was the best concert they've seen and it affected their musical interpretation profoundly. |
| Erik Stenstadvold | Noted authority in 19th-century guitar music, its history and performance practice. His research has lead to the rediscovery of previously neglected guitar music, such as the de Fossa/Haydn "Quartets", and the music by Antoine de Lhoyer. |
 Robert S. Trent | Specialist in 19th century guitar, through a dissertation on the subject at The Peabody Conservatory, a contract and release with Dorian records (next release will be solo 19th-century works for the 10-string Viennese guitar), contributions to Mel Bay's collection of 19th Century Sonatas ed. by Anthony Glise and performances both here and abroad. He is currently Director of Guitar and Lute Studies at Radford Univeristy in Radford, VA. |
 Pascal Valois | Pascal Valois recorded a world premiere of solo works by Victor Magnien (1804-1885); his work on Magnien began as a student of Hopkinson Smith, where he is an alumni of the Schola Cantorum Basiliensis. He has distinguished himself by combining virtuosity with informed performance practice. He has recently played in Basel, Paris, San Francisco, New York, Ottawa and Toronto. He has also given masterclasses in many institutions, including the Manhattan School of music, the San Francisco Conservatory and the Montreal Conservatory. |
 Brigitte Zaczek | A native of Vienna, BZ performed in master classes with Andrés Segovia and Alirio Diaz in Spain, Italy and Venezuela as part of a comprehensive musical education. Her main interest has been the repertoire and playing techniques of historical plucked instruments. After an intensive study of the lute music of the 17th and 18th centuries (especially the Baroque lute and archlute), she has mainly worked on the guitar repertory of the 19th century during the last few years - with its stylistic questions and the technical problems of playing original instruments of the first half of the 19th century. The original instruments in her collection are from Vienna, Naples, Paris and London and were built by masters such as J.G. & J.A.Staufer, N. G. Riess, G. B. Fabricatore, F. & C. Rhoudloff, R. Lacote, L. Panormo and others. BZ has released 2 superb CD's on period guitars mentioned in the reviews above. |
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If you have a CD for sale that you want listed here, it must be 100% early romantic guitar, solo or with ensemble. A couple of Sor pieces on the CD mixed with other material from different time periods does not count. I request a free copy of the CD to evaluate before listing, which is mine to keep. The decision to list is entirely the editor's.