CAMPION, GRANDE PASSACAILLE, Rafael ANDIA, baroque guitar

François CAMPION (1686-1747), GRANDE PASSACAILLE, Rafael ANDIA, baroque guitar
The complete 33 variations of the passacaille in D minor.
We have no portraits of CAMPION but we can see that of his protector, the Duke of Noailles, a disturbing character if we are to believe Saint-Simon: "The serpent who tempted Eve, who overthrew Adam and who lost the human race, is the original of which the Duke of Noailles is the most exact copy"What makes CAMPION 's work so valuable among all guitarists is his position as theorbist at the Paris Opera. From this position he was at the heart of the avant-garde of the greatest composers of his time. The 33 variations of his GRANDE PASSACAILLE bear witness to this modernity with the audacity of the harmony and the solidity of the construction, a writing clearly influenced by the great authors of the XVIIIth century that CAMPION saw on the stage of the Opera. rafaelandia.com

[@rosazjc]

magnifique maestro on entend l'echo des temps anciens, devine le pas des danseurs!

[@lucaboulkheir8043]

Grand merci pour cette superbe interprétation qui justifie la passion que j' ai pour ces grands compositeurs et guitaristes tels de visée, bartolloti, et enfin Campion qui nous laisse une œuvre importante notamment ces nouvelles découvertes écrites sur différentes scordaturas afin de nous montrer tous Les aspects sonores de la guitare dite baroque instrument fabuleux pour qui sait l' entendre et en jouer si bien que toi mon cher Raphaël.

[@ArashAhmadiGuitar]

Très belle interprétation, merci pour la partager.

[@gillesdf6635]

accord italien?

[@nebovas9432]

STRINGS?????

[@carlosagonzalez9315]

duele ver esas uñacas en un instrumento que parece de época.
por otro lado, curioso instrumento.. los aros están cortados a 90º de lo habitual y la tapa parece de ciprés

[@guitaristedelourcine1522]

Well, I suppose they did play very ancient instruments in 1799 didn't they ? Unfortunately for you, Spanish guitarist Antonio Abreu ironized in his book of 1799 that « tañer (la guitarra de 5 o 6 ordenes) con yema es como si dijésemos que para tocar con mucho primor y delicadeza el violin en lugar de dar a las cerdas del arco con la pez que se le da, se untan las cuerdas con aceite o enjundia de gallina y así saldrian mas suaves las voces »
And he concludes « Stultorum infinitus est numerus » (el numero de imbéciles es infinito)…