Le Menuet Affandangado Op.15 - Guitar
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Do not miss a chance to hear them. Lorenzo is guitar professor at the Conservatory of Aosta, Italy.
Per Stradivarius Lorenzo ha registrato una monografia sulle opere per chitarra sola di Dionisio Aguado, una sui Quartetti op. Between the XVIII and XIX century, throughout Europe the guitar began to win back the popularity it had not enjoyed for nearly a hundred years and again became a common sight everywhere.
The capital cities of music par excellence Paris and Vienna were soon to become the major centre of this phenomenon, particularly from just before until , when they became a veritable hive of activity. This revival of the guitar's fortunes was the work of virtuoso performers, mainly from Italy and Spain, who taught, composed and gave concerts up and down the continent. The pre-eminence of Paris and Vienna was in no small part due to the presence there of the greatest guitarists of the nineteenth century: Dionisio Aguado occupies a prominent position in this renaissance of the guitar, but the corpus of his works has only recently become the subject of careful study by specialists and musicologists.
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This is surprising, since guitarists have always had a great affection for Aguado, particularly because of his methods on which he worked for his whole life. Then again, perhaps it is the great worth itself of his methods and systems of playing technique - which remain highly relevant even today - that somehow managed to overshadow Aguado's concert pieces: Dionisio Aguado was born in Madrid on 8 april into a well-to-do family.
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While still young and studying humanities as would any other boy of his background, Dionisio embarked on the study of the guitar under the guide of the Cistercian Father Basilio, a somewhat mysterious figure who was to exert a great influence over many disciples.
In Madrid in , Aguado published his Escuela de guitarra, the first of a long series of didactic works. Six years later, in , he moved to Paris, the destination that artists and musicians of his day aspired to, and where he was to reside for almost thirteen years, dividing his time between concert performances as a soloist and as a duo with his friend Fernando Sor and teaching, and where he was to produce all his major works. As the years went by, there were fewer and fewer reports of any appearances in concert, however, and Aguado returned to Spain in , devoting himself to teaching and to the preparation of his Nuevo Metodo para guitarra This large-scale work was intended to collect and set down in an organic, systematic manner the enormous wealth of teaching experience the composer had built up over the years and to which he was constantly adding new elements through his tireless application to his art, right up until his death in Dionisio Aguado's output is recognizably different from those guitarists-composers who were his contemporaries insofar as he devoted himself exclusively to the guitar: And Aguado was equally unlike the guitarists of his time in that he saw nothing wrong in infusing "classical" music with the tone colour and phrasing of the popular Spanish tradition.
The Trois Rondos Brillants, op. As was often the case in the repertoire of the early 's, the work which was dedicated to a major guitarist was no mere routine exercise churned out to keep the publishers happy.
Quatre Andantes et Quatre Valses Op. Contredanses et Valses Faciles Op. Contredanses non difficiles Op. Les Favorites - Huit Contredanses Op. Le Menuet Affandangado Op. Home Artists Aguado, Dionisio.
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Aguado - Introduction and Rondo, Op. Mertz - 6 Schubertian Songs excerpts - No.
Lob der Thranen No. Aufenthalt Sor - 6 Divertimentos, Op. Introduction and Allegretto 6 Short Pieces, Op. Andante largo Aguado - Introduction and Rondo, Op.
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Andantino Regondi - Reverie nocturne Op. Mouvement de priere religieuse. Comme une Gigue Asencio - Collectici intim - I.