WILLIAM CARTER LA GUITARRA ESPAÑOLA
THE BAROQUE GUITAR IN SPAIN
SANTIAGO DE MURCIA (1682~1732)
......................... ........ 3.11 1 Folias Españolas .................
........................................... ........ 7 Canarios ...................................
3.45
.............................................. ........ 2 Prelude ......................................
1.40
8 Passacalles por la B, ..................................... ........ a compassillo .............................
5.09
3 a compassillo ................................... 4.07 4 a proporcion ..................................... 3.52
........................................... ........ 9 Cumbees ...................................
4.14
5 Suite (after Gaspar Sanz, 1675) .... 7.17 Canarios La Esfachata de Napoles Napoles La Minona de Cataluna Cataluna Clarin de los Mosqueteros Del Rey Francia
..................................... ........ 10 a compassillo ............................. ...................................... ........ 11 a proporcion ..............................
........ 2.33 6 Zarembeques Zarembeques,, o Muecas. ........
................................................. ........ 15 Gaitas .........................................
Passacalles por la E
Passacalles por la D 6.06 3.38
...................... ........ 4.13 12 Marionas por la B ..............
13 Preludio Grabe de Coreli ...... 2.55 ............................... ........ 3.02 14 Giga de Coreli ....................... 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 : 17 th to 19th September 2006 Produced by Philip Hobbs and William Carter Engineered by Philip Hobbs Edited, mixed and mastered by Julia Thomas, Finesplice, UK Photographs of William Carter Carter by Amit Lennon Design by The Art Surgery Front cover: Bayeu y Subias, Ramon 1746-1793 – Majo (youth) playing music, late 1788. Courtesy of AKG Images.
It’s one of the interesting paradoxes of music history that during the century-long craze for the 5-course ‘Chitarra Spagnuola’ which swept Europe around 1600, infecting royalty and commoners alike, with hundreds of books of music written for it by dozens of composers in France and Italy, that almost nothing survives from Spain, its spiritual home. Part of the reason might be the economic and political senility of the Spanish Empire; in a constantly progressing state of decay since the end of the 16 th century little music of any kind was published. Another reason might be the evanescent evanescent nature of the music music itself, coming as it did from an instrument which inhabited the separate worlds of folk and art music. Few guitarists or their activities were documented in Spain because in Spain everyone was a guitarist, and while the quality might range from the dismal scratchings of someone waiting for a shave at the barbershop (where there were always a few guitars hanging on the wall) to the inspired improvisation of a musician in the theatre or at court, the music itself was free and spontaneous, never intended to be notated; part of the internal dialogue of the Spanish people. In any event, we’re lucky that three Spanish guitarists of this period did write their music down for publication; Francisco Francisco Guerau and Gaspar Sanz in the 17 th century, and the subject of the present recording, Santiago de Murcia, in the 18th. Such is the beauty and vitality of what they have left us that it can still give delight today, even as we pensively contemplate all the wonderful sounds that have gone forever, vanished on an evening breeze 300 years past. In order to appreciate Santiago’s achievement I need to say a little about his two predecessors, both of them very different. Guerau, who was a choirmaster at the Royal Chapel in Madrid, wrote in a serious, elevated style. His main subject was the Passacalle, an exploration exploration and elaboration of simple chord progressions which Spanish musicians treated with the same respectful attitude that German musicians reserved for the Prelude and Fugue. His one publication, the Poema Harmonica of 1694 is one of the high points of 17 th century Spanish music.
William Carter : : 2
Gaspar Sanz (not employed at court) was an educator, a populariser, and in my opinion, more of an inspired collector of folk music than a composer. He published three tiny ‘how-to’ books in 1674-5 which are crammed with advice on strings, fingering, figured bass and tunes from Spain and the rest of Europe. He even had a go at writing a fugue on a Spanish folk tune (which, perhaps wisely, only takes up four lines of music). The melodies in the book have such a wonderful energy and spirit that they were reprinted again and again and still figure in guitarists’ programmes today. SANTIAGO DE MURCIA
The real giant of the Spanish baroque guitar however, was Santiago de Murcia (1682–1732) who achieved a synthesis of popular and art music that eluded his predecessors and created a large and fascinating body of work. His Passacalles equal those of Guerau and not only was he able to capture the vivid rhythms and harmonies of Spanish folk dances (including ones from the New World and Westt Africa), but to actually create striking and fully composed versions of them. Wes He was also abreast of musical trends in Europe and wrote updated versions of older French and Italian dance suites, newly fashionable contredances and even arrangements of keyboard pieces and the violin music of that most influential of Italian composers: Arcangelo Corelli. There are three main sources of his music: The Resumen de Acompanar of 1714; The Passacalles y Obras of 1732; and the undated Codice Saldivar No.4 (called after Dr. Gabriel Saldivar, who discovered it in 1943). Facts about his life are very scanty but the musicologists Craig Russell Russell and Monica Hall have done enough detective work to allow us to make a few educated guesses. He was probably born in the 1680s in Madrid where there are records relating to the de Murcia family at court: Gabriel de Murcia, Royal Guitar Maker, would have been the right age to be his father. Santiago is described in the Resumen as ‘Guitar Master to the Queen, Our Lady, Maria Luisa Gabriela of Savoy’. She was a foreign import and although musically educated educated and already
William Carter : : 3
able to play the harpsichord, she obviously felt the need for some guitar lessons to bolster her credibility with her new subjects. After her death in 1714 Santiago vanished from view although the fact that both the Passacalles y Obras and the Codice Saldivar No.4 were found in Mexico (as well as some new works turning up in Chile recently) might indicate that he immigrated to the New World. THE MUSIC
I think the music is always its own best advocate but I provide here some bits of background information that might be helpful. Track 2. Prelude: This is part of a longer work in the Resumen which seems to be a transcription of several Spanish keyboard works. I’ve used the section which paraphrases the anonymous Obra de Falsas Cromaticas from Martin y Coll’s anthology ‘Flores de Musica’ (1706) to introduce the fine Passacalles in D. Track 5. Suite: I wanted to include my versions of some of Sanz’s melodies as a foil to Santiago’s more fully worked out versions of similar material. Because of the brevity of the pieces (the longest work of Sanz is one page long and many of the tunes are only four or eight bars long) every player needs to adapt and elaborate them individually. Featured Featured here is a piece I made up over the Canarios chord progression, then two folk tunes of great charm: La Esfachata di Napoli (hard to translate; something like ‘the impudent Neapolitan girl’); La Minona de Cataluna (the Catalan cutie); and finally Clarin de los Musqueteros del Rey de Francia which strangely has far more of the character of an Andalusian lament than a Musketeers’ Fanfare. Track 6 . Zarembecques o Muecas and 9. Cumbees (also known as the chuchumbe): These are both dances of West African origin but seem to have come to Spain via the New World. First, here are some thoughts about dancing in general from the work of the 18th century century cleric Padre Padre Antonio Garces: Garces:
Gaspar Sanz (not employed at court) was an educator, a populariser, and in my opinion, more of an inspired collector of folk music than a composer. He published three tiny ‘how-to’ books in 1674-5 which are crammed with advice on strings, fingering, figured bass and tunes from Spain and the rest of Europe. He even had a go at writing a fugue on a Spanish folk tune (which, perhaps wisely, only takes up four lines of music). The melodies in the book have such a wonderful energy and spirit that they were reprinted again and again and still figure in guitarists’ programmes today. SANTIAGO DE MURCIA
The real giant of the Spanish baroque guitar however, was Santiago de Murcia (1682–1732) who achieved a synthesis of popular and art music that eluded his predecessors and created a large and fascinating body of work. His Passacalles equal those of Guerau and not only was he able to capture the vivid rhythms and harmonies of Spanish folk dances (including ones from the New World and Westt Africa), but to actually create striking and fully composed versions of them. Wes He was also abreast of musical trends in Europe and wrote updated versions of older French and Italian dance suites, newly fashionable contredances and even arrangements of keyboard pieces and the violin music of that most influential of Italian composers: Arcangelo Corelli. There are three main sources of his music: The Resumen de Acompanar of 1714; The Passacalles y Obras of 1732; and the undated Codice Saldivar No.4 (called after Dr. Gabriel Saldivar, who discovered it in 1943). Facts about his life are very scanty but the musicologists Craig Russell Russell and Monica Hall have done enough detective work to allow us to make a few educated guesses. He was probably born in the 1680s in Madrid where there are records relating to the de Murcia family at court: Gabriel de Murcia, Royal Guitar Maker, would have been the right age to be his father. Santiago is described in the Resumen as ‘Guitar Master to the Queen, Our Lady, Maria Luisa Gabriela of Savoy’. She was a foreign import and although musically educated educated and already
able to play the harpsichord, she obviously felt the need for some guitar lessons to bolster her credibility with her new subjects. After her death in 1714 Santiago vanished from view although the fact that both the Passacalles y Obras and the Codice Saldivar No.4 were found in Mexico (as well as some new works turning up in Chile recently) might indicate that he immigrated to the New World. THE MUSIC
I think the music is always its own best advocate but I provide here some bits of background information that might be helpful. Track 2. Prelude: This is part of a longer work in the Resumen which seems to be a transcription of several Spanish keyboard works. I’ve used the section which paraphrases the anonymous Obra de Falsas Cromaticas from Martin y Coll’s anthology ‘Flores de Musica’ (1706) to introduce the fine Passacalles in D. Track 5. Suite: I wanted to include my versions of some of Sanz’s melodies as a foil to Santiago’s more fully worked out versions of similar material. Because of the brevity of the pieces (the longest work of Sanz is one page long and many of the tunes are only four or eight bars long) every player needs to adapt and elaborate them individually. Featured Featured here is a piece I made up over the Canarios chord progression, then two folk tunes of great charm: La Esfachata di Napoli (hard to translate; something like ‘the impudent Neapolitan girl’); La Minona de Cataluna (the Catalan cutie); and finally Clarin de los Musqueteros del Rey de Francia which strangely has far more of the character of an Andalusian lament than a Musketeers’ Fanfare. Track 6 . Zarembecques o Muecas and 9. Cumbees (also known as the chuchumbe): These are both dances of West African origin but seem to have come to Spain via the New World. First, here are some thoughts about dancing in general from the work of the 18th century century cleric Padre Padre Antonio Garces: Garces:
William Carter : : 4
William Carter : : 5
“Your Eminence asks me about contredanses in which the bodies of men and women come together and and they make provocative provocative gestures. They give each other their their naked hands, they press them, them, and give one another signs with which they express love to to each each other other – and not the pure kind. I respond respond directing Your Eminence Eminence to Fath Father er Senari Senari of the Jesuit Order Order,, Volume Volume Four Four of the Christiano instruido, discourse 29, where while clean and sombre dances are are not condemned, he effectively proves that immodest immodest dances are ruinous, the overturner of souls… The new dictionary of the Academia Española includes the proverb: Surely the devil showed women how to dance and the ass how to bray… because because of the vexatious nature of both acts and because because neither of them has the good sense to stop…”
If this was the attitude of the authorities to the relatively refined contradance imagine the suspicion with which they viewed the two trendy dances recorded here! Here is part of an official ban issued by the Inquisition on October 31 1716: “We the Inquisitors of Your Excellency; it has come to our attention through denunciations that certain certain couplets couplets commonly commonly called called the chuchumbe have been disseminated and passed passed on in the city as well as in other cities and villages of this realm. realm. They begin ‘A friar from the village village is standing standing at the corner…’ to chaste chaste ears, these lyrics are scandalous, scandalous, obscene and offensive to the highest degree. They are sung and are accompanied by a dance no less scandalous and obscene. They are accompanied by lewd actions, lascivious displays and and indecent and and provocative shaking – all to the grave ruin and scandal scandal of the souls souls of the Christian Christian community.” community.” The Zarembecques must have been slightly less hard core as it escaped an official ban but its other name Muecas (the sort of face you make by pulling the corners of your mouth apart and sticking out your tongue) is wonderfully suggestive of an atmosphere of general mayhem. One can’t help wondering if, or how, these pieces figured in the Queen’s guitar lessons, and also if children in the
Royal family today are instructed in the works of Snoop Dog and Ice-T by their music teacher… Tracks 13 and 14. Preludio Grabe de Coreli and Giga: These are transcriptions of the first and last movements of Arcangelo Corelli’s Violin Sonata Op.5 No. 3. I’ve added Corelli’s original bass line (plucked here on the Bass Viol) into the mix. Track 15. Gaitas: A name for the Spanish bagpipe. Although most commonly found in Galicia the melody is hauntingly similar to the beautiful Catalan carol ‘El Noi de la Mare’. Note on Spanish Baroque terminology : ‘por la E’ as referred to in tracks three
and four is D minor; ‘por la B’ in tracks eight and twelve is C major; ‘por la D’ in tracks eleven and twelve is A minor. Compassillo and proporcion are common and triple time respectively. PERFORMANCE NOTE
As more and more obscure nooks and crannies of early music are explored, interest in the baroque guitar is increasing. Perhaps because it is both a popular and ‘classical’ instrument its music has attracted the kind of treatment that used to be reserved for Medieval music from when I was a teenager; orchestrated and arranged with a host of colourful and exotic instruments in an attempt to add novelty and make explicit all those qualities found implied in the score. Of course this approach can be vastly enjoyable when done well (and I remember how much I loved my Medieval records) but it seems a shame if the music is only ever experienced in this way – and it does seem to be the norm today. When I mentioned that I was planning this recording to a fellow musician he innocently asked who had been engaged to play the drums! I wouldn’t claim that Santiago has the same significance as Brahms, but imagine if recordings of his music were limited to the Hungarian Dances in arrangements for ‘Gypsy Style’ Ensembles (containing no real Gypsies) and you’ll get an idea of what I mean. It goes
“Your Eminence asks me about contredanses in which the bodies of men and women come together and and they make provocative provocative gestures. They give each other their their naked hands, they press them, them, and give one another signs with which they express love to to each each other other – and not the pure kind. I respond respond directing Your Eminence Eminence to Fath Father er Senari Senari of the Jesuit Order Order,, Volume Volume Four Four of the Christiano instruido, discourse 29, where while clean and sombre dances are are not condemned, he effectively proves that immodest immodest dances are ruinous, the overturner of souls… The new dictionary of the Academia Española includes the proverb: Surely the devil showed women how to dance and the ass how to bray… because because of the vexatious nature of both acts and because because neither of them has the good sense to stop…”
If this was the attitude of the authorities to the relatively refined contradance imagine the suspicion with which they viewed the two trendy dances recorded here! Here is part of an official ban issued by the Inquisition on October 31 1716: “We the Inquisitors of Your Excellency; it has come to our attention through denunciations that certain certain couplets couplets commonly commonly called called the chuchumbe have been disseminated and passed passed on in the city as well as in other cities and villages of this realm. realm. They begin ‘A friar from the village village is standing standing at the corner…’ to chaste chaste ears, these lyrics are scandalous, scandalous, obscene and offensive to the highest degree. They are sung and are accompanied by a dance no less scandalous and obscene. They are accompanied by lewd actions, lascivious displays and and indecent and and provocative shaking – all to the grave ruin and scandal scandal of the souls souls of the Christian Christian community.” community.” The Zarembecques must have been slightly less hard core as it escaped an official ban but its other name Muecas (the sort of face you make by pulling the corners of your mouth apart and sticking out your tongue) is wonderfully suggestive of an atmosphere of general mayhem. One can’t help wondering if, or how, these pieces figured in the Queen’s guitar lessons, and also if children in the William Carter : : 6
without saying that certainty in these matters will always elude us but I can’t help feeling that Santiago and his contemporaries would have been scratching their heads in bewilderment at the sort of elaborate scorings given to what is, after all, very clearly solo guitar music. music. The baroque guitar is such a fragile and limited instrument, with a range of just over two octaves, but I do think that to look inward, and explore the great wealth of colour and nuance within its small space is actually very rewarding. After all, as Julian Bream once observed, “There is nothing more perfect than the diminuendo of a plucked string” . But I don’t really like to imagine myself as a righteous authenticist pouring a test tube of ice water over the heads of my hapless colleagues, and I’ve thought to make a virtue of inconsistency by asking my friend Susanne Heinrich to pluck a simple accompaniment in a few of the pieces: my versions of Sanz; the Cumbees and Zarembecques of Murcia; and in the Corelli arrangements. These accompaniments arose in the most natural way pos sible, during concerts o f t he Palladian Ensemble, when Susi would sit patiently on stage waiting for me to finish my (seemingly interminable) solo slot. In the middle of one long tour she started plucking as I played my pieces, at first tentatively but then with more confidence – the sound was so transparent and yet supportive that I find myself unable to imagine these pieces without her contribution – so much for musicology and preconceived ideas. I’d like to close these notes with some very appropriate words written by that greatest of all the Spanish baroque guitarists: Domenico Scarlatti (although he was neither Spanish nor, even strictly speaking a guitarist, choosing instead to perform on a mechanized guitar consort): “Dear Reader, In these compositions do not expect to find any profound learning but rather an ingenious jesting with art... Show yourself more human than critical and your pleasure will increase. Vive Felice! Felice! Live Happily!” © William Carter, London, February 2007
Royal family today are instructed in the works of Snoop Dog and Ice-T by their music teacher… Tracks 13 and 14. Preludio Grabe de Coreli and Giga: These are transcriptions of the first and last movements of Arcangelo Corelli’s Violin Sonata Op.5 No. 3. I’ve added Corelli’s original bass line (plucked here on the Bass Viol) into the mix. Track 15. Gaitas: A name for the Spanish bagpipe. Although most commonly found in Galicia the melody is hauntingly similar to the beautiful Catalan carol ‘El Noi de la Mare’. Note on Spanish Baroque terminology : ‘por la E’ as referred to in tracks three
and four is D minor; ‘por la B’ in tracks eight and twelve is C major; ‘por la D’ in tracks eleven and twelve is A minor. Compassillo and proporcion are common and triple time respectively. PERFORMANCE NOTE
As more and more obscure nooks and crannies of early music are explored, interest in the baroque guitar is increasing. Perhaps because it is both a popular and ‘classical’ instrument its music has attracted the kind of treatment that used to be reserved for Medieval music from when I was a teenager; orchestrated and arranged with a host of colourful and exotic instruments in an attempt to add novelty and make explicit all those qualities found implied in the score. Of course this approach can be vastly enjoyable when done well (and I remember how much I loved my Medieval records) but it seems a shame if the music is only ever experienced in this way – and it does seem to be the norm today. When I mentioned that I was planning this recording to a fellow musician he innocently asked who had been engaged to play the drums! I wouldn’t claim that Santiago has the same significance as Brahms, but imagine if recordings of his music were limited to the Hungarian Dances in arrangements for ‘Gypsy Style’ Ensembles (containing no real Gypsies) and you’ll get an idea of what I mean. It goes William Carter : : 7
WILLIAM CARTER “What most strikes you about William Carter is the sheer force of his musical imagination” writes William Yeoman in Gramophone.
Born in Florida, Carter received a thorough training as a modern guitarist with Bruce Holzman at The Florida State University before falling in love with the earlier plucked instruments and the world of historical performance. Following initial guidance from Pat O’Brien in New York City, he travelled to London as a Fulbright Fulbrig ht Scholar where he studied the Lute with Nigel North and quickly established himself as one of the leading players on old instruments.
without saying that certainty in these matters will always elude us but I can’t help feeling that Santiago and his contemporaries would have been scratching their heads in bewilderment at the sort of elaborate scorings given to what is, after all, very clearly solo guitar music. music. The baroque guitar is such a fragile and limited instrument, with a range of just over two octaves, but I do think that to look inward, and explore the great wealth of colour and nuance within its small space is actually very rewarding. After all, as Julian Bream once observed, “There is nothing more perfect than the diminuendo of a plucked string” . But I don’t really like to imagine myself as a righteous authenticist pouring a test tube of ice water over the heads of my hapless colleagues, and I’ve thought to make a virtue of inconsistency by asking my friend Susanne Heinrich to pluck a simple accompaniment in a few of the pieces: my versions of Sanz; the Cumbees and Zarembecques of Murcia; and in the Corelli arrangements. These accompaniments arose in the most natural way pos sible, during concerts o f t he Palladian Ensemble, when Susi would sit patiently on stage waiting for me to finish my (seemingly interminable) solo slot. In the middle of one long tour she started plucking as I played my pieces, at first tentatively but then with more confidence – the sound was so transparent and yet supportive that I find myself unable to imagine these pieces without her contribution – so much for musicology and preconceived ideas. I’d like to close these notes with some very appropriate words written by that greatest of all the Spanish baroque guitarists: Domenico Scarlatti (although he was neither Spanish nor, even strictly speaking a guitarist, choosing instead to perform on a mechanized guitar consort): “Dear Reader, In these compositions do not expect to find any profound learning but rather an ingenious jesting with art... Show yourself more human than critical and your pleasure will increase. Vive Felice! Felice! Live Happily!” © William Carter, London, February 2007
WILLIAM CARTER “What most strikes you about William Carter is the sheer force of his musical imagination” writes William Yeoman in Gramophone.
Born in Florida, Carter received a thorough training as a modern guitarist with Bruce Holzman at The Florida State University before falling in love with the earlier plucked instruments and the world of historical performance. Following initial guidance from Pat O’Brien in New York City, he travelled to London as a Fulbright Fulbrig ht Scholar where he studied the Lute with Nigel North and quickly established himself as one of the leading players on old instruments.
William Carter : : 8
Concert tours and festival appearances followed throughout Europe, Asia and North and South America both as an orchestral player and as a chamber musician and soloist with his own group, The Palladian Ensemble. Carter has an extensive discography (including 10 CDs with the Palladian Ensemble) and has featured on numerous recordings of th e Academy of Ancient Music and The English Concert, for both of which he acts as principal lutenist. He is also an enthusiastic teacher and is Professor of Baroque Studies and Lute at The Guildhall School of Music and Drama in London. 2005 saw a new development in Carter’s career as his exploration of the world of baroque guitar led to the release of his first solo album La Guitarre Royalle: The music music of Francesco Frances co Corbetta (Linn CKD 185) which has been widely praised and named in Gramophone’s ‘Critic’s Choice’ list for 2005. William Carter’s previous albums have won great critical acclaim: This is a wonderful disc… a real flamenco inspired tour-de-force. – GRAMOPHONE This is that rare and perfect thing, a pioneering recording where the historical interest is fully matched by the quality of the music and performance... one of 2005’s real gems. – INTERNATI INTERNATIONAL ONAL RECORD REVIEW The compelling artistry of William Carter makes this often complex music sound disarmingly simple and natural, natural, making each and every every movement a unique and treasurable listening experience. – CLASSIC FM MAGAZINE Mr. Carter performs with agility Mr. agility and eloquence on a first first solo disc with as much appeal for fans of Eric Clapton Clapton as those of John Williams. – THE OBSERVER Carter’s sound is gorgeous… the playing is faultless… helps introduce a guitarist of the highest stature. – FANFARE
William Carter : : 9
Discover the the world of Linn Records Records Download at www.linnrecords.com Now you can explore Linn music on-line with even greater ease by using our download facility. Linn albums and tracks are available to download at studio master and CD quality – the quality you desire to achieve the best possible sound. MP3 downloads are also available. Linnrecords.com delivers better quality music through new technology – downloads are normally associated with lo-fidelity, highly compressed pop music rather than with the music and sound quality on which we have built our business. We have now found a way to allow you to benefit from the download technology without compromising on quality. Linnrecords.com is a multi-format music delivery system that delivers music on vinyl, CD and download. Register online today at www.linnrecords.com to keep up to date about our latest releases and to find out more about our artists.
@ www.linnrecords.com
discover the world of linn records LINN RECORDS, GLASGOW ROAD, WATERFOOT, GLASGOW G76 0EQ, UK t: +44 (0)141 303 5027/9 f: +44 (0)141 303 5007 e:
[email protected]
Concert tours and festival appearances followed throughout Europe, Asia and North and South America both as an orchestral player and as a chamber musician and soloist with his own group, The Palladian Ensemble. Carter has an extensive discography (including 10 CDs with the Palladian Ensemble) and has featured on numerous recordings of th e Academy of Ancient Music and The English Concert, for both of which he acts as principal lutenist. He is also an enthusiastic teacher and is Professor of Baroque Studies and Lute at The Guildhall School of Music and Drama in London. 2005 saw a new development in Carter’s career as his exploration of the world of baroque guitar led to the release of his first solo album La Guitarre Royalle: The music music of Francesco Frances co Corbetta (Linn CKD 185) which has been widely praised and named in Gramophone’s ‘Critic’s Choice’ list for 2005. William Carter’s previous albums have won great critical acclaim: This is a wonderful disc… a real flamenco inspired tour-de-force. – GRAMOPHONE This is that rare and perfect thing, a pioneering recording where the historical interest is fully matched by the quality of the music and performance... one of 2005’s real gems. – INTERNATI INTERNATIONAL ONAL RECORD REVIEW The compelling artistry of William Carter makes this often complex music sound disarmingly simple and natural, natural, making each and every every movement a unique and treasurable listening experience. – CLASSIC FM MAGAZINE Mr. Carter performs with agility Mr. agility and eloquence on a first first solo disc with as much appeal for fans of Eric Clapton Clapton as those of John Williams. – THE OBSERVER Carter’s sound is gorgeous… the playing is faultless… helps introduce a guitarist of the highest stature. – FANFARE
Discover the the world of Linn Records Records Download at www.linnrecords.com Now you can explore Linn music on-line with even greater ease by using our download facility. Linn albums and tracks are available to download at studio master and CD quality – the quality you desire to achieve the best possible sound. MP3 downloads are also available. Linnrecords.com delivers better quality music through new technology – downloads are normally associated with lo-fidelity, highly compressed pop music rather than with the music and sound quality on which we have built our business. We have now found a way to allow you to benefit from the download technology without compromising on quality. Linnrecords.com is a multi-format music delivery system that delivers music on vinyl, CD and download. Register online today at www.linnrecords.com to keep up to date about our latest releases and to find out more about our artists.
@ www.linnrecords.com
discover the world of linn records LINN RECORDS, GLASGOW ROAD, WATERFOOT, GLASGOW G76 0EQ, UK t: +44 (0)141 303 5027/9 f: +44 (0)141 303 5007 e:
[email protected]
William Carter : : 10
William Carter : : 11
CKD 288
ALSO ALS O AV AVAIL AILABL ABLE E BY B Y WILLIAM CARTER ON CARTER ON LINN RECORDS
CKD 288
ALSO ALS O AV AVAIL AILABL ABLE E BY B Y WILLIAM CARTER ON CARTER ON LINN RECORDS
FRANCESCO CORBETTA LA GUITARRE ROYALLE CKD 185
WILLIAM CARTER IS CARTER IS ALSO FEATURED ON THE FOLLOWING PALLADIAN ENSEMBLE ALBUMS ENSEMBLE ALBUMS
Sonatas & Chorales
Les Elemens
Held By the Ears
CKD 275
CKD 221
CKD 126
