573362bk Buono:570034bk Hasse 30/5/14
his home city of Burgos in 1936 during the Spanish Civil
War cast his music into a subsequent obscurity which has
only recently been remedied.
Considerable interest was aroused by the discovery in
the late 1980s of the Sonata, which Antonio Jos finished
on 23rd August 1933. One movement was given its
premire in Burgos by Regino Sinz de la Maza in
8.573362
12:16 PM Page 4
November 1934. The work established Antonio Joss
reputation beside those of his distinguished contemporaries
who respected the guitar as an expressive medium. Joss
Sonata is a composition requiring virtuosity as well as
Laureate Series Guitar
emotional depth and insight.
Graham Wade
Emanuele Buono
Emanuele Buono
Emanuele Buono has established himself as one of the
most active guitarists of his generation. Born in Turin in
Winner 2013
1987 he began to study the classical guitar when he was
very young and at the age of eighteen was awarded a first
Michele Pittaluga Guitar Competition, Alessandria
class degree with honours at the Giuseppe Verdi
Conservatory in Milan, proceeding to further study at the
Accademia Chigiana of Siena, where he obtained the
DA MILANO AGUADO RODRIGO
certificate of merit twice in succession. On 27th September
2008, during the XIII International Guitar Congress of
CASTELNUOVO-TEDESCO JOS
Alessandria, he was awarded the prestigious Golden Guitar
as the best young concert-player of the year. Emanuele
Buono has been awarded First Prize in the most important
International Guitar Competitions: Gargnano (Italy, 2008),
Ruggero Chiesa of Camogli (Italy, 2008), Split (Croatia,
2009), Gold medallist at the prestigious Parkening (Malibu,
USA, 2009), Citt di Seveso (Italy, 2010), Fernando Sor of
Rome (Italy, 2010), Agustn Barrios of Nuoro (Italy, 2012),
Gredos San Diego of Madrid (Spain, 2013), Maurizio Biasini
of Basel (Switzerland, 2013), and the prestigious Michele
Pittaluga International Competition of Alessandria (Italy,
2013), the only guitar competition member of the renowned
World Federation of International Music Competitions
(WFIMC) based in Geneva. These resulted in an invitation
to record for Naxos and Brilliant Classics. He has also been
invited to make his dbut in several concert halls, including
the Teatro Manzoni, Bologna, the de Falla Hall, Madrid, the
Konzerthaus, Vienna, Carnegie Hall, New York, the C
Hermitage Theatre, St Petersburg, the Lysenko Hall, Kiev
and the Stadtcasino, Basel, and to undertake a concert tour M
at a number of renowned guitar festivals in Europe and the
United States.
Y
Photo: Marta Dolzadelli
K
4
573362bk Buono:570034bk Hasse 30/5/14
Emanuele Buono: Guitar Recital
Francesco Canova Da Milano Dionisio Aguado Mario Castelnuovo-Tedesco
Joaqun Rodrigo Antonio Jos
The history of plucked instruments encompasses a great
variety of styles, relating both to historical period and
fashionable taste. The three instruments drawn upon here
are the Italian Renaissance lute, the early nineteenth
century guitar, and the modern classical guitar. But there is
no incongruity in juxtaposing music of very different cultures.
In terms of unity we have here two Italian composers and
three Spanish composers, each lyrical and profound in their
own way.
Francesco Canova Da Milano came from a musical
family and spent most of his career in the employment of the
papal court. With his father, Benedetto, he was among the
private musicians of Pope Leo X around 1518. There exists
also a historical reference to his performance before Pope
Clement VII in 1526 and it is known that Da Milano was in
the service of Cardinal Ippolito de Medici during the early
1530s. In 1536 five volumes of his lute music were printed
in Milan. In June 1538 he took part as papal musician in the
meeting at Nice between Paul III, Charles V, and Franois
III of France. A month later Francesco married Clara
Tizzoni, a wealthy woman from the Milanese nobility. The
last few years of his life are obscure.
The charismatic nature of Francescos performances at
a sumptuous banquet were described by Pontus de Tyard
who tells the story told to him by Jacques Descartes de
Ventemille: The tables being cleared, Francesco da Milano,
as if tuning his strings, sat on the end of a table seeking out
a fantasia. He had hardly disturbed the air with three
strummed chords when he interrupted the conversation
which had begun among the guest ... [sic] He continued
with such ravishing skill that little by little, he made the
strings languish under his fingers in his sublime way and
transported all the listeners into such delightful melancholy
that they remained deprived of all senses save that of
hearing, as if the spirit, having abandoned all the senses,
had retired to the ears to enjoy even more such ravishing
harmony. I believe, said M. de Ventemille, that we would still
be there if Francesco had not changed his style of playing
with a gentle emphasis and returned our spirit and senses
8.573362
12:16 PM Page 2
throughout the gamut of the scale. Once more, poignant
to the place from which he had stolen them, leaving us all
amazed as if transformed by an ecstatic transport of divine
frenzy.
The enigmatic title, Mon per si ma marie, is best
understood under its full title Mon pre aussi ma mre ma
voulu marier [sic] (My father as well as my mother wished
me to marry). A setting of this song in Italian lute tablature
is to be found in Francesco Da Milanos Intabolatura di Liuto
of 1536, published in Venice by Francesco Marcolini.
Another version of the song, intabulated for the vihuela,
comes in Diego Pisadors Libro de Msica de Vihuela, Book
VII, of 1552, published in Salamanca. This is a very
animated song carrying with it, even in an instrumental
arrangement, a sense of humour and movement.
The genre of the fantasia signifies an instrumental
composition which comes solely from the fantasy and skill
of the composer who created it, (Luis de Miln, 1535-6).
The listener can therefore expect elements of display and
a thorough demonstration of the capabilities of the
instrument concerned. Fantasias also explore extended
developments of thematic ideas or contrapuntal ingenuity.
Fantasia No. 33 fulfils a number of such expectations
including substantial length and variety, dexterity,
contrapuntal brilliance, and a sense of onward momentum.
There are moments of sustained chordal passages between
the more intricate scalic episodes, as well as sections of two
part counterpoint, and delicate filigree towards the end in
terms of descending, bell-like scale passages. This is a
sixteenth-century tour de force of enjoyable substance and
quality.
The ricercare (derived from ricercar, to search for), is
often a kind of technical exercise, a piece exploring some
compositional device. The term was also used for a
preludial work but could indicate an imitative ricercare, akin
to the fugue. The term ricercare occurs first in Spinacinos
Intabulatura de lauto, Books 1 & 2 (Venice, 1507) and
further examples exist in J.A. Dalzas lute publication of the
following year as well as in subsequent sixteenth-century
collections.
2 3
Da Milanos Ricercare No. 34 is a perfect example of
the imitative ricercare, the imitations sometimes following at
the interval of an octave and on other occasions extending
chordal episodes provide moments of introspection before
the return of the contrapuntal textures. This is a highly
sophisticated and subtle composition, a worthy miniature
masterpiece of the Renaissance lute.
Dionisio Aguado y Garca, considered as one of the
most eminent guitar composers of the early nineteenth
century, was a colleague of Fernando Sor, who dedicated
several compositions to him. For decades Aguado was
seen as primarily a pedagogic musician of exercises and
studies but this perception changed in the 1980s when
Julian Bream recorded some of the Spaniards finest
virtuosic pieces.
The Andante and Rondo moderato movements per-
formed here, attacca, are majestic compositions written in
the grand style imitating both orchestral and pianoforte
effects. The Andante develops many characteristic features
of nineteenth-century guitar writing such as passages in
thirds, melodies in the bass with accompanying treble
chords, and short episodes of Alberti basses supporting a
melodic line. The Rondo in contrast is a showcase of
brilliance with fast, catchy melodies, sections of intricate
triples and arpeggio patterns, miniature cadenzas, and an
accelerating momentum concluding with a dramatic coda.
In 1932 Andrs Segovia travelled with Manuel de Falla
to the International Festival of Music in Venice. At the
Festival, Segovia was introduced to Mario Castelnuovo-
Tedesco, the great Italian composer from Florence, who
became enchanted and fascinated by the guitar and
decided to explore its possibilities. Between 1932 and his
death in 1968 he wrote over a hundred works for the
instrument, including sets of variations, concertos, duos,
impressionistic pieces of various kinds, and, among his
finest solo compositions, the Sonata, Op. 77, Omaggio a
Boccherini, written at Segovias request in 1934 for a
Sonata in four movements.
Castelnuovo-Tedesco described this work as follows:
The Sonata is in four movements, but it is mainly in the
first movement, Allegro con spirito, and in the Minuetto, that
one can find the graciousness which was so characteristic
of Boccherini. The Andantino, quasi canzone, on the other
hand, refers to Boccherinis romantic mood, while the
Finale: Vivo ed energico, highlights the bravura elements
always present in his music.
Joaqun Rodrigo, composer of the renowned Concierto
de Aranjuez, is one of the great Spanish composers of the
twentieth century. He extended the romantic impressionist
tradition of Albniz, Granados and Falla, but was deeply
influenced by French music, having studied from 1927 to
1932 with Paul Dukas in Paris. Though blind from childhood
Rodrigo wrote almost two hundred works, including
orchestral, choral and ballet music, many concertos, a host
of songs, and a quantity of instrumental solos.
The composers contribution to the guitar is now one of
the central pillars of the modern concert repertoire. Over
the years Rodrigo explored the Spanish nature of the guitar,
responding to the distinguished history of plucked
instruments going back to the sixteenth century. Rodrigos
compositions for solo guitar comprise no more than some
25 titles. Yet the significance of his output is far greater
than the sum of its parts because of his extraordinary insight
into the nature of the guitar, developed over many years.
Invocacin y Danza (Homenaje a Manuel de Falla)
dedicated to the Venezuelan guitarist, Alirio Daz, won First
Prize in the 1961 Coupe International de Guitare, held in
Paris. The French magazine Combat described the work as
a page full of song, poetry, Mediterranean finesse, and
elegant writing.
From a subtle opening of harmonics and fragments of
arpeggios, the Invocacin flowers into an intricate pattern
of melody and broken chords in which delicacy of effect is
matched by clarity and complexity. The Danza is the
Andalusian polo, a reminder of the last of Manuel de Fallas
Seven Popular Spanish Songs. After the rhythmic opening
bars, the music develops into passages of tremolo and
brilliant showers of demisemiquavers, the tremolo returning
eventually in an extended section. The piece closes with
sparse harmonics, a fleeting but expressive reference to a
theme from Fallas ballet, El Amor Brujo, and a final
murmuring arpeggio.
Antonio Jos was praised by Maurice Ravel as a
composer who would become the greatest Spanish
musician of our century. But his arrest and execution near
8.573362
573362bk Buono:570034bk Hasse 30/5/14
Emanuele Buono: Guitar Recital
Francesco Canova Da Milano Dionisio Aguado Mario Castelnuovo-Tedesco
Joaqun Rodrigo Antonio Jos
The history of plucked instruments encompasses a great
variety of styles, relating both to historical period and
fashionable taste. The three instruments drawn upon here
are the Italian Renaissance lute, the early nineteenth
century guitar, and the modern classical guitar. But there is
no incongruity in juxtaposing music of very different cultures.
In terms of unity we have here two Italian composers and
three Spanish composers, each lyrical and profound in their
own way.
Francesco Canova Da Milano came from a musical
family and spent most of his career in the employment of the
papal court. With his father, Benedetto, he was among the
private musicians of Pope Leo X around 1518. There exists
also a historical reference to his performance before Pope
Clement VII in 1526 and it is known that Da Milano was in
the service of Cardinal Ippolito de Medici during the early
1530s. In 1536 five volumes of his lute music were printed
in Milan. In June 1538 he took part as papal musician in the
meeting at Nice between Paul III, Charles V, and Franois
III of France. A month later Francesco married Clara
Tizzoni, a wealthy woman from the Milanese nobility. The
last few years of his life are obscure.
The charismatic nature of Francescos performances at
a sumptuous banquet were described by Pontus de Tyard
who tells the story told to him by Jacques Descartes de
Ventemille: The tables being cleared, Francesco da Milano,
as if tuning his strings, sat on the end of a table seeking out
a fantasia. He had hardly disturbed the air with three
strummed chords when he interrupted the conversation
which had begun among the guest ... [sic] He continued
with such ravishing skill that little by little, he made the
strings languish under his fingers in his sublime way and
transported all the listeners into such delightful melancholy
that they remained deprived of all senses save that of
hearing, as if the spirit, having abandoned all the senses,
had retired to the ears to enjoy even more such ravishing
harmony. I believe, said M. de Ventemille, that we would still
be there if Francesco had not changed his style of playing
with a gentle emphasis and returned our spirit and senses
8.573362
12:16 PM Page 2
throughout the gamut of the scale. Once more, poignant
to the place from which he had stolen them, leaving us all
amazed as if transformed by an ecstatic transport of divine
frenzy.
The enigmatic title, Mon per si ma marie, is best
understood under its full title Mon pre aussi ma mre ma
voulu marier [sic] (My father as well as my mother wished
me to marry). A setting of this song in Italian lute tablature
is to be found in Francesco Da Milanos Intabolatura di Liuto
of 1536, published in Venice by Francesco Marcolini.
Another version of the song, intabulated for the vihuela,
comes in Diego Pisadors Libro de Msica de Vihuela, Book
VII, of 1552, published in Salamanca. This is a very
animated song carrying with it, even in an instrumental
arrangement, a sense of humour and movement.
The genre of the fantasia signifies an instrumental
composition which comes solely from the fantasy and skill
of the composer who created it, (Luis de Miln, 1535-6).
The listener can therefore expect elements of display and
a thorough demonstration of the capabilities of the
instrument concerned. Fantasias also explore extended
developments of thematic ideas or contrapuntal ingenuity.
Fantasia No. 33 fulfils a number of such expectations
including substantial length and variety, dexterity,
contrapuntal brilliance, and a sense of onward momentum.
There are moments of sustained chordal passages between
the more intricate scalic episodes, as well as sections of two
part counterpoint, and delicate filigree towards the end in
terms of descending, bell-like scale passages. This is a
sixteenth-century tour de force of enjoyable substance and
quality.
The ricercare (derived from ricercar, to search for), is
often a kind of technical exercise, a piece exploring some
compositional device. The term was also used for a
preludial work but could indicate an imitative ricercare, akin
to the fugue. The term ricercare occurs first in Spinacinos
Intabulatura de lauto, Books 1 & 2 (Venice, 1507) and
further examples exist in J.A. Dalzas lute publication of the
following year as well as in subsequent sixteenth-century
collections.
2 3
Da Milanos Ricercare No. 34 is a perfect example of
the imitative ricercare, the imitations sometimes following at
the interval of an octave and on other occasions extending
chordal episodes provide moments of introspection before
the return of the contrapuntal textures. This is a highly
sophisticated and subtle composition, a worthy miniature
masterpiece of the Renaissance lute.
Dionisio Aguado y Garca, considered as one of the
most eminent guitar composers of the early nineteenth
century, was a colleague of Fernando Sor, who dedicated
several compositions to him. For decades Aguado was
seen as primarily a pedagogic musician of exercises and
studies but this perception changed in the 1980s when
Julian Bream recorded some of the Spaniards finest
virtuosic pieces.
The Andante and Rondo moderato movements per-
formed here, attacca, are majestic compositions written in
the grand style imitating both orchestral and pianoforte
effects. The Andante develops many characteristic features
of nineteenth-century guitar writing such as passages in
thirds, melodies in the bass with accompanying treble
chords, and short episodes of Alberti basses supporting a
melodic line. The Rondo in contrast is a showcase of
brilliance with fast, catchy melodies, sections of intricate
triples and arpeggio patterns, miniature cadenzas, and an
accelerating momentum concluding with a dramatic coda.
In 1932 Andrs Segovia travelled with Manuel de Falla
to the International Festival of Music in Venice. At the
Festival, Segovia was introduced to Mario Castelnuovo-
Tedesco, the great Italian composer from Florence, who
became enchanted and fascinated by the guitar and
decided to explore its possibilities. Between 1932 and his
death in 1968 he wrote over a hundred works for the
instrument, including sets of variations, concertos, duos,
impressionistic pieces of various kinds, and, among his
finest solo compositions, the Sonata, Op. 77, Omaggio a
Boccherini, written at Segovias request in 1934 for a
Sonata in four movements.
Castelnuovo-Tedesco described this work as follows:
The Sonata is in four movements, but it is mainly in the
first movement, Allegro con spirito, and in the Minuetto, that
one can find the graciousness which was so characteristic
of Boccherini. The Andantino, quasi canzone, on the other
hand, refers to Boccherinis romantic mood, while the
Finale: Vivo ed energico, highlights the bravura elements
always present in his music.
Joaqun Rodrigo, composer of the renowned Concierto
de Aranjuez, is one of the great Spanish composers of the
twentieth century. He extended the romantic impressionist
tradition of Albniz, Granados and Falla, but was deeply
influenced by French music, having studied from 1927 to
1932 with Paul Dukas in Paris. Though blind from childhood
Rodrigo wrote almost two hundred works, including
orchestral, choral and ballet music, many concertos, a host
of songs, and a quantity of instrumental solos.
The composers contribution to the guitar is now one of
the central pillars of the modern concert repertoire. Over
the years Rodrigo explored the Spanish nature of the guitar,
responding to the distinguished history of plucked
instruments going back to the sixteenth century. Rodrigos
compositions for solo guitar comprise no more than some
25 titles. Yet the significance of his output is far greater
than the sum of its parts because of his extraordinary insight
into the nature of the guitar, developed over many years.
Invocacin y Danza (Homenaje a Manuel de Falla)
dedicated to the Venezuelan guitarist, Alirio Daz, won First
Prize in the 1961 Coupe International de Guitare, held in
Paris. The French magazine Combat described the work as
a page full of song, poetry, Mediterranean finesse, and
elegant writing.
From a subtle opening of harmonics and fragments of
arpeggios, the Invocacin flowers into an intricate pattern
of melody and broken chords in which delicacy of effect is
matched by clarity and complexity. The Danza is the
Andalusian polo, a reminder of the last of Manuel de Fallas
Seven Popular Spanish Songs. After the rhythmic opening
bars, the music develops into passages of tremolo and
brilliant showers of demisemiquavers, the tremolo returning
eventually in an extended section. The piece closes with
sparse harmonics, a fleeting but expressive reference to a
theme from Fallas ballet, El Amor Brujo, and a final
murmuring arpeggio.
Antonio Jos was praised by Maurice Ravel as a
composer who would become the greatest Spanish
musician of our century. But his arrest and execution near
8.573362
573362bk Buono:570034bk Hasse 30/5/14
his home city of Burgos in 1936 during the Spanish Civil
War cast his music into a subsequent obscurity which has
only recently been remedied.
Considerable interest was aroused by the discovery in
the late 1980s of the Sonata, which Antonio Jos finished
on 23rd August 1933. One movement was given its
premire in Burgos by Regino Sinz de la Maza in
8.573362
12:16 PM Page 4
November 1934. The work established Antonio Joss
reputation beside those of his distinguished contemporaries
who respected the guitar as an expressive medium. Joss
Sonata is a composition requiring virtuosity as well as
Laureate Series Guitar
emotional depth and insight.
Graham Wade
Emanuele Buono
Emanuele Buono
Emanuele Buono has established himself as one of the
most active guitarists of his generation. Born in Turin in
Winner 2013
1987 he began to study the classical guitar when he was
very young and at the age of eighteen was awarded a first
Michele Pittaluga Guitar Competition, Alessandria
class degree with honours at the Giuseppe Verdi
Conservatory in Milan, proceeding to further study at the
Accademia Chigiana of Siena, where he obtained the
DA MILANO AGUADO RODRIGO
certificate of merit twice in succession. On 27th September
2008, during the XIII International Guitar Congress of
CASTELNUOVO-TEDESCO JOS
Alessandria, he was awarded the prestigious Golden Guitar
as the best young concert-player of the year. Emanuele
Buono has been awarded First Prize in the most important
International Guitar Competitions: Gargnano (Italy, 2008),
Ruggero Chiesa of Camogli (Italy, 2008), Split (Croatia,
2009), Gold medallist at the prestigious Parkening (Malibu,
USA, 2009), Citt di Seveso (Italy, 2010), Fernando Sor of
Rome (Italy, 2010), Agustn Barrios of Nuoro (Italy, 2012),
Gredos San Diego of Madrid (Spain, 2013), Maurizio Biasini
of Basel (Switzerland, 2013), and the prestigious Michele
Pittaluga International Competition of Alessandria (Italy,
2013), the only guitar competition member of the renowned
World Federation of International Music Competitions
(WFIMC) based in Geneva. These resulted in an invitation
to record for Naxos and Brilliant Classics. He has also been
invited to make his dbut in several concert halls, including
the Teatro Manzoni, Bologna, the de Falla Hall, Madrid, the
Konzerthaus, Vienna, Carnegie Hall, New York, the C
Hermitage Theatre, St Petersburg, the Lysenko Hall, Kiev
and the Stadtcasino, Basel, and to undertake a concert tour M
at a number of renowned guitar festivals in Europe and the
United States.
Y
Photo: Marta Dolzadelli
K
4
Also available:

8.572630 8.572843

8.573025 8.573226
 NAXOS

NAXOS
Emanuele Buono has established himself as one of the most highly regarded and
active guitarists of his generation. His numerous achievements include winning the
prestigious Pittaluga competition in 2013. This fascinating programme brings
together music from Renaissance Italy, the golden age of the guitar in early 19th- 8.573362
century Europe, and modern classical sounds from 20th century Spain.
EMANUELE BUONO: Guitar Recital
EMANUELE BUONO: Guitar Recital

DDD
EMANUELE BUONO Playing Time
Guitar Recital 63:32
Francesco Canova DA MILANO 7 III. Tempo di Minuetto:
(14931543) Cerimonioso con grazia
1 Mon per si ma marie 1:54 Trio Tempo I 3:19
2 Fantasia 33 3:10 8 IV. Vivo ed energico 3:50
3 Ricercar 34 La Compagna 2:47 Joaqun RODRIGO
(19011999)
Dionisio AGUADO (17841849)
9 Invocacin y Danza
Trois Rondos Brillants, Op. 2 (Homenaje a Manuel de
4 No. 2. Andante Rondo Falla) 8:59
www.naxos.com
Made in Germany

Booklet notes in English

Naxos Rights US, Inc.
& 2014

moderato 9:20
Antonio JOS (19041936)
Mario CASTELNUOVO- Sonata (1933) 20:07
TEDESCO (18951968)
0 I. Allegro moderato 6:57
Sonata, Op. 77, Omaggio a ! II. Minueto 2:59
Boccherini 16:59 @ III. Pavana triste: Lento 5:26
5 I. Allegro con spirito 4:22 # IV. Final: Allegro con brio 4:39
6 II. Andantino quasi canzone:
dolce malinconico Allegretto
C
malinconico Tempo I 5:21 M
Recorded at St John Chrysostom Church, Newmarket, Ontario, Canada, 1618 January 2014,
8.573362

8.573362

Producers: Norbert Kraft & Bonnie Silver Engineer & Editor: Norbert Kraft Guitar by R. De Miranda Y
Booklet notes: Graham Wade Publishers: Schott Music GmbH & Co. KG (tracks 58);
Ediciones J. Rodrigo (SGAE) (9); Brben Edizioni Musicali, Ancona (1013); others public domain K
Cover photo of Emanuele Buono by Marta Dolzadelli