Maximilian Mangold, Kristian Nyquist - Guitar and Piano Music - Carulli, F. / Giordani, T. / Giuliani, M. (2005)
BAND/ARTIST: Maximilian Mangold, Kristian Nyquist
- Title: Guitar and Piano Music - Carulli, F. / Giordani, T. / Giuliani, M.
- Year Of Release: 2005
- Label: Musicaphon
- Genre: Classical
- Quality: flac lossless (tracks)
- Total Time: 01:02:02
- Total Size: 205 mb
- WebSite: Album Preview
Tracklist
01. Grand Duo in E Minor, Op. 86: I. Allegro
02. Grand Duo in E Minor, Op. 86: II. Largo
03. Grand Duo in E Minor, Op. 86: III. Allegro
04. Guitar Sonata in C Minor: I. Larghetto
05. Guitar Sonata in C Minor: II. Allegro
06. Guitar Sonata in C Major: I. Larghetto
07. Guitar Sonata in C Major: II. Allegro
08. 2 Rondos, Op. 68: No. 1 in A Major
09. 2 Rondos, Op. 68: No. 2 in B Minor
10. Guitar Sonata in C Minor: I. Largo
11. Guitar Sonata in C Minor: II. Allegro (alla caccia)
12. Guitar Sonata in A Minor: I. Andantino
13. Guitar Sonata in A Minor: II. Tempo di menuetto
14. Duo in D Major, Op. 134: I. Larghetto
15. Duo in D Major, Op. 134: II. Rondo
The combination of guitar and piano was common in the early nineteenth century, but it fell out of favor because a modern piano overwhelms a guitar. While some music suggests historically authentic performance, the pieces on this disc demand it: the use of a fortepiano instead of a modern grand reveals an intriguing balance between the instruments. The composers represented here were all Neapolitans, Naples being a city identified with the guitar and partially able to resist the overall dominance of opera in Italian music. With the exception of the slightly more ambitious Grand Duo, Op. 86, of Ferdinando Carulli and the Two Rondos, Op. 68, of Mauro Giuliani, all the pieces fall into a similar pattern: a slow, serenade-like movement followed by a quicker one allowing the guitarist to show off some clean, quick figuration. Everything is pleasant enough, but the two Giuliani rondos stand out from the crowd with tight, muscular construction and very imaginative use of the subtle echo effects possible with this instrumental combination. These are unusual works that guitar recitalists should keep in mind, at least those with access to a fortepiano. (Or maybe they could be tried with a modern grand and an electric guitar.) The performances here are a bit wonkish, from the dual bowties worn by the two players to the footnoted booklet to the restrained stylings on the disc, but nothing interferes with the charm of the music except for the vague, indistinct sound. The guitar, even with a piano, needs an intimate environment. Nevertheless, this is a worthwhile revival of music many music lovers of Beethoven's time would have known.
01. Grand Duo in E Minor, Op. 86: I. Allegro
02. Grand Duo in E Minor, Op. 86: II. Largo
03. Grand Duo in E Minor, Op. 86: III. Allegro
04. Guitar Sonata in C Minor: I. Larghetto
05. Guitar Sonata in C Minor: II. Allegro
06. Guitar Sonata in C Major: I. Larghetto
07. Guitar Sonata in C Major: II. Allegro
08. 2 Rondos, Op. 68: No. 1 in A Major
09. 2 Rondos, Op. 68: No. 2 in B Minor
10. Guitar Sonata in C Minor: I. Largo
11. Guitar Sonata in C Minor: II. Allegro (alla caccia)
12. Guitar Sonata in A Minor: I. Andantino
13. Guitar Sonata in A Minor: II. Tempo di menuetto
14. Duo in D Major, Op. 134: I. Larghetto
15. Duo in D Major, Op. 134: II. Rondo
The combination of guitar and piano was common in the early nineteenth century, but it fell out of favor because a modern piano overwhelms a guitar. While some music suggests historically authentic performance, the pieces on this disc demand it: the use of a fortepiano instead of a modern grand reveals an intriguing balance between the instruments. The composers represented here were all Neapolitans, Naples being a city identified with the guitar and partially able to resist the overall dominance of opera in Italian music. With the exception of the slightly more ambitious Grand Duo, Op. 86, of Ferdinando Carulli and the Two Rondos, Op. 68, of Mauro Giuliani, all the pieces fall into a similar pattern: a slow, serenade-like movement followed by a quicker one allowing the guitarist to show off some clean, quick figuration. Everything is pleasant enough, but the two Giuliani rondos stand out from the crowd with tight, muscular construction and very imaginative use of the subtle echo effects possible with this instrumental combination. These are unusual works that guitar recitalists should keep in mind, at least those with access to a fortepiano. (Or maybe they could be tried with a modern grand and an electric guitar.) The performances here are a bit wonkish, from the dual bowties worn by the two players to the footnoted booklet to the restrained stylings on the disc, but nothing interferes with the charm of the music except for the vague, indistinct sound. The guitar, even with a piano, needs an intimate environment. Nevertheless, this is a worthwhile revival of music many music lovers of Beethoven's time would have known.
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