The Capricci armonici sopra la chitarra spagnola by Count Ludovico Roncalli (1654-1713) is believed to be the last collection of music for the five-course baroque guitar published in Italy and one of the first collections of baroque guitar music to attract attention in modern times. It was the complete transcription in staff notation by distinguished Italian scholar Oscar Chilesotti that inspired Ottorino Respighi to include an orchestrated version of the Passacaglia in G minor in his Antiche danze ed arie per liuto in 1931. For this reason, Roncalli's music has always been popular with classical guitarists, but this wonderful recording allows it be heard on the kind of instrument in use at the time, and therefore to be appreciated fully. The guitar of Roncalli's day had five gut-strung courses, the first often single and the fourth and fifth either octave-strung or re-entrant (only the fourth course is octave-strung on this recording). The Capricci armonici comprises nine sonate (suites), one in each of eight tuoni (modes) and one in the tuono trasportato, following the classification system in use at the time. Roncalli has, however, arranged his sonate in order of key, rather than mode, pairing one in a major key with one in the relative minor, although those in A minor and C major are separated by the pair in F major and D minor. Each suite opens with a free-style preludio and then an expositional alemanda which is developed in additional 17th-century dance movements such as the corrente, sarabanda, giga, minuet and gavotte, providing an overall sense of thematic unity.
The Capricci armonici sopra la chitarra spagnola by Count Ludovico Roncalli (1654-1713) is believed to be the last collection of music for the five-course baroque guitar published in Italy and one of the first collections of baroque guitar music to attract attention in modern times. It was the complete transcription in staff notation by distinguished Italian scholar Oscar Chilesotti that inspired Ottorino Respighi to include an orchestrated version of the Passacaglia in G minor in his Antiche danze ed arie per liuto in 1931. For this reason, Roncalli's music has always been popular with classical guitarists, but this wonderful recording allows it be heard on the kind of instrument in use at the time, and therefore to be appreciated fully. The guitar of Roncalli's day had five gut-strung courses, the first often single and the fourth and fifth either octave-strung or re-entrant (only the fourth course is octave-strung on this recording). The Capricci armonici comprises nine sonate (suites), one in each of eight tuoni (modes) and one in the tuono trasportato, following the classification system in use at the time. Roncalli has, however, arranged his sonate in order of key, rather than mode, pairing one in a major key with one in the relative minor, although those in A minor and C major are separated by the pair in F major and D minor. Each suite opens with a free-style preludio and then an expositional alemanda which is developed in additional 17th-century dance movements such as the corrente, sarabanda, giga, minuet and gavotte, providing an overall sense of thematic unity.
5028421958569
Complete Guitar Music (2pk)
Artist: Roncalli / Hofstotter
Format: CD
New: Available $12.99
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DISC: 1

1. Capricci armonici sopra la chitarra spagnola: Baroque Guitar Sonata No. 1 ottavo tuono in G Major
2. I. Preludio
3. II. Alemanda
4. III. Corrente
5. IV. Gigua
6. V. Sarabanda
7. VI. Gavotta
8. Capricci armonici sopra la chitarra spagnola: Baroque Guitar Sonata No. 2 quarto tuono in E Minor (excerpts)
9. I. Preludio
10. II. Alemanda
11. III. Gigua
12. IV. Sarabanda
13. V. Gavotta
14. Capricci armonici sopra la chitarra spagnola: Baroque Guitar Sonata No. 3 tuono transportato in B Minor
15. I. Preludio
16. II. Alemanda
17. III. Corrente
18. IV. Sarabanda
19. V. Minuet
20. Capricci armonici sopra la chitarra spagnola: Baroque Guitar Sonata No. 4 in D Major
21. I. Preludio
22. II. Alemanda
23. III. Corrente
24. IV. Gigua
25. V. Sarabanda
26. VI. Minuetto
27. Capricci armonici sopra la chitarra spagnola: Baroque Guitar Sonata No. 5 terzo tuono in A Minor
28. I. Preludio
29. II. Alemanda
30. III. Corrente
31. IV. Gigua
32. V. Sarabanda
33. VI. Passacaglii
34. Capricci armonici sopra la chitarra spagnola: Baroque Guitar Sonata No. 6 in F Major
35. I. Preludio
36. II. Alemanda
37. III. Corrente
38. IV. Gigua
39. V. Sarabanda
40. VI. Minuet
41. VII. Gavotta
42. Capricci armonici sopra la chitarra spagnola: Baroque Guitar Sonata No. 7 primo tuono in D Minor
43. I. Preludio
44. II. Alemanda
45. III. Gigua
46. IV. Minuet
47. V. Alamanda
48. VI. Corrente
49. VII. Sarabanda
50. Capricci armonici sopra la chitarra spagnola: Baroque Guitar Sonata No. 8 quinto tuono in C Major
51. I. Preludio
52. II. Alemanda
53. III. Corrente
54. IV. Gigua
55. V. Minuet
56. VI. Gavotta
57. Capricci armonici sopra la chitarra spagnola: Baroque Guitar Sonata No. 9 in G Minor
58. I. Preludio
59. II. Alemanda
60. III. Corrente
61. IV. Minuet
62. V. Gavotta
63. VI. Passacaglii

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The Capricci armonici sopra la chitarra spagnola by Count Ludovico Roncalli (1654-1713) is believed to be the last collection of music for the five-course baroque guitar published in Italy and one of the first collections of baroque guitar music to attract attention in modern times. It was the complete transcription in staff notation by distinguished Italian scholar Oscar Chilesotti that inspired Ottorino Respighi to include an orchestrated version of the Passacaglia in G minor in his Antiche danze ed arie per liuto in 1931. For this reason, Roncalli's music has always been popular with classical guitarists, but this wonderful recording allows it be heard on the kind of instrument in use at the time, and therefore to be appreciated fully. The guitar of Roncalli's day had five gut-strung courses, the first often single and the fourth and fifth either octave-strung or re-entrant (only the fourth course is octave-strung on this recording). The Capricci armonici comprises nine sonate (suites), one in each of eight tuoni (modes) and one in the tuono trasportato, following the classification system in use at the time. Roncalli has, however, arranged his sonate in order of key, rather than mode, pairing one in a major key with one in the relative minor, although those in A minor and C major are separated by the pair in F major and D minor. Each suite opens with a free-style preludio and then an expositional alemanda which is developed in additional 17th-century dance movements such as the corrente, sarabanda, giga, minuet and gavotte, providing an overall sense of thematic unity.