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Guitar Adagios

Guitar Adagios

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  1. Adagio, for violin, strings & organ in G minor, T. Mi 26 (composed by Remo Giazotto; not by Albinoni)
  2. Cavatina (from "The Deer Hunter")
  3. Lute (Chamber) Concerto, for lute (or guitar), 2 violins & continuo in D major, RV 93: Largo
  4. Suite for solo cello No. 1 in G major, BWV 1007: Prelude
  5. Après un rêve ("Levati sol que luna è levata"), song for voice & piano, Op. 7/1
  6. Pavane pour une infante défunte, for piano (or orchestra)
  7. Suite for solo cello No. 3 in C major, BWV 1009: Courante
  8. Castles of Spain, for guitar: Torija (Elegía)
  9. Prelúdio, for guitar No. 1 in E Minor, A. 419/1
  10. Spanish Dances (12), in 4 volumes for piano (also arrangements), Op.37, H. 142: Andaluza
  11. Suite española No. 1, for piano, Op. 47, B. 7: Granada (Serenata)
  12. Bachianas Brasileiras No. 5, for voice & 8 cellos, A. 389: [Excerpt]
  13. Cello Concerto in D major, G. 479: Andante cantabile
  14. Cancion de Cuna, for guitar
  15. Cantata No. 156, "Ich steh mit einem Fuss im Grabe," BWV 156: Arioso
  16. Jeux Interdits, romance for guitar
  17. Concierto de Aranjuez for guitar & orchestra: Adagio
  18. Mass in B minor, for soloists, chorus & orchestra, BWV 232 (BC E1): Qui tollis
  19. Orchestral Suite No. 3 in D major, BWV 1068: Air
  20. Mandolin Concerto, for mandolin, strings & continuo in C major, RV 425: Largo
  21. Concerto for oboe, strings & continuo in D minor, SF. 935 (often transposed to C minor): Andante sostenuto
  22. Tonadillas al estilo antiguo, 10 songs for voice & piano, H. 136: La maja de Goya
  23. Romanza de los piños, for guitar
  24. Suite for solo cello No. 3 in C major, BWV 1009: Sarabande
  25. Sonatina for guitar: Andante
  26. Recuerdos de la Alhambra, for guitar
  27. Barcarolle
  28. Suite for solo cello No. 3 in C major, BWV 1009: Bourées I & II
  29. Suite for solo cello No. 1 in G major, BWV 1007: Sarabande
  30. Suite for 2 guitars No. 1: Andante
  31. Spanish Dances (12), in 4 volumes for piano (also arrangements), Op.37, H. 142: Oriental
  32. Duet for 2 guitars, No 4 in G, Op. 34 "Encouragement": Cantabile
  33. Concerto No. 3 for 2 lire organizzate in G major, H. 7h/2: Adagio ma non troppo
  34. Double Mandolin Concerto, for 2 mandolins, strings & continuo in G major, RV 532: Andante
  35. Canzone
  36. Pelléas et Mélisande, incidental music and suite for orchestra, Op. 80: Sicilienne
  37. Clair de lune, for piano, L. 75/3

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Guitar Adagios 4 out of 5 based on 0 ratings. 2 reviews.
Guest More than 1 year ago
Curious thing: nowhere on the sleeve note there is mentioned who is the author of compilation, i. e. apsolutely the most important person here (or more of them) who told us that beautiful guitar adagio story. Whoever has done it, he or she did it with enormously great musical taste and 'cyclic' feeling: numbers are following each other almost organicly, as been originally expected to support one another (!). Congratulations for an excellent 'meal' compost of 'ingredients' taken from Decca guitar recording 'kitchen'. Ideal not only for intimate dinner with candles, but also for a serious listeners who always care obout long 'bow' perception and kinda inner dramaturgy (of compilation), even with glass of wine for late evening meditation, or in working pose with some music background . First class job. The performances are on a very high professional and artistic level, from good (Dominic Miler, Steve Erquiaga, Eduardo Fernandez), over better (Göran Söllscher, Pepe Romero, Celin & Pepe Romero, Alexander Lagoya) to excellent (Segovia, Bream, young Williams) and quite outstanding (Presti& Lagoya). The fact that Dominic Miler and Steve Erquiaga both play on a metal string acoustics (which I would never listen alone) goes for a benefit of overall sounding spectrum, as well as some orchestra's appereances do (in 10 of the including takes). Perhaps the only doubt rests upon 'Recuerdos de la Alhambra'. Should be better if that fabulous song (yes, song, a metaphor even!) plays somebody more skilfull in tremolo cantillena wizzardy then Fernandez (whose a, m, i right hand fingering is slightly 'grouping', somewhat 'knotty'and unpersuasive...). Otherwise, Fernandez is a very fine and imaginative guitarist indeed.) Although guitar itself has a pretty rich original literature for such occasions (rich only for such occasions), the majority of numbers are transcriptions – 26 of totaly 37 of them. It, of course, widely extends musical horizon and diabolicly confirms traditional gutaristic sensibility (gitarists always prefer to interfere in other instruments' field, rather then in their own). Some of the arrangements give even a certain 'fusion' flavour, an important 'aroma' for modern audience's taste. The recordings are of various sounding quality and have been made from 1961 to 1995. Mostly, the younger the better, but there are some impressive olds, like Segovia's in Boccherini Cello Concerto (1961) and a the whole 6 cuts set of Ida Presti & Alexander Lagoya (1961 and 1962). The worst sounding are 5 cuts of 17 years old John Williams (1972) – mics directed to a deep timbar of guitar-top, too close, dry, 'fat' and spaceless. Second worst is pure and boxy sound in Villa-Lobos Prelude, the only take with Julian Bream (1966) who, as it is known, didn't find his relevant and recognizable discographic sound anywhere outside of the RCA company. All in all, global sound is generally OK and pleasant for listening, having in mind that it is the least what one might expect from Decca. The only strong critical complain deserves technical production of the project. Some cuts are 'loud', some are 'silent' Miler's and Erquiaga's, for example, are certain shocks of digital agression. Nobody edited (?) output levels of recorded material according to subjective and objective dynamics and made it suitable to, let's say, integrated 'stage' of compilation in listener's enviroment. This is the case with 99% of current production – not only in Decca, but everywhere – and it is practically impossible to listen without permanent interventing upon volume control (of your remote control). What the producers (of compilations) are here for, if not to ordinate sonic material, in the first place? Yes, hours and hours, days and days, weeks and weeks of monitoring to make some CD sounding 'flat'. Certainly, it costs. But I prefer paying some extra, then spending my time in aftermarket sound
1wolffan More than 1 year ago
Two long CDs (roughly 75 minutes each) of excellent music for under $20... Works for me.