suprême leçon de théorbe
Christophe Steyne
The recording does full justice to Maiorana’s artistry.
Kate Bolton-Porciatti, BBC Music Magazine-Instrumental Choise
Performance: 5*
Recording: 5*
Hij is een fantastisch kunstenaar op zijn instrument, met een groots geluid.
Frederike Berntsen, Het Parool
Stefano Maiorana […] leaves no doubt in the mind of the listener as to his technical prowess and his elegant musicality, eliciting ever changing now dulcet, now dramatic sounds
Rafael de Acha, All about the arts
Ambrosini: Kapsberger, Secret Pages in the Orf program “Des Cis”.
My interview for Rai Radio3 Suite about the album “Ambrosini: Kapsberger, Secret Pages”.
Listen from 23′ 20”.
His arrangements, additions and alterations sound completely idiomatic, and showcase his internalization of the idiom, certainly finding the balance between ‘rigour and freedom’ he was seeking. The flexibility shown to the written score is also evident in his technically excellent and expressive performances, highlighting the improvisatory and impermanent nature of this repertory.
Eric Thomas
In the hands of Stefano Maiorana, clearly an unfettered, masterly musician, every track on this recording illuminates the possibilities of the baroque guitar. If you are already a fan of this instrument, or even if you’ve not heard much of its repertoire, this recording will rock your world, as it did mine! This one goes on the top shelf.
Jim McCutcheon
Tipps der Woche…”Mit grandioser Grazie”. Thank you Stefan Sell and Crescendo!
Entre dos almas – Between two souls – features the music of the Spanish guitarist and composer Santiago de Murcia (1673-1739) in performances by Stefano Maiorana on Baroque guitar.
The two souls are Spanish and Italian, the latter especially representing the influence of Arcangelo Corelli in Madrid. The two major works here are both Murcia’s transcriptions of Corelli: the Sonata in E Minor from Op.5 Nos.5 & 8; and the Sonata in C Major Op.5 No.3. Only the first and last movements of the latter survive, so Maiorana has supplied his own transcriptions of the middle three.
The eight individual pieces are an absolute delight, with a lively opening Fandango and a terrific Tarantelasparticular highlights. Maiorana plays with an effortless technique and with complete freedom in a beautiful but quite different sound world that is just bursting with life. Some additions and arrangements are apparently by Maiorana, but his experience renders them completely undetectable.
Terry Robbins