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    Classical Guitar Discography

    Salut d'amour con GRONDONA STEFANO (chitarra) CICCOLINI ALDO (piano,cembalo) - STR 37141

    GRONDONA STEFANO (chitarra)
    CICCOLINI ALDO (piano,cembalo)
      Titolo: Prélude (1925) per chitarra
    Autore: PONCE Manuel - (1882-1948) MESSICO
    Anno di registrazione: 2018
    Tipo di registrazione: D
    Titolo: Prélude para guitarra y clavecin (1926)
    Autore: PONCE Manuel - (1882-1948) MESSICO
    Anno di registrazione: 2018
    Tipo di registrazione: D
    Titolo: Sonata para guitarra y clavecin (1930)
    Autore: PONCE Manuel - (1882-1948) MESSICO
    Anno di registrazione: 2018
    Tipo di registrazione: D
    Titolo: Tonadilla op 170 n.5 (1954) On the name of Segovia
    Autore: CASTELNUOVO TEDESCO Mario - (1895-1968) - Firenze - ITALIA
    Anno di registrazione: 2018
    Tipo di registrazione: D
    Titolo: Fantasia op 145 (1950) chitarra e piano
    Autore: CASTELNUOVO TEDESCO Mario - (1895-1968) - Firenze - ITALIA
    Anno di registrazione: 2018
    Tipo di registrazione: D
    Titolo: Alba (1954) per chitarra
    Autore: HAUG Hans - (1900-1967)
    Anno di registrazione: 2018
    Tipo di registrazione: D
    Titolo: Fantasia (1957) pour guitare et piano
    Autore: HAUG Hans - (1900-1967)
    Anno di registrazione: 2018
    Tipo di registrazione: D
    Titolo: Salut d'amour op 12 (1888) (arr. S. Grondona)
    Autore: ELGAR Edward - (1857-1934) - Broadheath - INGHILTERRA
    Anno di registrazione: 2018
    Tipo di registrazione: D


    Gebeth, Romatic music for guitar

    SUSANI GIACOMO (chitarra)
    Titolo: An Marvina
    Autore: MERTZ Johann Kaspar - (1806-1856) - GERMANIA
    Anno di registrazione: 2017
    Tipo di registrazione: D
    Titolo: Studio per chitarra (più allegro)
    Autore: MERTZ Johann Kaspar - (1806-1856) - GERMANIA
    Anno di registrazione: 2017
    Tipo di registrazione: D
    Titolo: Unruhe
    Autore: MERTZ Johann Kaspar - (1806-1856) - GERMANIA
    Anno di registrazione: 2017
    Tipo di registrazione: D
    Titolo: An die Entfernte
    Autore: MERTZ Johann Kaspar - (1806-1856) - GERMANIA
    Anno di registrazione: 2017
    Tipo di registrazione: D
    Titolo: Capriccio per chitarra
    Autore: MERTZ Johann Kaspar - (1806-1856) - GERMANIA
    Anno di registrazione: 2017
    Tipo di registrazione: D
    Titolo: Gebeth
    Autore: MERTZ Johann Kaspar - (1806-1856) - GERMANIA
    Anno di registrazione: 2017
    Tipo di registrazione: D
    Titolo: Lied ohne Worte
    Autore: MERTZ Johann Kaspar - (1806-1856) - GERMANIA
    Anno di registrazione: 2017
    Tipo di registrazione: D
    Titolo: Elegie
    Autore: MERTZ Johann Kaspar - (1806-1856) - GERMANIA
    Anno di registrazione: 2017
    Tipo di registrazione: D
    Titolo: Studio n.1 in DO per chitarra
    Autore: REGONDI Giulio - (1822-1872) - ITALIA
    Anno di registrazione: 2017
    Tipo di registrazione: D
    Titolo: Studio n.4 in MI per chitarra
    Autore: REGONDI Giulio - (1822-1872) - ITALIA
    Anno di registrazione: 2017
    Tipo di registrazione: D
    Titolo: Studio n.6 in re per chitarra
    Autore: REGONDI Giulio - (1822-1872) - ITALIA
    Anno di registrazione: 2017
    Tipo di registrazione: D
    Titolo: Reverie (notturno per chitarra op 19)
    Autore: REGONDI Giulio - (1822-1872) - ITALIA
    Anno di registrazione: 2017
    Tipo di registrazione: D

    Ceras ambiguas - Fascinaciòn para guitara, Domenico Scaminante

    Ceras Ambiguas, fascinatiòn para guitara
    (C) 2019 – AEC
    Anno di pubblicazione: 2019
    Etichetta discografica: AEC
    Chitarra: Antonino Scandurra
    Ceras Ambiguas, fascinatiòn para guitara realizza la nuova produzione AEC che si aggiunge alle mie precedenti release discografiche, dedicate alle opere per chitarra sola del compositore Carlo Francesco Defranceschi.
    Maggiori informazioni: http://www.pilesmusic.com/

    Torroba - Sonata Fantasia and the early guitar works, Pietro Locatto

    L'etichetta discografica Stradivarius pubblica l'esordio discografico del chitarrista italiano Pietro Locatto.
    Il CD contiene le seguenti composizioni per chitarra del compositore madrileno Federico Moreno Torroba (1891-1982). Più nello specifico questa è la tracklist:
    Suite castellana (1920) Sonatina per chitarra (1923) Preludio per chitarra (1928) Notturno (1926) per chitarra Serenata burlesca (1928) Madronos para guitarra (1929) Pièces caractéristiques (1931) Sonata fantasia (1953) Burgalesa (1928) Numero di catalogo: STR 37127

    Novecento Guitar Sonatinas, Cristiano Porqueddu

    Novecento Guitar Sonatinas
    (C) 2019 – Brilliant Classics
    Anno di pubblicazione: 2019
    Etichetta discografica: Brilliant Classics
    Periodo: 21 Settembre 2016 - 18 Settembre 2018
    Sede: Chiesa della Solitudine (NU)
    Chitarra: Giuseppe Guaglardo 
    Corde: Augustine Imperials
    Novecento Guitar Sonatinas è un cofanetto di 4 CD contenente una selezione di diciassette sonatine per chitarra sola di autori del XX e del XXI secolo. Si tratta del terzo tassello del progetto discografico decennale Novecento Guitar. La release è distribuita da Brilliant Classics.  La tracklist completa è disponibile da questo link. 

    Novecento Guitar Sonatinas è il terzo tassello della serie di pubblicazioni discografiche "Novecento Guitar". La serie prevede le seguenti uscite:
    Novecento Guitar Preludes (2012) Novecento Guitar Sonatas (2014)  Novecento Guitar Sonatinas (2019) Novecento Guitar Variations (2022)
    Dal sito dell'editore:
    This survey is the sequel to comparably comprehensive Brilliant Classics collections of 20th-century guitar preludes (BC9292) and sonatas (BC9455). The sonatinas included take their place as part of a long process of study conducted by Cristiano Porqueddu over the past few years. The high percentage of world premiere recordings - more than half of the entire tracklist - should give a good idea of how the research was conducted: as with the two previous releases, space has been given to those works that rarely appear either in concert or on record, in order to give voice to a considerable amount of excellent music almost completely ignored. Porqueddu made a longlist of over 60 sonatinas by 20th-century and by living composers, before narrowing down the final choice to the 17 performed here. 

    Before Porqueddu, of course, there was the pioneer of modern guitar performance a century ago, Andres Segovia, who commissioned and inspired countless composers to write for him. One of those was the English composer Cyril Scott, and while Segovia expressed some misgivings about the result – ‘I’m not head over heels about it’, he wrote to his friend Manuel Ponce – the three-movement Sonatina makes a fine test of any guitarist’s musicianship and effectively inhabits the Spanish guitar tradition with its mysterious slow introduction and hypnotic central, Flamenco-style slow movement. 

    The sonatinas by Mark Delpriora, Carlos Surinach and Albert Harris that follow on CD1 are no less compressed in expression, using the sonatina form to pack ideas into ten minutes that would occupy half an hour in the hands of lesser composers. The seven works of Angelo Gilardino that occupy CDs 2 and 3 are more expansive, though full of character, testifying to the unique relationship between composer and performer: Porqueddu himself. On CD4, the pieces by Alfredo Franco and Franco Cavallone were also composed with Porqueddu in mind, while the Sonatina Lirica by Segovia’s English pupil Chris Duarte is a hidden gem. 

    ‘a most compelling collection from five composers, none of whom were guitarists… coruscating variety, fine recorded sound and lovingly shaped playing.’ MusicWeb International (Preludes). 

    ‘Porqueddu’s work is once more of excellent quality and shows how he is able to create individual interpretations of contemporary repertoire.’ Seicorde (Sonatas). 

    Another unique concept, compiled and performed by Cristiano Porqueddu: 20th Century Guitar Sonatinas. 
    Presented on 4 CDs are Sonatinas by Cyril Scott, Mark Delpriora, Carlos Surinach, Virgilio Mortari, Albert Harris, Angelo Gilardino, Alfredo Franco, John Duarte, Vitaly Kharisov and Franco Cavallone. 
    Although very different in style these sonatinas present, in their concise format, all the vibrant energy and inventiveness of the 20th century. 
    Played with supreme command over style and technique by master guitarist Cristiano Porqueddu. 
    Earlier successful issues by Porqueddu are “20th century Guitar Preludes”, “20th century Guitar Sonatas” and Easy Studies for Guitar. 
    A great opportunity to collect original guitar repertoire by a great diversity of composers in one set!

    Gilardino: Music for Guitar Quartet, Quartetto Santorsola

    La casa discografica Brilliant Classics pubblica il CD Gilardino: Music for Guitar Quartet contenente opere per quartetto di chitarre del compositore contemporaneo @Angelo Gilardino
    La tracklist:

    Dal sito dell'editore:
    Premiere recordings of original music and transcriptions, all imbued with the Mediterranean colour and flamboyance of the guitar quartet genre and played with polish by a renowned Italian ensemble. 
    Born in 1941, Angelo Gilardino enjoys an extensive discography on Brilliant Classics, which has won international acclaim both for the beauty of the music and the authority and sensitivity of the performances. 'Listen with confidence,’ said the online-jazz.net journal of a trio of guitar concertos (BC94747): ‘Here is transparent art, which does not feel the need to raise its voice: art masterfully built, but in which vitality springs forth. His prime expressive vehicle is the guitar, and he is an absolute master of all its secrets. The album may be enjoyed with uninterrupted pleasure. It represents a perfect introduction to the world of this remarkable composer, who has enriched the Italian tradition with music of real inspiration and high craftsmanship.’ 
    In 2008 Gilardino arranged a set of his solo studies based on the music of Mauro Giuliani and dedicated them to the ensemble on this album, the Quartetto Santórsola. They comprise seven brief pieces, with a dashing tarantella at their heart. The year previously, he had written a three-movement Sinfonietta expressly for guitar quartet, in which each movement pays tribute to an inspirational figure in the history of the instrument from the early part of the last century: Ferenc Farkas, Alexander Tansman and finally Teresa de Rogatis, evoking their musical personalities and playing styles within a fast-slow-fast design that makes for a substantial work in its own right. 
    Gilardino’s own work is complemented here by his transcription of ‘Andalucia’, a piano cycle by the Cuban composer Ernesto Lecuona. As Gilardino himself observes in a booklet essay, the cycle belongs to the Spanish heritage of Albéniz and Granados. ‘It seemed appropriate to make this version for four guitars that, while not competing with the dynamic range of the piano original, nonetheless lives up to the colour and brilliance of Lecuona’s inspiration.’ 
    Angelo Gilardino is one of the most important guitar composers of the last half century. His unique style is a blend of the old and new, folk art and contemporary music, from Mozart to Messiaen, all his works are illuminated by a warm and mediterranean glow, a feeling of humanity and love for life. 
    This new recording presents works for 4 guitars: the Sinfonietta, containing musical portraits of Ferenc Farkas, Alexandre Tansman and Teresa de Rogatis; the Sonetti Giuliani, inspired by the Studies by Mauro Giuliani, and Gilardino’s transcription for 4 guitars of the cycle Andalucia by Ernesto Lecuona, atmospheric evocations of the Alhambra, Cordoba and others. 
    Excellent performances by the Quartetto Santórsola, consisting of 4 young Italian guitar virtuosos.

    Mario Castelnuovo-Tedesco, Angelo Marchese

    La casa discografica Da Vinci Publishing pubblica il nuovo CD del chitarrista italiano @Angelo Marchese interamente dedicato alla musica di Mario Castelnuovo-Tedesco.
    La tracklist completa:

    Dalle note introduttive
    This cd program is dedicated to the solo guitar music composed by Mario Castelnuovo-Tedesco, who devoted great part of his work to the six strings instrument. The performer here undertakes those compositions that didn’t have a place – or they only had a little one- into the repertoire of their famous inspirer – Andrés Segovia. They didn’t actually have the same celebrity of other works by the Florentine master, such as Sonata (Omaggio a Boccherini), Capriccio Diabolico (Omaggio a Paganini), Tarantella, Concerto n. 1 in Re per chitarra e orchestra, Quintetto per chitarra e archi and Platero y yo. That doesn’t mean that the other Castelnuovo-Tedesco’s compositions were less valiant and worthy. Andrés Segovia himself , while praising their beauty and formal perfection, regretted he couldn’t include them into his programs since – travelling a lot for his work- he didn’t have the necessary time to renew his repertoire. Castelnuovo-Tedesco and Segovia met in Florence between 1928 and 931, in the house of Passigli, a patron. Anyway, it was only in 1932, when they met in Venice on the occasion of the contemporary music festival, that the great guitarist asked the already famous author for a piece. Segovia didn’t directly talk to Castelnuovo-Tedesco, but to his wife, Clara, praising her to be his ambassador. The composer was really glad to accept his proposal and, one month later, Segovia, who was at that time living in Geneva, already had the manuscript of the Variazioni attraverso i secoli. With a great ease, Castelnuovo-Tedesco, by the reading of Variazioni su un tema di Mozart by Fernando Sor and Variazioni e Fuga sulla Follia di Spagna by Manuel M. Ponce- just published- had been able to take possess of the guitar writing and he so imagined his idiomatic coordinates to astonish Segovia, who immediately honoured Castelnuovo-Tedesco’s new work. Segovia really felt at ease with the initial Ciaccona – recalling the Italian Baroque_- with the Schubertian Preludio, with the Walzer full of Viennese moods. But maybe he, who deeply wanted his understimated instrument to gain an ancient and regal dignity- felt a little embarrassed with the final Fox Trot that seemed to have been conceived for a jazz orchestra. And so, between 1934 and 1939, Segovia asked to Castelnuovo-Tedesco those compositions (we have already mentioned before ) that would have accompained him all along his glorious career. And he obviously put aside those Variations ( that he really liked ), because of their impertinent conclusion (that he didn’t like at all) . Emigrated into the United States in 1939, and settled in Beverly Hills in 1940, Castelnuovo-Tedesco got back in touch with his guitarist friend (who in the meanwhile had moved to Montevideo). So he started again to compose pieces for him and in 1943 he wrote the beautiful Serenata per chitarra o orchestra da camera, which is unfortunately still neglected. His muse and the Segovian rigid control, moved hin to compose many pages for solo guitar, among which those ones we can listen in this programme.
    The magnific Rondò was born in 1946. Since the compositions of the previous decade it was just clear that Castelnuovo-Tedesco, in treating an instrument with so restricted polyphonic features, wasn’t willing to renounce to any details of his artistic profile. But it wasn’t enough for him. It was actually writing this piece for Segovia that he reached his apex into the construction of a rondo-form, elevated to the highest degree of architectonic knowledge, with precious marquetries between refrains and strophes. He himself called it his “rondo’ model” that to the perfection of the design joined the fascination of themes and melodic digressions.
    On the background we can glimpse the shadow of one of the favourite masters of Castelnuovo-Tedesco, Felix Mendelssohn. And the performers are here right in their soft acting, with a barcarolle allure also in the rapid figurations , without any form of inappropriate virtuosity.
    In 1955, the Florentine master composed two works full of fancy and colours: Tre Preludi Mediterranei and Suite of Spanish Dances from the XVI Century (after Cervantes) entitled Escarraman. These three pieces weren’t commissioned to him by Segovia but by the musical publishing. The Preludi Mediterranei were actually dedicated to Renato Bellenghi, owner of Edizioni Musicali Forlivesi; Escarraman was instead commissioned by the New York’s branch of the Ricordi publisher. The Preludi Mediterranei can be defined – with metaphorical license – as “paintings”, and Escarraman is instead a sort of dance arose from literature.
    Really sensitive to the suggestions coming from other forms of art, in his Preludi the composer evoked the myths of the Italian sea. His willing is especially clear in Nenia, the tender aulodia in which is not difficult to recognize some reminiscences of the wonder lyric by his master Ildebrando Pizzetti entitled I pastori (on the text by D’Annunzio), and in the tumultuous dance of the third Preludio, recalling memories of pagan feasts. The
    poetical origins of Escarraman is instead a little more cryptic. The composer was moved by his dear friend Arturo Loria, a writer, to read the Miguel de Cervantes’ intermezzo, El rufián viudo, in which the great Spanish dealt with the picaresque genre. During a banquet, in which a mournful widower finds his new consort among the approval of less than reputable tablemates, Escarraman suddenly appears. He seems to be able to express is controversial nature of brigand, escaped convict and, at the same time, devoted peregrine marching toward a faraway sanctuary , mainly through his dance skill rather than through the autobiographical description (“This is the tale of my strange history/worthy of being treasured in my memory”). Accompanied by two guitarists he throws himself into the feats of the baile, raising the general wonder. Castelnuovo-Tedesco images the music for this dance, in which popular rhythms and courtly style merge, recalling the splendors of the Spain of the Siglo de oro.
    In 1956, Segovia asked to his friend to compose a Passacaglia. He was really sad about the ugliness of another Passacaglia written for him by a famous Spanish composer. So he tried to find consolation in Castelnuovo-Tedesco, who helped him with the Omaggio a Roncalli. This title is full of cultural references: Roncalli, Bergamasque guitarist and composer of the end of the XVII Century, was the author of that Passacaglia of which Ottorino Respighi had made a splendid version for strings into the first of his three suites intitled Antiche Arie e Danze per liuto. A story that isn’t Spanish at all but rather mostly Italian….
    - Angelo Gilardino

    Set7 - Ruben Mattia Santorsa

    Set7 is the recording of Sette Studi by Maurizio Pisati, performed by the Italian guitarist Ruben Mattia Santorsa. Each study expresses an individual aspect of the instrument. Sette Studi has been transformed into duos for guitar and one other instrument, inspired by some mountain legends, popular fantasies and stories of spirits from the alpine borders of Italy, across national languages and Ladin dialects.
    More info:
    - www.kairos-music.com/cds/0015052kai
    - www.rubenmattiasantorsa.com/cd-set7
    Ruben Mattia Santorsa, classical guitar; Marie Delprat, paetzold recorder
    Ruben Mattia Santorsa, classical; João Carlos Pacheco, percussion
    Ruben Mattia Santorsa, classical; Hugo Queirós, bass clarinet
    Ruben Mattia Santorsa, classical guitar;  Kevin Juillerat, tenor saxophone
    Ruben Mattia Santorsa, classical guitar; Céline Wasmer, voice
    Ruben Mattia Santorsa, classical guitar; Lino Mendoza, double bass
    Ruben Mattia Santorsa, classical guitar; Anne-Laure Dottrens, viola
    Ruben Mattia Santorsa, classical guitar
    Ruben Mattia Santorsa, Marie Delprat, João Carlos Pacheco, Hugo Queirós, Kevin Juillerat, Céline Wasmer, Lino Mendoza, Anne-Laure Dottrens
    Maurizio Pisati

    Americas, Fabio Zanon

    Guitar Coop pubblica il nuovo CD del chitarrista brasiliano Fabio Zanon da titolo "Americas"
    La tracklist completa:
    01.Paulo Bellinati (Brazil, 1950)
         Emboscada (Xaxado)
    02. Carlos Gardel (?,1883?-1935) e Alfredo Le pera (Brazil 1900-1935) - arranged by Victor Villadangos
          El Dia que Me Quieras
    03.  JUAN ÁNGEL RODRÍGUEZ (Argentina, 1885-Brazil, 1944)
          Coral del Norte (Zamba Chilena nº1), op.29
    04. AGUSTÍN BARRIOS "MANGORÉ" (Paraguay, 1885-El Salvador, 1944)
           Danza Paraguaya
    05. GENTIL MONTAÑA (Colombia, 1942-2011)
           Suite Colombiana nº 2: IV - Porro
    06. ARIEL RAMÍREZ (Argentina, 1921-2010) - revised by Irene Costanzo
          Balada para Martín Fierro (Aire Sureño)
    07. Anonymous from Chile, arranged by Carlos Pérez (Chile, 1976)
           Parabienes (Ya se Casaron los Novios)
    08. EDUARDO FABINI (Uruguay, 1882-1950) - transcribed by Eduardo Fernández
           Triste nº 1
    09. MARIA LUÍSA ANIDO (Argentina, 1907-Spain, 1996)
          Aire Norteño
    10. RAFAEL MIGUEL LÓPEZ (Venezuela 1907-2002), arranged by Alírio Diaz
          Así Yo Te Soñé (Valse-Canción)
    11. MANUEL M PONCE (Mexico, 1882-1948) - edited by Jésus Silva
    12. Folk dance from Honduras - arranged by Carlos Barrientos (Honduras, 1954)
          A La Capotín (Xique)
    13. SINDO GARAY (Cuba, 1867-1968), guitar version by Rey Guerra
         Perla Marina
    14. MARCO PEREIRA (Brazil, 1950) 
    15. CARLOS PAYÉS (PAYET) (El Salvador, 1940)
    16. FRANCISCO VELÁSQUEZ (Panama, 1948)
         Pasillo nº 1
    17. CARLOS BONILLA (Ecuador, 1923-2010)
          Solo Tu (Pasillo)
    18. ANTONIO LAURO (Venezuela, 1917-1986), revised by Alírio Diaz
          Virgílio (Bambuco Tachirense)
    19. EDUARDO CABA (Bolivia, 1890-1953) transcribed by Piraí Vaca
         Aire Índio nº 2
    20. FRANTZ CASSÉUS (Haiti, 1915-USA, 1993)
         Dance of the Hounsies
    21. RODRIGO RIERA (Venezuela, 1923-1999)
          Preludio Criollo
    22. FREDERIC HAND (USA, 1947)
           Lesley's Song
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