Raffaele Carpino - Legnani: Guitar Works (2017)

Tracklist
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01. Scherzo, Op. 10: Theme
02. Scherzo, Op. 10: Var. 1
03. Scherzo, Op. 10: Var. 2
04. Scherzo, Op. 10: Var. 3
05. Scherzo, Op. 10: Var. 4-Coda
06. Pot-pourri brillant, Op. 31: I. Andante mosso
07. Pot-pourri brillant, Op. 31: II. Allegro moderato
08. Pot-pourri brillant, Op. 31: III. Allegretto da caccia
09. Pot-pourri brillant, Op. 31: IV. Allegro
10. Pot-pourri en caprice, Op. 32: I. Andante mosso
11. Pot-pourri en caprice, Op. 32: II. Allegro
12. Pot-pourri en caprice, Op. 32: III. Largo espressivo
13. Pot-pourri en caprice, Op. 32: IV. Allegro-Recitativo
14. Pot-pourri en caprice, Op. 32: V. Allegretto
15. Pot-pourri en caprice, Op. 32: VI. Allegro
16. 4 Lezioni: No. 1, Andante
17. 4 Lezioni: No. 2, Maestoso
18. 4 Lezioni: No. 3, Allegro non tanto
19. 4 Lezioni: No. 4, Allegro moderato
20. 3 Balli nazionali: No. 1, La mazurka
21. 3 Balli nazionali: No. 2, La gitana
22. 3 Balli nazionali: No. 3, La cachucha
23. Method for the Guitar, Op. 250: No. 1, Allegretto
24. Method for the Guitar, Op. 250: No. 2, Andantino
25. Method for the Guitar, Op. 250: No. 3, Allegro moderato
26. Method for the Guitar, Op. 250: No. 4, Allegretto di polacca
27. Method for the Guitar, Op. 250: No. 5, Moderato
28. Method for the Guitar, Op. 250: No. 6, Allegro valtz

Versatile musician, singer, violinist, luthier and guitarist, Luigi Legnani is a figure characterized by many different aspects. Born in Ferrara towards the end of the eighteenth century, he was a prolific and acclaimed composer and performer. He also designed interesting solutions - finally taken also by famous Viennese instrument makers - who perfected both the guitar structure and its tonal capacity. Appreciated in 1841 as “The Paganini of the guitar” Legnani leaves us a repertoire of over 250 works, most of them unknown, ranging from purely didactic compositions to those dedicated to the general public concerts. Raffaele Carpino, after a thorough investigation over the life and works of Legnani, finally proposes and interprets his works for the first time with absolute fidelity to the original nineteenth-century scores, approaching the author’s thought with the correct philological attitude.

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