Guitar Collection
View record and artist detailsRecord and Artist Details
Composer or Director: Gaspar Sanz, (Joseph) Fernando (Macari) Sor, Ferdinando Carulli, Johann Kaspar Mertz, Luis de Milán, Le Roy/Ballard, Mauro (Giuseppe Sergio Pantaleo) Giuliani, Alonso Mudarra, Luys de Narváez, Robert de Visée, Francesco Corbetta
Magazine Review Date: 6/1987
Media Format: Vinyl
Media Runtime: 0
Mastering:
DDD
Catalogue Number: SAR18
Tracks:
| Composition | Artist Credit |
|---|---|
| Tres libros de musica en Cifras para vihuela, Movement: Fantasia que contrahaze la harpa en la maniera de Luduvico |
Alonso Mudarra, Composer
Alonso Mudarra, Composer Nigel North, Guitar |
| Tres libros de musica en Cifras para vihuela, Movement: Fantasia del quarto tono |
Alonso Mudarra, Composer
Alonso Mudarra, Composer Nigel North, Guitar |
| Tres libros de musica en Cifras para vihuela, Movement: Romanesca o Guardame las vacas |
Alonso Mudarra, Composer
Alonso Mudarra, Composer Nigel North, Guitar |
| Branle de Poictou |
Le Roy/Ballard, Composer
Le Roy/Ballard, Composer Nigel North, Guitar |
| Pimontoyse |
Le Roy/Ballard, Composer
Le Roy/Ballard, Composer Nigel North, Guitar |
| (El) Maestro Fantasías, Movement: Fantasía del quarto tono |
Luis de Milán, Composer
Luis de Milán, Composer Nigel North, Guitar |
| (Los) Seys libros del Delphin, Movement: ~ |
Luys de Narváez, Composer
Luys de Narváez, Composer Nigel North, Guitar |
| Sinfonia a 2 |
Francesco Corbetta, Composer
Francesco Corbetta, Composer Maggie Cole, Keyboards Nigel North, Guitar |
| Instrucción de música sobre la guitarra espan, Movement: Las Trompetas de la Reyna de Suecia |
Gaspar Sanz, Composer
Gaspar Sanz, Composer Nigel North, Guitar |
| Instrucción de música sobre la guitarra espan, Movement: Alemanda, 'La Preciosa' |
Gaspar Sanz, Composer
Gaspar Sanz, Composer Nigel North, Guitar |
| Suite |
Robert de Visée, Composer
Nigel North, Guitar Robert de Visée, Composer |
| Grande Ouverture |
Mauro (Giuseppe Sergio Pantaleo) Giuliani, Composer
Mauro (Giuseppe Sergio Pantaleo) Giuliani, Composer Nigel North, Guitar |
| Introduction and Variations on a theme by Mozart |
(Joseph) Fernando (Macari) Sor, Composer
(Joseph) Fernando (Macari) Sor, Composer Nigel North, Guitar |
| Variations de Beethoven arranges pour le Piano et |
Ferdinando Carulli, Composer
Ferdinando Carulli, Composer Maggie Cole, Keyboards Nigel North, Guitar |
| Lied ohne Worte |
Johann Kaspar Mertz, Composer
Johann Kaspar Mertz, Composer Nigel North, Guitar |
Composer or Director: Gaspar Sanz, (Joseph) Fernando (Macari) Sor, Ferdinando Carulli, Johann Kaspar Mertz, Luis de Milán, Le Roy/Ballard, Mauro (Giuseppe Sergio Pantaleo) Giuliani, Alonso Mudarra, Luys de Narváez, Robert de Visée, Francesco Corbetta
Magazine Review Date: 6/1987
Media Format: CD or Download
Media Runtime: 0
Mastering:
DDD
Catalogue Number: CD-SAR18
Tracks:
| Composition | Artist Credit |
|---|---|
| Tres libros de musica en Cifras para vihuela, Movement: Fantasia que contrahaze la harpa en la maniera de Luduvico |
Alonso Mudarra, Composer
Alonso Mudarra, Composer Nigel North, Guitar |
| Tres libros de musica en Cifras para vihuela, Movement: Fantasia del quarto tono |
Alonso Mudarra, Composer
Alonso Mudarra, Composer Nigel North, Guitar |
| Tres libros de musica en Cifras para vihuela, Movement: Romanesca o Guardame las vacas |
Alonso Mudarra, Composer
Alonso Mudarra, Composer Nigel North, Guitar |
| Branle de Poictou |
Le Roy/Ballard, Composer
Le Roy/Ballard, Composer Nigel North, Guitar |
| Pimontoyse |
Le Roy/Ballard, Composer
Le Roy/Ballard, Composer Nigel North, Guitar |
| (El) Maestro Fantasías, Movement: Fantasía del quarto tono |
Luis de Milán, Composer
Luis de Milán, Composer Nigel North, Guitar |
| (Los) Seys libros del Delphin, Movement: ~ |
Luys de Narváez, Composer
Luys de Narváez, Composer Nigel North, Guitar |
| Sinfonia a 2 |
Francesco Corbetta, Composer
Francesco Corbetta, Composer Maggie Cole, Keyboards Nigel North, Guitar |
| Instrucción de música sobre la guitarra espan, Movement: Las Trompetas de la Reyna de Suecia |
Gaspar Sanz, Composer
Gaspar Sanz, Composer Nigel North, Guitar |
| Instrucción de música sobre la guitarra espan, Movement: Alemanda, 'La Preciosa' |
Gaspar Sanz, Composer
Gaspar Sanz, Composer Nigel North, Guitar |
| Suite |
Robert de Visée, Composer
Nigel North, Guitar Robert de Visée, Composer |
| Grande Ouverture |
Mauro (Giuseppe Sergio Pantaleo) Giuliani, Composer
Mauro (Giuseppe Sergio Pantaleo) Giuliani, Composer Nigel North, Guitar |
| Introduction and Variations on a theme by Mozart |
(Joseph) Fernando (Macari) Sor, Composer
(Joseph) Fernando (Macari) Sor, Composer Nigel North, Guitar |
| Variations de Beethoven arranges pour le Piano et |
Ferdinando Carulli, Composer
Ferdinando Carulli, Composer Maggie Cole, Keyboards Nigel North, Guitar |
| Lied ohne Worte |
Johann Kaspar Mertz, Composer
Johann Kaspar Mertz, Composer Nigel North, Guitar |
Composer or Director: Gaspar Sanz, (Joseph) Fernando (Macari) Sor, Ferdinando Carulli, Johann Kaspar Mertz, Luis de Milán, Le Roy/Ballard, Mauro (Giuseppe Sergio Pantaleo) Giuliani, Alonso Mudarra, Luys de Narváez, Robert de Visée, Francesco Corbetta
Magazine Review Date: 6/1987
Media Format: Cassette
Media Runtime: 0
Mastering:
DDD
Catalogue Number: CSAR18
Tracks:
| Composition | Artist Credit |
|---|---|
| Tres libros de musica en Cifras para vihuela, Movement: Fantasia que contrahaze la harpa en la maniera de Luduvico |
Alonso Mudarra, Composer
Alonso Mudarra, Composer Nigel North, Guitar |
| Tres libros de musica en Cifras para vihuela, Movement: Fantasia del quarto tono |
Alonso Mudarra, Composer
Alonso Mudarra, Composer Nigel North, Guitar |
| Tres libros de musica en Cifras para vihuela, Movement: Romanesca o Guardame las vacas |
Alonso Mudarra, Composer
Alonso Mudarra, Composer Nigel North, Guitar |
| Branle de Poictou |
Le Roy/Ballard, Composer
Le Roy/Ballard, Composer Nigel North, Guitar |
| Pimontoyse |
Le Roy/Ballard, Composer
Le Roy/Ballard, Composer Nigel North, Guitar |
| (El) Maestro Fantasías, Movement: Fantasía del quarto tono |
Luis de Milán, Composer
Luis de Milán, Composer Nigel North, Guitar |
| (Los) Seys libros del Delphin, Movement: ~ |
Luys de Narváez, Composer
Luys de Narváez, Composer Nigel North, Guitar |
| Sinfonia a 2 |
Francesco Corbetta, Composer
Francesco Corbetta, Composer Maggie Cole, Keyboards Nigel North, Guitar |
| Instrucción de música sobre la guitarra espan, Movement: Las Trompetas de la Reyna de Suecia |
Gaspar Sanz, Composer
Gaspar Sanz, Composer Nigel North, Guitar |
| Instrucción de música sobre la guitarra espan, Movement: Alemanda, 'La Preciosa' |
Gaspar Sanz, Composer
Gaspar Sanz, Composer Nigel North, Guitar |
| Suite |
Robert de Visée, Composer
Nigel North, Guitar Robert de Visée, Composer |
| Grande Ouverture |
Mauro (Giuseppe Sergio Pantaleo) Giuliani, Composer
Mauro (Giuseppe Sergio Pantaleo) Giuliani, Composer Nigel North, Guitar |
| Introduction and Variations on a theme by Mozart |
(Joseph) Fernando (Macari) Sor, Composer
(Joseph) Fernando (Macari) Sor, Composer Nigel North, Guitar |
| Variations de Beethoven arranges pour le Piano et |
Ferdinando Carulli, Composer
Ferdinando Carulli, Composer Maggie Cole, Keyboards Nigel North, Guitar |
| Lied ohne Worte |
Johann Kaspar Mertz, Composer
Johann Kaspar Mertz, Composer Nigel North, Guitar |
Author: John Duarte
In offering a brief aural history f the present-day guitar's ancestry this recording mirrors the first LP of Julian Bream's album ''Guitarra'' on RCA (RL85417, 5/85), introducing the same instruments used by Bream were made by the contemporary luthier Jose Romanillos, whereas North uses only three modern reproductions, the remaining six being originals: c. 1590, c. 1760, 1818, c. 1825, 1828 and 1843.
The two players approach their tasks from different directions: North as an early-music specialist and Bream as a modern guitar virtuoso with a passionate love of early music. They differ also in that, unlike Bream, North does not use his right-hand nails in plucking the strings, and the two hold their right hands in quite different attitudes; the nett result is that North produces rounder, less brilliant sounds than Bream, reflecting the differences between their musical approaches. Make no mistake—North is a very fine technician and a very cultured and sensitive musician, but he lacks Bream's sparkle and intensity, particularly noticeable in Giuliani's Grande Ouverture in which a little Italianate extravagance is distinctly helpful. There are both gems (especially in the earlier, items) and fine curiosities amongst the music itself.
The two recordings provide a valuable comparison between the best of what we are now accustomed to hearing, and the sounds of greater historical truth; which ones speak the more eloquently to you is for you to decide. In North's recording all nine instruments were played at the same distance from the microphone, giving a clear impression of their relative volumes. Both LP and CD have exemplary sound; the latter form is particularly convenient when it comes to selecting from a programme of 19 items.'
The two players approach their tasks from different directions: North as an early-music specialist and Bream as a modern guitar virtuoso with a passionate love of early music. They differ also in that, unlike Bream, North does not use his right-hand nails in plucking the strings, and the two hold their right hands in quite different attitudes; the nett result is that North produces rounder, less brilliant sounds than Bream, reflecting the differences between their musical approaches. Make no mistake—North is a very fine technician and a very cultured and sensitive musician, but he lacks Bream's sparkle and intensity, particularly noticeable in Giuliani's Grande Ouverture in which a little Italianate extravagance is distinctly helpful. There are both gems (especially in the earlier, items) and fine curiosities amongst the music itself.
The two recordings provide a valuable comparison between the best of what we are now accustomed to hearing, and the sounds of greater historical truth; which ones speak the more eloquently to you is for you to decide. In North's recording all nine instruments were played at the same distance from the microphone, giving a clear impression of their relative volumes. Both LP and CD have exemplary sound; the latter form is particularly convenient when it comes to selecting from a programme of 19 items.'
Guitar Collection
Guitar Collection
Guitar Collection
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