Allegro with 6 variations [2].

Dionisio Aguado - Rondo Brillant for guitar No.3 in D, Op.2, No.3 - Classical Archives

Theme with 7 variations [6]. Sonata "Che va chiamando Dida" [2]. Sonata a violino e viola [8].


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  • Lorenzo Micheli : Dionisio Aguado: Guitar Music.

Segnale d'amore Love Sign: Notizia della partenza News of departure: Tempo di marcia, Maggiore; III. Andantino, Tempo di Polacca, Minore - 3. Larghetto cantabile - 4.

Featured Dionysio Aguado CDs & DVDs:

Andantino, Allegretto, Minore - 5. Andantino, Allegretto, Trio - 8. Allegretto, Trio - 9- No. Tempo di marcia; II.

Rondo Brillant for guitar No.3 in D, Op.2, No.3

Andantino vivace - Tempo di Pastorale, Trio - Tempo di Valtz - Allegretto con brio, Trio - Allegro molto vivace, Trio - Allegretto, Trio, Maggiore - Allegro vivo, Trio - Andante, Corrente, Andante cantabile; II. Sul margine d'un rio [2]. Sei nuovissime Alessandrine [8]. Sonata and Variations [2]. Allegretto scherzando - No. Lento e con grazia; II.

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Andantino brillante - No. Quasi andante con sentimento; II. Con anima e trasporto; II. Quasi larghetto e con enfasi; II. As a researcher and scholar, he has written articles and contributions for a number of music journals, including Il Fronimo and Guitar Forum.

List of compositions by Niccolò Paganini

Do not miss a chance to hear them. Lorenzo is guitar professor at the Conservatory of Aosta, Italy. Per Stradivarius Lorenzo ha registrato una monografia sulle opere per chitarra sola di Dionisio Aguado, una sui Quartetti op. Between the XVIII and XIX century, throughout Europe the guitar began to win back the popularity it had not enjoyed for nearly a hundred years and again became a common sight everywhere.

The capital cities of music par excellence Paris and Vienna were soon to become the major centre of this phenomenon, particularly from just before until , when they became a veritable hive of activity. This revival of the guitar's fortunes was the work of virtuoso performers, mainly from Italy and Spain, who taught, composed and gave concerts up and down the continent. The pre-eminence of Paris and Vienna was in no small part due to the presence there of the greatest guitarists of the nineteenth century: Dionisio Aguado occupies a prominent position in this renaissance of the guitar, but the corpus of his works has only recently become the subject of careful study by specialists and musicologists.

This is surprising, since guitarists have always had a great affection for Aguado, particularly because of his methods on which he worked for his whole life.

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Then again, perhaps it is the great worth itself of his methods and systems of playing technique - which remain highly relevant even today - that somehow managed to overshadow Aguado's concert pieces: Dionisio Aguado was born in Madrid on 8 april into a well-to-do family. While still young and studying humanities as would any other boy of his background, Dionisio embarked on the study of the guitar under the guide of the Cistercian Father Basilio, a somewhat mysterious figure who was to exert a great influence over many disciples.

This large-scale work was intended to collect and set down in an organic, systematic manner the enormous wealth of teaching experience the composer had built up over the years and to which he was constantly adding new elements through his tireless application to his art, right up until his death in Dionisio Aguado's output is recognizably different from those guitarists-composers who were his contemporaries insofar as he devoted himself exclusively to the guitar: And Aguado was equally unlike the guitarists of his time in that he saw nothing wrong in infusing "classical" music with the tone colour and phrasing of the popular Spanish tradition.

The Trois Rondos Brillants, op. As was often the case in the repertoire of the early 's, the work which was dedicated to a major guitarist was no mere routine exercise churned out to keep the publishers happy.


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The structure is three "diptyches", in which a slow introductory movement is followed by a fast one - in other words the "rondo" itself. Indeed, all of these elements combine to make it one of the greatest virtuoso pieces for the guitar ever. The Menuet Affandangado, op. The fandango was danced mainly to an accompaniment of guitars and castanets and has always been one of the mainstays of the music of Spain; its markedly rhytmic character makes it ideal for long displays of improvisation and off-the-cut bravura.

In the wake of Antonio Soler and Luigi Boccherini, Aguado produces a sort of transcription of an improvisation on a fandango rhythm, and this use of a folk music tradition again illustrates the closeness and influence on each other of classical and non-classical music.

The choice of 12 out of the 27 estudios contained in the Nuevo Metodo Madrid, aims to bring to light the musical value of pieces originally intended for teaching, but in which invention, compositional originality and pure melody go far beyond the scope of the average student exercise. A number of these pieces are also unusually difficult for guitarists to play, which fully justifies their place in the repertoire today alongside the great concert studies.

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