The “Vihuela de mano” is a somewhat mysterious instrument. It evolved in Spain alongside the lute which it replaced at the begining of the 16th century and from which it differed in its guitar-like flat back and waisted shape. Alonso de Mudarra was a sixteenth century Spanish composer and vihuelist known for his songs and his numerous innovations in the field of instrumental music. He lived in relative luxury throughout his life. His upbringing and education were in the ducal household in Guadalajara. Duke Iñigo López de Mendoza (1493-1566), a highly cultured man and fine lutenist, may have been a mentor to the young de Mudarra, influencing him toward study of the vihuela...
25 disc box set featuring music for the classical guitar from the 16th century up to the present day. Some of the works performed include 'Chaconnes' by Bach and Telemann, '12 Sonatas' by Scarlatti, 'Guitar Concertos' by Vivaldi, Rodrigo's 'Concierto de Aranjuez' and Brouwer's 'Music for Solo Guitar'.
“Giovanni Zamboni Romano, originally from Rome, was a fine expert in musical counterpoint and virtuoso on the theorbo, lute, harpsichord, chitarra sminuita, mandola and mandolin, and also a skilled professional sharpener of oriental stones for jewels.” Such is our lute player described by the chronicler Ranieri Busoni.The Sonatas for lute in tablature (Sonate d’intavolatura di leuto) of 1718 are the last Italian works for lute printed in tablature, likely prepared by Zamboni, who was deft at handling stones and jewellery.
Intense heavy emotional stratocaster self expression, with bluesy voice. Forever may you scream. Recommended if you like Jimi Hendrix & Steely Dan. As an artist it is essential to remember that the most important thing we have is "our voice", or style as they say. Each day our "voices" search for sources of inspiration to help us discover our own identity and creatively translate that identity into the sound of music. With that said, I hope you will be able to find a source of inspiration here…
During the mid-16th century in Spain, it became increasingly common for collections of music to include tablature that would enable performers of other polyphonic instruments to perform the repertoire. With the recent addition of chromatic strings, the harp was one such mechanism to benefit from this, and its presentation in this beautifully performed compilation of works offers a fascinating glimpse into the rich world of Iberian Renaissance music making.
These new CDs are not being introduced as a simple addition to the consumer market, as they were produced with the consciousness that authentic Byzantine melody is not music intended for popular consumption, nor can it become an object of commercialization. On the contrary, Byzantine music belongs to the realm of transcendence. It is word [logos] in musical form, the word of revelation and disclosure of truth and the experience of the Church that is not related to the provocation of the senses, emotion, pleasure, or delight. The beauty, therefore, of Byzantine music does not have an aesthetic basis, but rather an ontological one, which imprints and defines this beauty in both an iconic and Eucharistic fashion in the Divine Services.
Johann Sebastian Bach is recognized as one of the world's supremely great musicians. Known primarily as an organist and then only later recognized as a composer, Bach transformed the conventional structures of preludes and fugues. J.S. Bach for Bass will open up a whole new world of phrasing for the aspiring bassist. Selections include: Prelude #1 in C Major; Suite #1 in G Major; Suite #2 in D Minor; Suite #3 in C Major; Partita #1 in B Minor; Partita #2 in D; Partita #3 in E Major; Sonata #1 in G Minor; and Sonata #3 in C Major. This book is written in notation and tablature.