Aureole etc.




Golden Age singers

Nimbus on-line




Faure songs
Charlotte de Rothschild (soprano);

  Founder: Len Mullenger
Classical Editor: Rob Barnett

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FOLIAS! Virtuoso Guitar Music of Seventeenth Century on Period Instruments
Francisco CORBETTA (c1615-1681)

Prelude al quinto tuono and Chaconna
Gaspar SANZ (fl. 1665-1700)

Pavanas por la D con Partidas Aire Español,
Una Jiga Inglesa y Bailete Frances
Españoletas
Passacalles por la C
Clarines y Trompetas con Canciones muy curiosas Españolas y de Estanjeras Naciones

La Cavalleria de Napoles con dos Clarines
Canciones
La Garzona
La Coquina Francesa
Lantururu
La Esfachata de Napoles
La Miñona de Cataluña
La Minina de Portugal
Dos Trompetas de la Reyna de Suecia
Clarin de los Mosqueteros del Rey de Francia
Clarinea y Trompetas
Canarios
Folias
Nicola MATTEIS (d. after 1713)

Suite in G for guitar and continuo: Preludio; Aria I; Aria II; Aria III
Nicolas DEROSIER / Francisco CORBETTA*

Suite in C: Allemande; Courante; Air; Chacone*;
Francois Le COCQ (fl. 1645-1729)

Folias d’Espagne
Taro Takeuchi (guitar)
Reiko Ichise (viola da gamba)
Eligio Quinteiro (narration)
rec. no details supplied by reviewer
DEUX-ELLES DXL 1030 [64:39]

 

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This disc of music for guitar from the Baroque era contains compositions from four composers. Gaspar Sanz and Francesco Corbetta are reasonably well known, the other two (Nicola Matteis and Francois Le Cocq) less so.

The emphasis here is on authenticity; so the instruments employed by guitarist Taro Takeuchi (one an original 17th century guitar, the other a copy of a 1641 guitar made in 1982) are double coursed five string guitars, popular during the period. It is hard to believe the sound produced by this type of instrument was known for longer than the modern concert guitar has been in existence.

Although this is Taro Takeuchi’s first solo recording his specialized skills in this area of music have seen him perform with various early music groups such as ‘The Age of Enlightenment’ and ‘The Parley of Instruments’. In addition he is an ex- pupil of the distinguished lutenist Nigel North, so his technique is built on a solid foundation which is displayed well on this disc. His punteado (plucked) passages are well articulated and the rasgueado (strummed) sections rhythmically solid. These facets of the art, together with his use of ornament, make for some fine informed performances. The "Suite in G" for guitar and continuo, with the use of a bass viol, made for a nice contrast.

I found the use of a narrator announcing the individual titles of the "Clarines y Trompetas con Canciones muy curiosas Eapanolas y de Estanjeras Naciones" a little unnecessary.

Although this is not in the mainstream of what is regarded as the guitar CD market the disc is worthy of investigation for those seeking something a little different.

Andy Daly

 


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