Boccherini Grave & Fandango. Live. Ensemble Sesquiterza, Pedro J. Gómez, Juan C. López, guitars скачать в хорошем качестве

Boccherini Grave & Fandango. Live. Ensemble Sesquiterza, Pedro J. Gómez, Juan C. López, guitars

​‪@WebPedroJesus‬ Live recording in Albacete (Spain), City Hall Auditorium, Ciudad de Albacete International Guitar Festival: 28-05-2019 IV. Grave 00:00 Fandango 01:22 This is an extended version of this very famous Fandango, fourth movement of Guitar Quintet No. IV, G. 448. Boccherini wrote 12 piano quintets, in two series of six and with the numbers op. 56 and op. 57. Following the request of his mentor, the Marquis of Benavent, at the time a motivated guitarist, to adapt these works for the guitar, the Italian master living in Spain undertook the task of rewriting these quintets, substituting the piano for the guitar, which 9 of those quintets have survived to this day. The quintets nos. 4, 5 and 6, however, do not come from the twelve with piano, but are the result of the reuse by the author of material from other of his quintets and string quartets op. 10, 40, 52, 53 and 55, along with the inclusion of particular dances, like this Fandango. (Caputo Rey, 1995). This Fandango comes from the 2nd movement of the Quintet op. 40, no.2, G. 341, for two violins, viola and two cellos. This quintet has the original annotation by Boccherini indicating that it imitates the fandango played on the guitar by Padre Basilio (Briso de Montiano, 2010), at the time one of D. Aguado's first teachers. The original particella for guitar reached our days thanks to a copy by the guitarist and Aguado's friend François de Fossa (1775-1849), published in a modern edition by R. Chiesa (Suvini-Zerboni, 1973). H. Albert had published earlier, in 1923, for Zimmerman, another edition with a different realization of the guitar part. This extended version combines Boccherini's original writing for 2 violins, viola, cello and guitar, which was already adapted by Boccherinni himself, with the inclusion of Albert's version as a second guitar and the use of the through-bass with the participation of the harpsichord and the baroque guitar. Since this live recording corresponds to a larger recital where music by Vivaldi and Haydn was included, the viola da gamba that participated in Vivaldi's basso continuo was introduced only for the purposes of this live performance, reinforcing the part of the modern viola . The practice of basso continuo did not abruptly disappear with the death of Bach, and in fact Boccherini himself published 6 sonatas for violoncello and continuo. The combination of guitar and harpsichord was very common in the Spanish continuo formations of the royal chapel of Infante D Luis Antonio de Borbón, at whose service Boccherini was chapel master. Boccherini died in Madrid in 1805 after an intense musical activity in Spain for more than three decades. Knowledgements: ‪@PilarAmerica‬ ‪@csmclm2013‬ ‪@masudrazei‬ @ayuntamiento de albacete @victordiaz