Related Reviews
Spanish Society Quarterly Review
"Beautiful"
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Lute News
"...this is the most attractive recording of Murcia's music to have come my way for a long time."
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ABC Spain
5 Stars
Another outstanding review for La Guitarra Española
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SA-CD.net
5 Stars
Very highly recommended.
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Goldberg
4 Stars
Great review from the Spanish publication (Spanish)
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AllMusic.com
...nothing less than perfect...
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Hi-Fi & Musik
5 Stars
"Vårdat och kärleksfullt ger han musiken guldkant."
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OpusHD.net (French)
5 Stars
Highest commendations from the French website
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The Herald
3 Stars
Baroque music for a summer afternoon, with an intimacy that draws you in.
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MusicWeb-International
Recording of the Month!
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BBCi
This is real summer listening, conjuring up warmer climes than here...
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Atlanta Audio Society
These performances all sound so vital, they successfully avoid the common pall of lifeless "authenticity."
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Early Music Review
His music ranges from simple dance tunes to complex variations requiring considerable dexterity.
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Classic FM Magazine
A good review for the acclaimed album
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International Record Review
...obtain this disc without delay.
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Financial Times
...subtlety and beauty in such perfect proportion.
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The Times
4 Stars
It's a wonderful recital, glistening with jewels from the 18th-century...
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Audiophile Audition
4 Stars
...full of passion and surpassing beauty...
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MusicalPointers.co.uk
Recommended.
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High Fidelity Poland
4½ Stars
Excellent review from the Polish audiophile publication
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The Scotsman
4 Stars
This whole disc is an effusion of passion, flavoured with Mediterranean sunshine.
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Santiago de Murcia - William Carter - Gramophone


01 July 2007
Gramophone
William Yeoman

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.


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La Guitarra Española - The Music of Santiago de MurciaLa Guitarra Española - The Music of Santiago de Murcia