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산티아고 드 무르시아: 기타 작품집
Santiago de Murcia (1682 - 1732)
1. Folias Españolas (Codex No. 4) |
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Album Title: Santiago de Murcia, La Guitarra Espanola
Performer: William Carter, guitar
Composer: Santiago de Murcia (1682 - 1732)
Genre: Baroque Period
Period: Baroque
Venue Notes: St. Andrews Church, Toddington, England (09/17/2006-09/19/2006)
Audio CD (May 1, 2007)
SPARS Code: DDD
Format: Hybrid SACD - DSD, Import
Label: Linn Records
Copyright: 2007 Linn Records Ltd
연주: 윌리암 카터(바로크 기타)
‘산티아고 드 무르시아’는 스페인 바로크 기타의 진정한 거성이었다. 기존의 양식에서 과감히 탈피하여 더욱 크고 매력적인 음악의 양식을 창조하면서, 대중음악과 예술 음악의 통합을 이루어낸 인물이다. 연주자 ‘윌리암 카터’ 역시 작곡가만큼이나 주목해야 될 아티스트이다. 팔라디안 앙상블의 멤버인 그는 자신의 2번째 솔로 앨범에서 역시 부드럽고 고급스러운 바로크 기타의 선율을 들려주고 있다. 이번 앨범에서의 윌리암 카터 연주를 두고 그라모폰에서는 “당신이 지금까지 들어왔던 그 어떤 연주보다, 음악적 상상력의 순수한 포스가 강하게 느껴질 것이다”라고 호평을 아끼지 않았다. 말 그대로 음악에 빠져들게끔 하는 집중력을 강하게 불러일으키는 음악이라 평가하고 싶다. (CKD SACD 288) 음반소개글
1. Folias Españolas (Codex No. 4) (3:15)
2. Work(s): Prelude (1:39)
3. Passacalles por la E, for guitar: a compassillo (4:07)
4. Passacalles por la E, for guitar: a proporcion (3:54)
5. Suite española, for guitar (arr. by N. Yepes): Canarios / La Esfachata de Napoles / La Minona de Cataluna / Clarin de los Mosqueteros / Del Rey Francia (7:22)
Composer: Gaspar Sanz (1640 - 1710)
6. Zarembeques, o Muecas (2:35)
7. Canarios (3:47)
8. Passacalles por la B, for guitar - a compassillo (5:14)
9. Cumbées (Codex No. 4), for guitar (4:16)
10. Passacalles por la D, for guitar: a compassillo (6:05)
11. Passacalles por la D, for guitar: a proporcion (3:41)
12. Marionas por la B, for guitar (4:16)
13. Preludio Grabe (after Corelli) (2:54)
14. Giga de Coreli (3:05)
15. Gaitas (4:03)
Review
"Santiago de Murcia (1682 - 1732) was the last, and possibly greatest, Spanish exponent of the five-course Baroque guitar, his music achieving a perfect balance between strummed and plucked styles that were prevalent at the time. As if to reinforce this point, William Carter opens his recital with a superb account of Murcia's Folias españolas, which starts with some highly percussive strumming before slowly giving away to delicately plucked lines. Such nuanced playing is just as effective in the Passacalles, each of which gradually builds in excitement, as it is in the funereal "Del Rey Francia" (in the Suite after Gaspar Sanz), the melancholy Marionas or the lullaby-like Gaitas. Throughout, Carter somehow conjures up the sights and sounds of a bygone age with the mastery of a real dramatist, counterbalancing flurries of overlapping scales, energetic strumming and virtuoso trills with the richness and warmth of the more reflective passages. Not to be too pedantic about flying solo, Carter is joined by fellow Palladian Ensemble member Susanne Heinrich on bass viol. Her pizzicato accompaniments bring a pleasing depth to dances like the Zarembeques and the Cumbees, but are especially effective in Murcia's transcription of the prelude and gigue from Corelli's Violin Sonata, Op 5 No 3, to which she restores the original bass-lines. The effect is like hearing the last two movements of some ghostly guitar concerto. This is more than just a worthy follow-up to Carter's first solo disc "La guitarre royalle" (12/04) - quite simply, it contains some of the finest Baroque guitar playing you'll ever hear."
--Gramophone |
