Originally for guitar and string quartet, and arranged here for four guitars – other popular arrangements exist for two guitars and guitar with harpsichord. Using simple harmonic and chordal progressions, Boccherini captures a strong Spanish flavor by incorporating elements of traditional Spanish and flamenco music not commonly heard in repertoire from this period.
With very dense textural writing, Quiccan creatively uses all four guitars in interchanging roles of melody, harmony and accompaniment. York uses a strong rhythmic drive throughout and displays his inspiration for the piece – the late (bass player) Jaco Pastorius – in several bass lines.
Dedicated to Mulgrave Christian Ludwig of Brandenburg, this concerto was originally written for string orchestra. Making full use of the Concerto Grosso genre, the relationship between the instruments is subjective to the listener; as the positioning of the parts change, it may appear that there are no soloists or, that all the players are soloists. In doing so Bach creates a weaving, kaleidoscopic range of colors and shades.
Based around a descending passacaglia bass figure, the two beautifully melodic outer sections contrast with the strident middle section. Originally written for two pianos, the piece sits well on four guitars and makes good use of the wider pitch range offered by the seven-string guitar.
Comissioned in 1914, this work is distinctively Andalucian in character, showcasing de Falla’s nationalistic pride. El amor brujo (Love, the Magician) was originally composed for a chamber group, then re-scored as a symphonic suite, and eventually as a ballet.
Originally written in 1976 while he was studying as an undergraduate, Ian Krouse later re-wrote this piece as a present for his friends in the Los Angeles Guitar Quartet in 1987. Krouse takes the works of Hans Neusidler, a German lutenist from the Renaissance, and makes them his own, creating a dynamic and exciting fusion of 20th century and Renaissance musical languages.
Dedicated to the Los Angeles Guitar Quartet, the title is the name of an aboriginal people indigenous to Brazil and Venezuela. This piece showcases Assad’s ability to compose intellectually while exploiting resources unique to the guitar, such as artificial harmonics and drumming on the body of the instrument for percussive effect.
Concierto Andaluz, I. Tiempo de Bolero
Concierto Andaluz, II. Adagio
Concierto Andaluz, III. Allegretto