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CKD288 Cover
Santiago de Murcia
La Guitarra Española

William Carter
baroque guitar

CKD288


• "La Guitarra Española" continues William Carter's fascinating exploration of little-known baroque guitar repertoire.

• A leading figure in the Spanish guitar music scene Santiago de Murcia succeeded in the fusion of popular and art music; combining fully composed versions of Spanish, West African, and even New World folk songs with fresh arrangements of music from influential figures such as Arcangelo Corelli.

• Murcia developed the popular and controversial dances the Zarembeques, o Muecas and Cumbees (the sort of face you make by pulling the corners of your mouth apart and sticking out your tongue), which were banned by the authorities.

• A founding-member of the famous Palladian Ensemble, Carter has a deserved reputation as one of the finest baroque guitarists with critically acclaimed performances as an orchestral player, chamber musician and soloist.

• William Carter is a member of The Academy of Ancient Music, The English Concert and The Palladian Trio and has made many festival appearances followed throughout Europe, Asia and North and South America.

• William Carter's passion for the baroque guitar infuses his playing with a freshness and vitality, coupled with faultless technique.
SANTIAGO DE MURCIA (1682-1732)
  1. Folias Españolas     3.11

  2. Prelude     1.40

      Passacalles por la E
  3. a compassillo     4.07
  4. a proporcion     3.52

  5. Suite (after Gaspar Sanz, 1675)   7.17
      Canarios
      La Esfachata de Napoles
      La Minona de Cataluna
      Clarin de los Mosqueteros
      Del Rey Francia

  6. Zarembeques, o Muecas     2.33
  7. Canarios     3.45

  8. Passacalles por la B
      a compassillo     5.09

  9. Cumbees     4.14

      Passacalles por la D
10. a compassillo     6.06
11. a proporcion     3.38

12. Marionas por la B     4.13

13. Preludio Grabe de Coreli     2.55

14. Giga de Coreli     3.02

15. Gaitas     4.04
William Carter, baroque guitar after Sellas, by Martin Haycock, 1991.
With Susanne Heinrich - tracks 5, 6, 9 and 13-14, bass viol by Merion Attwood, 1999,
after 17th century English anonymous instrument.

Recorded at St Andrews Church, Toddington, UK : 17th to 19th September 2006



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