Martha Masters | Baroque Mindset

Go To Artist Page

Recommended if You Like
David Russell Paul Galbraith

More Artists From
United States - California - LA

Other Genres You Will Love
Classical: Baroque Classical: Bach Moods: Featuring Guitar
Sell your music everywhere
There are no items in your wishlist.

Baroque Mindset

by Martha Masters

A beautiful exploration of violin and lute transcriptions from the Baroque era arranged for classical guitar.
Genre: Classical: Baroque
Release Date: 

We'll ship when it's back in stock

Order now and we'll ship when it's back in stock, or enter your email below to be notified when it's back in stock.
Continue Shopping

To listen to tracks you will need to update your browser to a recent version.

  Song Share Time Download
1. Fantasia I (Arr. for Guitar)
6:56 $0.99
2. Fantasia III (Arr. for Guitar)
4:16 $0.99
3. Violin Sonata No. 3 in C Major, BWV 1005: I. Adagio (Arr. for Guitar)
3:05 $0.99
4. Violin Sonata, No. 3 in C Major, BWV 1005: II. Fuga (Arr. for Guitar)
9:48 $0.99
5. Violin Sonata No. 3 in C Major, BWV, 1005: III. Largo (Arr. for Guitar)
2:50 $0.99
6. Violin Sonata No. 3 in C Major, BWV 1005: IV. Allegro assai (Arr. for Guitar)
2:43 $0.99
7. Fantasia in D Minor (Arr. for Guitar)
3:16 $0.99
8. Aria (Arr. for Guitar)
3:12 $0.99
9. Giga (Arr. for Guitar)
2:12 $0.99
10. Fantasia (Arr. for Guitar)
2:19 $0.99
11. Passacaglia (Arr. for Guitar)
4:13 $0.99
Downloads are available as MP3-320 files.


Album Notes
The guitar as we know it did not exist during the Baroque era. There was a plethora of plucked string instruments, which were primarily used in accompanimental settings; and the lute was emerging as a solo instrument with virtuosic works by dedicated lutenist/composers. The music that modern day guitarists play from the Baroque is most often in transcription from the keyboard, lute, or violin, the latter two of which are explored on this disc.

Georg Phillip Telemann (1681-1767) is most commonly heard on the guitar in chamber settings, in arrangements for melodic instrument with guitar as accompaniment, or for guitar quartet/guitar orchestra. Italian guitarist Carlo Marchione arranged Telemann’s 12 Fantasias for Solo Violin (published in 1735) for the guitar. These works are diminutive in scale and less frequently performed in comparison to the violin of works of Bach, but are no less masterpieces of the violin repertoire.

Without a doubt, the best-known work on this disc is J.S. Bach’s Third Violin Sonata, BWV 1005. Bach’s Sonatas and Partitas for solo violin were written between 1703-1720, and are widely regarded as among the finest music written for a solo instrument during the Baroque. The three Sonatas for Solo Violin are all in sonata de chiesa form, following the typical slow-fast-slow-fast pattern of movements. The opening Adagio has a resolute steadiness, avoiding the virtuosic runs of many other opening movements of the time. The Fugue, the most extensive of the three Sonatas, explores a masterful and disciplined tour of every compositional device available in the form, including use of double counterpoint, stretto, inversion, and finally a da capo. The Largo provides a much needed point of repose and relief after the intensity of the Fugue. The Sonata concludes with a spirited Allegro assai in binary form. The work is full of intellectual and emotional depth that inspires the player and listener to look forward to what will be discovered in the next practice session or performance.

David Kellner (1670-1748) was a lutenist/composer flourishing at the same time as his better-known colleague, Sylvius Leopold Weiss. Kellner was born near Leipzig, but spent much of his career working Sweden. The set of pieces presented here was not conceived as a set by the composer, but rather was created from what I found to be some of the more interesting of the pieces available today from his body of work, which includes an extensive set of highly virtuosic and ornate fantastias.

Two of the more iconic works of Sylvius Leopold Weiss (1687-1750) round out this disc. The lute was a commonly used instrument of the day, often used in a simpler context, with fewer demands of the player. The two pieces presented here are representative of the developing body of repertoire for virtuoso lutenists, requiring a higher level of technical command to carry off the complexity of the writing involved - this was not music intended for a hobbyist. The fantasia begins in an improvisatory manner, followed directly by lively counterpoint. The Passacaglia that follows is perhaps Weiss’ best-known work today, with a simple and elegant theme, developed beautifully throughout the ensuing variations.



to write a review