Santiago de Murcia: Entre dos almas Stefano Maiorana

• Santiago de Murcia (1673 - 1739):
• 1 Murcia: Fandango 04:17
• 2 Murcia: Folías Ytalianas. Despacio 06:53
• Arcangelo Corelli (1653 - 1713):
• 3 Corelli: Sonata in E Minor: I. Tocata. Grave (From Sonata in E Minor, Op. 5 No. 8) (Arr. for Guitar) 04:38
• 4 Corelli: Sonata in E Minor: II. Allegro (From Sonata in E Minor, Op. 5 No. 8) (Arr. for Guitar) 02:00
• Santiago de Murcia:
• 5 Murcia: Sonata in E Minor: III. Despacio 00:55
• Arcangelo Corelli:
• 6 Corelli: Sonata in E Minor: IV. Giga (From Sonata in G Minor, Op. 5 No. 5) (Arr. for Guitar) 01:38
• Santiago de Murcia:
• 7 Murcia: Folías Gallegas 02:58
• 8 Murcia: Tarantelas 04:31
• 9 Murcia: Marizápalos 05:29
• 10 Murcia: Canarios 04:30
• Arcangelo Corelli:
• 11 Corelli: Sonata in C Major, Op. 5 No. 3: I. Preludio. Grabe (Arr. for Guitar) 02:39
• 12 Corelli: Sonata in C Major, Op. 5 No. 3: II. Allegro (Arr. for Guitar) 02:06
• 13 Corelli: Sonata in C Major, Op. 5 No. 3: III. Adagio (Arr. for Guitar) 02:59
• 14 Corelli: Sonata in C Major, Op. 5 No. 3: IV. Allegro (Arr. for Guitar) 01:04
• 15 Corelli: Sonata in C Major, Op. 5 No. 3: V. Giga (Arr. for Guitar) 02:23
• Santiago de Murcia:
• 16 Murcia: Jácaras 03:36
• 17 Murcia: Ydea especial de clarínes 07:58
• Total Runtime 01:00:34

Info for Santiago de Murcia: Entre dos almas

The heterogeneous output of Santiago de Murcia, one of the key figures in the Baroque guitar repertory, includes a number of transcriptions from the op.5 of Arcangelo Corelli, the famous collection of ‘sonatas with violin and string bass or harpsichord’ published in Rome in 1700. The diffusion of Corelli’s works in Spain, and in particular in Madrid, suggests how highly the Italian style was valued at the court of Philip V, where Santiago taught Queen Maria Luisa of Savoy between 1704 and 1706.This gave rise to the idea of investigating the relationship between the Spanish and Italian styles in de Murcia’s guitar music. Pieces such as the fandango, jacaras and canarios, here presented in original arrangements that attempt to achieve a synthesis between historical research and creativity, are coupled with two Corelli sonatas and a set of original or anonymous variations on the ‘Follie italianas’. The result is a stimulating kaleidoscope of sonorities in which different aesthetics and instrumental techniques dialogue, contrast and blend together.After his CD ‘Intavolatura’, devoted to the solo theorbo music of Kapsberger (‘hypnotisant’ - Le Devoir; ‘terrific’ - American Record Guide; ‘outstanding’ - Lute News), Stefano Maiorana turns his attention to the Baroque guitar, investigating its unique sound and its ability to adapt to different languages and styles.

Stefano Maiorana, classical guitar

Stefano Maiorana
earned a Diploma in Classical Guitar at the Conservatorio S. Cecilia in Rome. Continuing his studies at Conservatorio S. Cecilia, he obtained a Level II Degree with honours in Classical Guitar, specialising in performance and composition with Bruno Battisti D’Amario, and a Level II Degree with honours and special commendation in lute and early plucked-string instruments with Andrea Damiani. He has followed guitar specialisation courses at the Accademia Chigiana under Oscar Ghiglia, and further advanced courses in early music at Fima, Urbino under Paul O’Dette. He graduated in ‘Architecture and Construction Techniques’ at the Prima Facoltà di Architettura de La Sapienza.

He has performed in Italy, Germany, France, Spain, Swiss, Poland, Russia, Sweden, Norway, Australia and Mongolia, as soloist and basso continuo player for festivals or concert seasons (Hochschule für Künste in Bremen during the International Lute Festival, at the Italian Institute of culture in Oslo and at the Italian Institute of culture in Stockholm, the Auditorium Parco della Musica and Teatro Olimpico in Rome, the Romea Theatre in Murcia, the Maison de l’Italie – Cité internationale universitaire in Paris, the Groteska Theatre in Krakow, in the Festivals Roma Barocco, Materia Prima, Platonov Arts, Barocco di Viterbo, Antiqua, Düsseldorf Festival, Early Music Festival, Emufest, Nuova Consonanza, Tuscia and Roma Tre University, Accademia Filarmonica Romana, etc.). In 2017 he was invited as soloist by the Australian Brandenburg Orchestra to perform in the “Spanish Baroque” tour in Australia (Sydney City Recital Hall, Melbourne Recital Hall and Queensland Performing Arts Center).

He collaborated with Radio Vaticana to set up a music programme dedicated to the development of music from the Baroque period to the 20th century; he recorded pieces for the Radio Vaticana programme “Diapason”, in which he appeared as both guest and performer. He was co-author of the article “Three Characters between Music and Architecture in the Renaissance: Donadio, Giorgi and Palladio”, published in “Music and Architecture”, ed. Nuova Cultura.

His debut CD “Intavolatura” (Fra Bernardo label) with music by Kapsberger for solo theorbo received enthusiastic reviews by European, Canadian and American magazines (Early Music America, Scherzo, Le Devoir, American Record Guide, Lute News, Gitarr och Luta…).

He has worked both for theatre and cinema and curated sound installation for art exhibitions. He has held seminars and conferences relating to various aspects of early music practice at institutions for High Musical Education.

He is professor of Lute Performance at the Istituto Superiore di Studi Musicali Briccialdi in Terni.

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