One of the world's foremost experts on the 10-string guitar, Pascal Boels offers us a cross-section of the finest music for his instrument from around Europe in the Renaissance and the Baroque. He identifies this as the guitar's 'golden age' - rather than the later proliferation of guitar music in pre-Romantic Europe, from Spain and Italy through Paris, London and Vienna, even as far as Moscow - because in the 16th and 17th centuries, the guitar and it's plucked-string ancestors reigned supreme, whereas the later guitar music, although often of great quality, could not compete with the genius poured by the great composers of the day into the fortepiano. Renaissance Spain in particular was a bastion of the art, where the 12-string vihuela inspired an immense corpus of great quality, often enhanced with the mystical qualities of plainchant. The musical range on Disc Two of this set is quite comprehensive: court music, fantasies, variations or glosses on secular melodies (Josquin des Prez's Mille regretz for example) and liturgical music. As the piano did in the 19th century, the vihuela in the Renaissance served as a platform for reductions of works for larger forces, making the great polyphonic music of the time more readily accessible to the masses and to individual players. The artist devotes Disc One to lands further north, where the guitar was often overshadowed by the lute, especially in England and Germany. Yet a portrait of this age in Europe would not be complete without the lute players Dowland (early Baroque) and Weiss (late Baroque) whose music is a perfect match for Boels' instrument. This very personal selection is a small but evocative sample of a vast yet paradoxically little-known repertoire, that nevertheless goes a long way to helping the classical guitar further stand the test of time.
One of the world's foremost experts on the 10-string guitar, Pascal Boels offers us a cross-section of the finest music for his instrument from around Europe in the Renaissance and the Baroque. He identifies this as the guitar's 'golden age' - rather than the later proliferation of guitar music in pre-Romantic Europe, from Spain and Italy through Paris, London and Vienna, even as far as Moscow - because in the 16th and 17th centuries, the guitar and it's plucked-string ancestors reigned supreme, whereas the later guitar music, although often of great quality, could not compete with the genius poured by the great composers of the day into the fortepiano. Renaissance Spain in particular was a bastion of the art, where the 12-string vihuela inspired an immense corpus of great quality, often enhanced with the mystical qualities of plainchant. The musical range on Disc Two of this set is quite comprehensive: court music, fantasies, variations or glosses on secular melodies (Josquin des Prez's Mille regretz for example) and liturgical music. As the piano did in the 19th century, the vihuela in the Renaissance served as a platform for reductions of works for larger forces, making the great polyphonic music of the time more readily accessible to the masses and to individual players. The artist devotes Disc One to lands further north, where the guitar was often overshadowed by the lute, especially in England and Germany. Yet a portrait of this age in Europe would not be complete without the lute players Dowland (early Baroque) and Weiss (late Baroque) whose music is a perfect match for Boels' instrument. This very personal selection is a small but evocative sample of a vast yet paradoxically little-known repertoire, that nevertheless goes a long way to helping the classical guitar further stand the test of time.
5028421961576

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Format: CD
Label: BRLT
Rel. Date: 12/11/2020
UPC: 5028421961576

Golden Age of the Guitar
Artist: Pascal Boëls
Format: CD
New: Not in stock
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DISC: 1
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1. Sonata No. 2, Quarto Tono In E Minor: I. Preludio
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2. Sonata No. 2, Quarto Tono In E Minor: II. Alemanda
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3. Sonata No. 2, Quarto Tono In E Minor: III. Giga
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4. Sonata No. 2, Quarto Tono In E Minor: IV. Sarabanda
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5. Sonata No. 2, Quarto Tono In E Minor: V. Gavotta
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6. Sonata No. 2, Quarto Tono In E Minor: VI. Passacaglia
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7. Lachrimae Pavan, P15
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8. A Fancy, P73
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9. Suite In G Major: I. Prélude
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10. Suite In G Major: II. Allemande
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11. Suite In G Major: III. Courante
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12. Suite In G Major: IV. Sarabande
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13. Suite In G Major: V. Gigue
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14. Suite In G Major: VI. Chaconne
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15. Suite In D Minor: I. Prélude
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16. Suite In D Minor: II. Allemande
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17. Suite In D Minor: III. Courante
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18. Suite In D Minor: IV. Sarabande I
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19. Suite In D Minor: V. Sarabande II
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20. Suite In D Minor: VI. Gigue
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21. Suite In D Minor: VII. Menuets I & II
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22. Suite In D Minor: VIII. Bourrée
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23. Suite In D Minor: IX. Passacaille
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24. Fantasie In C Minor, Weisssw9
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25. Partita In A Minor: I. Aria
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26. Partita In A Minor: II. Allemande
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27. Partita In A Minor: III. Capriccio
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28. Partita In A Minor: IV. Sarabande
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29. Partita In A Minor: V. Gavotte
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30. Partita In A Minor: VI. Gigue
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31. Mille Regres La Canción Del Rmperador, Del Quarto Tono, De Jusquin
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32. Fantasia VIII Del Quarto Tono
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33. Fantasia VII
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34. Fantasia X, Que Contrahaze La Harpa En La Manera De Ludovico
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35. Kyrie Primero, De La Missa De Beata Virgine De Josquin Glosado, Primer Tono
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36. 6 Diferencias Sobre O Gloriosa Domina, Primer Tono: I. Diferencia I
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37. 6 Diferencias Sobre O Gloriosa Domina, Primer Tono: II. Diferencia II, De Dos Tiples Sobre El Tenor
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38. 6 Diferencias Sobre O Gloriosa Domina, Primer Tono: III. Diferencia III, A Duo
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39. 6 Diferencias Sobre O Gloriosa Domina, Primer Tono: IV. Diferencia IV, De Proporción
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40. 6 Diferencias Sobre O Gloriosa Domina, Primer Tono: V. Diferencia V, El Canto Llano Por Tiple
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41. 6 Diferencias Sobre O Gloriosa Domina, Primer Tono: VI. Dupla, Diferencia VI, El Canto Llano Por Tiple
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42. 4 Diferencias Sobre La Pavana Por Grados
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43. Instrucción De Música Sobre La Guitarra Española, Libro II: XVIII. Marizápalos
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44. Instrucción De Música Sobre La Guitarra Española, Libro I: Xlvii. Fuga I, Por Primer Tono, Al Ayre Espa&nti
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45. Instrucción De Música Sobre La Guitarra Española, Libro II: IV. Folias
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46. Instrucción De Música Sobre La Guitarra Española, Libro II: XXII. Pavanas Por La D
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47. Instrucción De Música Sobre La Guitarra Española, Libro I: XXXIII. Passacalles Sobre La D
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More Info:

One of the world's foremost experts on the 10-string guitar, Pascal Boels offers us a cross-section of the finest music for his instrument from around Europe in the Renaissance and the Baroque. He identifies this as the guitar's 'golden age' - rather than the later proliferation of guitar music in pre-Romantic Europe, from Spain and Italy through Paris, London and Vienna, even as far as Moscow - because in the 16th and 17th centuries, the guitar and it's plucked-string ancestors reigned supreme, whereas the later guitar music, although often of great quality, could not compete with the genius poured by the great composers of the day into the fortepiano. Renaissance Spain in particular was a bastion of the art, where the 12-string vihuela inspired an immense corpus of great quality, often enhanced with the mystical qualities of plainchant. The musical range on Disc Two of this set is quite comprehensive: court music, fantasies, variations or glosses on secular melodies (Josquin des Prez's Mille regretz for example) and liturgical music. As the piano did in the 19th century, the vihuela in the Renaissance served as a platform for reductions of works for larger forces, making the great polyphonic music of the time more readily accessible to the masses and to individual players. The artist devotes Disc One to lands further north, where the guitar was often overshadowed by the lute, especially in England and Germany. Yet a portrait of this age in Europe would not be complete without the lute players Dowland (early Baroque) and Weiss (late Baroque) whose music is a perfect match for Boels' instrument. This very personal selection is a small but evocative sample of a vast yet paradoxically little-known repertoire, that nevertheless goes a long way to helping the classical guitar further stand the test of time.

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