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Era hijo de Gabriel de Murcia. En Curiosamente, al principio de la pieza Murcia indica la. Fernando Sor fue considerado el mejor guitarrista de su tiempo. Esta obra, formada por una. Nota del Editor. GCD Guitarra renacentista. It is no simple matter to play three such different instruments on the same recording: the vihuela is sober and intimate, the baroque guitar more luminous and bright, and the classical-romantic guitar passionate, sentimental and highly virtuoso. They are three independent worlds, corresponding to three very different aesthetics.

In this recording I use specific techniques for each instrument, in order to achieve maximum faithfulness and beauty in the interpretation. Though it may seem obvious, I would like to reiterate that the art of each moment in time is intimately linked to the historical and cultural context from which it emerged, and subsequently, our approach to it must always be accompanied by the deepest respect and knowledge of the period, without succumbing to the temptation, provoked by ignorance or arrogance, of.

Thus, although a nineteenth century guitar technique applied to vihuela music might. I have used three instruments built after models of each period. Instruments of the guitar family are much harder to preserve than those of the violin family, for example, and in some cases it is preferable to use modern copies rather than original, antique models. The case of the baroque guitar is different, as original instruments do exist on which to base a reconstruction.

The choice of this instrument has gone to one with characteristics typical of Spain in Finally, I use a copy of a classical-romantic guitar made by a French luthier. Sor and Aguado, who lived in Paris, used guitars by French makers. Perhaps I should mention that I record and produce my own solo recordings. My aim in this is to try to achieve the most faithful sound, the most. It is a more complicated and laborious process, but it allows me to enjoy my work more intensely, and I trust that your pleasure will also be greater.

Of all the musical instruments of former times, undoubtedly the Spanish vihuela constitutes one of the most singular and fascinating cases, for the scholar and amateur alike.

We know practically nothing for sure about the origin of the vihuela in the Iberian Peninsula and Italy, where it was commonly played. Little more is known of the causes for which this instrument became one of the most widely-used and popular ones in Spain, almost totally replacing the lute, while its gradual disappearance in favour of the guitar at the dawn of the Baroque is also shrouded in mystery.

Consequently, the vihuela became the instrument for which intimate, highly skilled, expressive, almost magical music was written, an authentic representation of the Spain of the sixteenth century in a variety of its aspects: its colour, its.

The vihuela is an instrument on which it is possible to hear a thousand and one musical genres, from the most abstract fantasia to a court dance, by way of an accompanied song or transcriptions of polyphonic works. However, if the vihuela was such a commonly-used instrument, if so many people played it and composed music for it, if in fact there must have been so many vihuelas in existence in both Spain and America, then why is the surviving vihuela repertoire so small, compared for example, to that of the lute?

Why has not a single vihuela survived, with the exception of the rare models preserved in Paris and Quito? For the time being, no answer can be given to these questions, which form part of the mystery of a unique instrument. So why was the vihuela preferred in our country? As the Moorish enclave of Granada still existed at that time in Spain, many people may well have felt that they displayed their patriotism by using an instrument with a flat back of Christian origin like the vihuela, rather than an instrument like the lute with a curved back and the pegbox perpendicular to the neck, which was reminiscent of the Arab instrument of the same name.

However, it is also true that some elements of Islamic culture endured in Spain for centuries, without being repudiated as, apparently, the lute could have been. Furthermore, recent research adds further weight to the theory that, in fact, the lute was more frequently used in Spain than had been supposed. During the last quarter of the fifteenth century, Spanish musicians were beginning to occupy positions of greater importance in the Royal Chapels of Isabel and Ferdinand, hitherto dominated by Franco-Flemish ones.

This favouring of the national musicians may also have had a certain influence on the Spanish predilection for the vihuela, rather than the lute. Furthermore, at that time both the four-course double-stringed guitar and the vihuela were being used in Spain.

And if you want to turn a guitar into a vihuela, give it a sixth and a. The careful musical education received by the Emperor, and his taste for the arts, seem to have extended to the great lords of the time, and therefore we find musicians employed in their service. This all led to a widespread burgeoning of music, particularly of instrumental music, as this was the main area of activity of the Spanish musicians the Flemish ones who arrived with Charles in , on his first visit to Spain, were responsible for the sacred music.

At the Court of Philip II, the vihuela continued to maintain its preeminence among musical instruments. Although it seems that the type of vihuela most commonly used in the sixteenth century had six pairs of gut strings courses , each pair tuned in unison, vihuelas with five and seven courses were also used.

The number of frets, also made of gut and movable, was usually ten, and there were different methods of arranging them along the neck, so as to obtain adequate tuning. The Libros of vihuela did not insist too much on the technique for the left hand, which cannot have been very different from that of the lute. Fuenllana and Henestrosa explain that an additional voice could be obtained to produce counterpoint, if one of the fingers of the left hand played just one of the double strings.

Regarding the right hand, some quite detailed instructions are given, especially regarding the redobles or fast passages.

Three principal methods are mentioned: dedillo fingertip , consisting of a rapid movement of the index finger inwards and outwards disdained by Fuenllana, because contact with the string occurred with both the fingertip and the nail ; dos dedos two fingers , consisting of alternate movements of the thumb and the index finger, as done when playing the lute throughout Europe. The third. Quite specific instructions regarding the tempo are also to be found in the Libros.

The musical notation used in the vihuela books is tablature, a system which, with variations, was maintained up to the late eighteenth century, being shared by the other plucked string instruments, and used also for keyboard instruments.

The rhythm was indicated in the upper part with and notes that are similar to modern staved music notation. The first printed collection of music for vihuela. He was not a professional musician, but a nobleman associated for many years with the splendid Court of the Duke of Calabria.

His vihuela music shows the influence of improvisation techniques, and above all a highly idiomatic style that tell us of his great knowledge of the instrument and its possibilities. In his Miscelanea , Zapata tells a very well-known anecdote:.

His collection is of outstanding quality, as can be appreciated from the selection of four pieces on this compact disc. Populares em Technology General. Masood Totakhel.

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Guilherme Ribeiro Barbosa. Disponible en Bit CD Quality Your browser does not support the audio element. Copier le lien pour partager la page Copier. Jose Miguel Moreno, guitar. Passeavase el rey moro. Cancion del Emperador. Pavana II. Pavana de Alexandre. Fantasia que contrahaze la harpa, en la manera de Ludovico.

Marionas version for baroque guitar. Pavanas con partitas al ayre Espanol. If any unexpected delays occur, we will keep you informed of progress via email and not allow other items on the order to be held up. If you would prefer to receive everything together regardless of any delay, please let us know via email. Pre-orders will be despatched as close as possible to the release date.

Error on this page? Let us know here. Need more information on this product? Click here. Available to order, but is likely to take longer than usual to despatch Despatch Information This despatch estimate is based on information from both our own stock and the UK supplier's stock.

Fernando Sor Copier le lien pour partager la page Copier. On his death his possessions were auctioned, and the proceeds given to the poor of the city, as instructed in his will. The choice of this instrument has gone to one with characteristics typical of Spain in Christian Salerno. The guitar and the piano were the favourite instruments, and in order to attain such a prominent position the guitar had to undergo serious structural changes. Fernando Sor wurde als der beste Gitarrist seiner Zeit angesehen. La Coquina francesa
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9 thoughts on “Pavana De Alexandre - José Miguel Moreno - La Guitarra Española (1536-1836) (CD)

  1. Track 1 is called "Cuatro diferencias de Guárdame las vacas" in the booklet. Track 8 is called "Fantasía X que contrahaze la harpa en la manero de Ludovico" in the booklet. The hub gives the title as "La Guitarra Española, vol. 1 ()". (p) of (c) of /5(2).
  2. La Guitarra Española. Glossa: GCD Buy 2 CDs or download online. José Miguel Moreno (vihuela, baroque guitar, classical-romantic guitar, post-romantic guitar).
  3. «La Guitarra Española ()» by José Miguel Moreno. Fernando Sor Variationen über ein Thema aus der Zauberflöte von Mozart, für Gitarre.
  4. La Guitarra Espanola - Jose Miguel Moreno [FLAC] I. Vihuela. Luys De Narvaez (ca. - ) Pavana De Alexandre. 08 - Fantasia X. II. Guitarra Barroca. La Guitarra Espanola - Jose Miguel More Cuba Classics - Leo Brouwer [24bit Hi-Res].
  5. José Miguel Moreno - La Guitarra Española () (CD) at Discogs - Free download as PDF File .pdf), Text File .txt) or read online for free. O Scribd é o maior site social de leitura e publicação do mundo.
  6. José Miguel Moreno’s multi-century guided tour of Spanish instrumental music encompasses a magisterial pair of CDs tracing the history of the Spanish guitar: compositions by Narváez, Mudarra, Murcia, Sanz, Sor, Tárrega and Llobet are all accorded their rightful places.
  7. «La Guitarra Española ()» by José Miguel Moreno. Luys de Narváez Los seys libros del delphin. Livre VI (extrait). 4 Diferencias sobre "Guárdame las vacas", pour vihuela, primer tono.
  8. La Guitarra Espanola () / Jose Miguel Moreno; クラシック. CD. La Guitarra Espanola () / Jose Miguel Moreno Tres libros de musica en cifras: Pavana and galliard de.

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