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Héctor González | 500 Años De Guitarra Iberoamericana

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Classical: Twentieth Century Classical: Early Music Moods: Solo Instrumental
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500 Años De Guitarra Iberoamericana

by Héctor González

[...] from the immortal pieces of the vihuelists of the Spanish Habsburg court, [...], the elegant classicism of Sor, the creole and perfumed aroma of Lauro and the naive freshness of Barrios-Mangoré, to the vigorous throb of Ginastera's rude sonorities.
Genre: Classical: Twentieth Century
Release Date: 

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  Song Share Time Download
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1. Diferencias Sobre 'guárdame Las Vacas'
2:26 $0.99
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2. Canción Del Emperador
2:49 $0.99
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3. Baxa De Contrapunto
1:16 $0.99
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4. Minueto De La Sonata Op. 25
3:40 $0.99
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5. Minueto De La Sonata Op. 22
3:28 $0.99
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6. Asturias (Leyenda)
6:17 $0.99
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7. Fantasía Sevillana
5:57 $0.99
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8. Invocación Y Danza
7:26 $0.99
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9. Cueca
3:38 $0.99
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10. Machicha
2:47 $0.99
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11. Una Limosna Por El Amor De Dios
3:07 $0.99
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12. Vals No. 1
1:35 $0.99
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13. María Luisa
2:26 $0.99
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14. Seis Por Derecho
3:02 $0.99
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15. El Diablo Suelto
2:37 $0.99
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16. Estudio No. 11
3:52 $0.99
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17. Estudio No. 7
2:26 $0.99
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18. Esordio
3:47 $0.99
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19. Scherzo
3:09 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
I'm not easily moved by guitar music. It always leaves in me the feeling that the pieces and its performers were looking to surpass the natural and inherent possibilities of the instrument in a stubborn and tenacious struggle to tame it. To this, add the blighted transcriptions, squeaks and other parasite noise, a flat sound without polyphonic levels, all in all, a countless number of factors that make of the instrument something so demanding that just a few artists of the guitar -very few- manage to convince me.

Nonetheless, I have to admit, the anthological selection made for this record by Héctor González and his way of performing it have captivated me from the first moment. Contrary to that said above, and as a seal of warranty, it is here highlighted the seriousness with which he assumes his role as performer. His professional solidity and technical solvency are on par with his generous musicality and talent. He understands the music he is playing and thus he pours it in such a natural manner, with a sort of enthusiast fruition, I dare say.

It's music without pedantry, without boastful display of the vacuous eloquence to pursue the historicist authenticity of this or that stylistic twist. Is the even, affable, almost naive unfolding of all that is ludic, jocund and delightful in music. It's as if instead of saying to us: "look how well I play the guitar", or worse: "let's see if this works out for me"; he said: "hear how beautiful is what I'm about to play". In other words, his leading role doesn't suffocate the performed author; rather, as an authentic performer, there is dedication, commitment and distance in him.

The contained selection in this work makes parade before us in engaging procession, from the immortal pieces of the vihuelists of the Spanish Habsburg court, with their parallel embroidered counterpoint, the elegant classicism of Sor, the creole and perfumed aroma of Lauro and the naive freshness of Barrios-Mangoré, to the vigorous throb of Alberto Ginastera's rude sonorities.

The sound capture -since one must talk about everything- is completely well achieved: the guitar sounds like a guitar: its entity as an autonomous instrument has been respected, without trickery, electronic make-up, or tasteless "mixing-board" tricks.

Mario Gómez-Vigñes

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