Nr. 1 untill Nr. 3. CD III

Nr. 1. 

Lady Hunsdons' Puffe - John Dowland. In fact Dowland was a 
remarkable composer and not only in England. To these days he
remains "in sight" as e.g. Sting published a special CD with John 
Dowland compositions. I've added a kind of "Keltic" move by 
strumming some chords while adding a sort of bagpipes effect.
I've played this piece on my nr. 1 guitar: Thomas Prisloe (2008)
a spruced topped guitar that besides having a hughe volume, colors
nicely once plucked at different spots.

 

Nr. 2.

The Frog Galliard - John Dowland. A lot of players are stating this to be 

one of most beautiful early pieces in "guitar" history though the guitar 

simply wasn't present yet. I've played it on the Juan Estruch out of 1925.

Imported from the well known factory Telesforo Julve (Valencia). These

Valencian guitars tend to have that really nice woody sound luthiers there

are known for. In fact not very securely built but most of the time sounding

vibrant. It is no secret that a lot of players are looking for a nice T. Julve

guitar. The older guitars een more valuable. strange ting is that in South

America the higher end Telesforo Julve guitars can be found while using

rosewood. Most of the time the European Julve guitars have walnut bodies.

Nowadays I would opt for my 1959 Telesforo Julve 46bis that I recently

acquired. about 4 times as expensive in those times as a student model.

The 1925 Telesforo Julve but Juan Estruch labelled.

This guitar can't be heard on my CD III but I've added 

it as it is a special model not frequently around here.

Nr. 3.

Lachrimae - John Dowland. Also played on the Juan Estruch 1925

though to be honest Inhale my doubt as I recorded some compositions

on a Francisco Esteve ELEC, a cutawy electric Spanish guitar model

that sounded surprisingly complex pure as an acoustic model. That

guitar is a delight to play and I often used it for the video's on YouTube.

Just recently I bought a Casa Garrido guitar (Madrid) from which the

builder most likely is Vicente Perez Camacho. It is even better than

the two earlier mentioned guitars here.

The 1925 Telesforo Julve but Juan Estruch labelled.

The Francisco Esteve ELEC. Very nice playability

and a complete sound though not that loud.

A typical Madrid guitar, a bit in the Jose Ramirez tradition

(Cedar topped) but lighter and fresher than his famous counter-

part. Lot's of volume, beautiful tone and lots of different

tone colors offered by this 1977 built guitar. Casa Garrido

labelled but most likely built by Vicente Perez Camacho.

Nr. 4 untill Nr. 6. CD III

Nr. 4.

Little prelude J.S. Bach Played on the restored Domenico 
Fischetti guitar. Domenico Fischetti was born in Italy but moved
to Brussels (Belgium) where he supplied and repaired guitars
often for the students at the conservatory there. He has been
mentioned in the Vannes dictionary.

Nr. 5.

Prelude BWV 934. A very nice piece ands always interesting

for me as I'm a big Bach fan. Played on the Juan Estruch 1925

guitar that in fact is not of a real concert standard but when I was

restoring this instrument it became obvious that it was built in 

Valencia by Telesforo Julve. Juan Estruch imported guitar parts

in the twenties of the past century but imported whole guitars

from Telesforo Julve in 1925 to which their books attest.

To "honour" Telesforo Julve I've added the typical vertical

inlays in the string tie block and played this piece on it.

Nr. 6.

"Haupt voll Blut und Wunden" J.S. Bach.

In fact a melody not from J.S.Bach but he added the harmonics

and polyfone additions only he is able to. Played on the Thomas

Prisloe (2008) a rarity as it is a combination of a Pavan guitar

together with a handbuilt soundboard by Thomas Prisloe himself.

You won't see these guitars here in the mainland too often as every

guitar can only be ordered by Thomas Prisloe himself. I bought it

on an auction in England.

Nr. 7 untill Nr. 9 CD III

Nr. 7 

Andante Opus 19 Nr. 2 Antonio Diabelli
Thomas Prisloe guitar. In fact a repaired Pavan guitar,
Thomas Prisloe imported from Spain. there these models
were built according to his plans. When transported some
guitars were damaged so Prisloe decided to built a sound-
board by himself in 2008. A guitar with lots' of volume
and a very nice tone. In fact my number 1 guitar.

Nr. 8 

Walz Opus 69 Nr. 2 Frederic Chopin

Played on the Thomas Prisloe 2008 as well.

Nr. 9  

Mazurka Francisco Tarrega

This guitar came to me in quite a damaged condition.

I immediately saw the use of Brasilian rosewood and 

an ebony fingerboard, some "rough" signs of quality.

The sound really surprised me though not that loud.

Good balance and a refined tone that held up nice in

a recording process. 

Nr. 10 until Nr. 15. CD III

 Nr. 10.

"Capricho Catalan". Isaac Albeniz. În fact composed for piano but as
most classical guitar involved people know, even the most celebrate
piece in guitar repertoire is from his hand: "Asturias". Capricho Catalan
is another masterpiece from his hand though probably less known.
Played with dropped D in this rendition. A warning may be given: There 
are several transcriptions of this piece around so you might find other
renditions that differ a lot rom this one. Played on the Domenico Fischetti
as at that time that guitar had a special charm or me. Though not that big
in volume it reacts well in a recording process to my opinion. There
are indeed several ways to judge a guitar: From the players position,
rom the audience (projection) In an acoustically "rich" environment and
in a recording process. Not even talking about the different styles a guitar
is suited or not suited for.

Nr. 11.

"Canción del Fuego Fatuo". I heard this composition from Manuel de Falla

for the first time in Granada. In the garden of the house where Manuel de 

Falla lived for a certain time. It is situated quite near the top of the mountain

on which the Alhambra has been built. The garden gives a stunning view over

Granada, especially by the fall of the night. And Javier Riba hearing play this

composition. Everyone playing guitar would have been inspired to study that

piece immediately afterwards!  Played on the Antonio Duran Ferrer from 1974.

As Antonio lost an arm quite early in his career, some other luthiers worked for 

him. I showed this guitar to Manuel Moreno Rodrigues and he immediately

recognized it as being his work. "How is the guitar doing" was the next question

from him. "In a very good condition". was my answer. With a very lucky smile

he answered me.

Nr. 12.

"Amelia". trad. Arrangement Miguel Llobet. Being quite an older song I

decided to play this one on an Eladio Molina guitar from round 1870. That

is my eldest Spanish guitar that has been built to nowadays dimensions.

and though this guitar was in a poor condition I decided to have it restored

to make it playable again. I suspect the soundboard to be from a more recent

date but who did it, I do not know. ides and back of this guitar are built

out of the in those times quite commonly used Brasilian rosewood. There

are hardly any guitars known that have survived to these days. I only

found another one on the site of Finefretted Instruments in the USA. They

are not willing to exchange any information around these guitars which is

a pity as it would explain a lot more. Eladio Molina won several prizes with

his guitars and inspired a lot of luthiers in Malaga after him. When you ever

visit Malaga, take the opportunity to visit the Flamenco guitar museum 

(near the Harbour) there. The entrance is 1 Euro!

Nr. 13.

"Sons de Carrilhoes" a composition from Pernambuco (Joao Teixeiro Guimaraes)

but transcribed and in fact a bit "recomposed" by Cardoso. This version is much 

more provocative than the original composition. And why not: Both versions

may exist alongside each other. At some points Cardoso uses all variations he

can imagine which to my opinion makes it a bit restless in a negative way. So

I felt invited to make a version a bit more modest here and there. Played on the 

Mass Hirade Model 15 (Takamine workshop) from 1984. This guitar has been 

provided with a spruce top but it must have been the influence of Masaru Kohno

to have a kind of Cashew nut colored varnish put on the soundboard, quite similar

to the guitars of Kohno, Sakurai, Orozco and Tama of that time. (Eighties)

Nr. 14. 

"Se Ela Perguntar" Dilermando Reiss. A very subtle composition where a

player can add so much feelings into. There is enough room or everyone

regarding that. You can play it slowly but also at a more moderate tempo.

The Thomas Prisloe from 2008 seemed to be very suitable for that one!

That guitar can sound delicate and overwhelming at the same time. The 

story around this guitar is a bit comical as a Guitar store announced their

example as being quite special and only built in 2008. The real story I

heard later from a good friend of Nr. Prisloe and finally Mr. Prisloe himself:

"I'm ordering the PAVAN guitars rom Spain and some examples came

with damage to the soundboard so I decided to built for those ones a top

by myself. The label should confirm that: Soundboard built by Thomas 

Prisloe". About 13 or 14 of these guitars Mr. Prisloe saved from the garbage

can. The soundboard is, as you may know, the heart of a guitar!

Nr. 15.

"Registro". Antonio Lauro, a composer I particularly like as it is not matching

any "mainstream" music. Registro in fact is a part of some compositions Lauro

made but a piece that sounds quite exiting. As it is written with the guitar in mind

it is easier to play than it sounds.... Played on the Antonio Duran 1974 guitar that

I already used for composition nr. 11. A remark has been made aas though it is 

a fresh sounding instrument you have to do your utmost best to have it sound

a bit "thicker". Maybe personal of course and it differs rom piece to piece is my

experience.

Nr.16 untill Nr. 20 CD III

 Nr. 16

"Danza Brasilera". Sometimes a piece is a challenge to play. As a friend
of mine proclaimed: "That piece is almost impossible to play" I wanted
to prove the opposite. And while I'm always listening to other rendition 
you are able to give your own rendition some extra's. Of course this is 
South American music and the swing should be there. And to be honest,
it often is played a bit too fast to my opinion. You can hardly play "around"
the beat then. When I'm playing the accompaniment played in the beginning
I'm already adding a syncope in order to make my playing with some more
tension. I'm glad I have been active with my band playing electric guitar as
that adds to a certain kind of swing together with a groove a lot of music 
simply is asking for. I'm playing this song on a Domenico Fisschetti that
sounds surprisingly strong in a recording. An unknown luthier only mentioned
in the Vannes dictionary. He used top woods for his instruments and built
this guitar with a lot of care. But I haven't found a second classical guitar
from his hands yet.... Most likely from the thirties of the past age

Nr. 17.

Merlin's Time" I heard this piece from a guitar player who didn't mentioned

the exact title in the first place. I found it luckily and it is from Al Stewart from 

whom I always play the acoustic guitarsolo in "Year of the Cat" to try out a

dreadnought guitar. Finally I decided to have that solo and the intro of that

song published on Youtube. Merlin's Time I'm playing with variations that

sometimes are both rhythmical and harmonically to keep things fresh. A

beautiful comment on that song a piano player reacted with on YouTube.

Play on a Mass Hirade nr. 15 that plays like butter. I never experienced a 

guitar that is playing that easy. Very carefully constructed with the Mass 

Hirade plans but probably executed by the Takamine workforce, anyway

their most experienced workers. Built in 1983, the He days of Japanse guitar

building. Spruce topped.

Nr.18.

"How's Benson" Of course inspired on a lick I learned from George Benson 

a long time ago. That lick only starts at about 50 seconds. I've changed the

bass notes thus suggesting other chords but with respect to actual lick. At

some times, especially when you get older you sometimes tink of other

people and how they are doing in present times. Played on a Jose Ramirez III

from 1981. As students in the seventies we were all leaded towards this Madrid 

based luthier. and I must say after extensive investigations these guitars can

be used for the most different styles while holding up well. In fact too big for

my small hands, I ordered a 1974 Jose Ramirez that I played a long time until

I found this 1981 example with a too high action but incredible sound and 

much better than my 1974 guitar. And though I found that guitar on an auction 

in Vichy I already heard there that this one was outstanding. Reducing the

high action was the next step to make but with that I started to employ my

skills around guitar restorations.

Nr. 19.

On a somewhat cloudy day with blue and grey clouds  I composed this

guitar piece. And though the cloudy landscape changed from time to time

it gave me a kind of rest I wanted to translate into a guitar piece. So here

it is. Played with a dropped D, a tuning I particularly like as it gives some

extra force to the overall sound of a guitar. Played on a Francisco Esteve

ELEC I was able to buy on an auction in England. Imported in England 

and provided with a "Granados" label, I think people weren't aware of the 

fact that it fact was their highest cutaway model in the Esteve range and

sounded as such! Cedar topped guitar.

Nr. 20.

"Christmas 2021" was an odd time for people all around the world as the

Corona crises affected everyone's life. There was a bit of hope for this to

be ending soon but on the other hand people involved were telling their

"audience" that it was just a start for these kind of epidemical diseases. 

Hope and fear is what you might here in this piece framed together in my 

composition. Also played on the guitar here above. As for now I should 

have used a just recently acquired guitar: Casa Garrido, a shop labelled

guitar but built by a very good luthier who did a great job on this guitar

built in 1977: Vicente Perez Camacho.

Nr. 21 untill Nr. 24 CD III

 Nr. 21.

Moon over Bourbon street. A Sting song that has been worked on by
me for guitar solo. I've kept it in the original key and very surprising:
It worked out well. As also on the original recording it start simply with
a melody line against a bass line. The harmonies are added later and 
special attention must go to the piece were there are no lyrics sung on the
original recording. Some odd strechings are required here and there.
It is a demanding piece in all aspects. Therefore played on the Juan
Esteve ELEC that is easy to play and very accessible due to the cutaway.

Nr. 22.

Englishman in New York is another tune composed by Sting that is

very suitable as well or guitar solo. Beforehand you most do not realize

that some songs are forcing you to transcribe it for guitar in a certain

direction. In this case some classical techniques are combined with

American fingerpicking techniques. When I was studying classical

music on the Conservatory in The Netherlands I was struggling with

fingerpicking as it seems to go against all aspects involved in classical

guitar playing. I decided there should be some piece between the two!

So here it is. And it "walks". Played on the same guitar as on Nr. 21.

Nr. 23.

"Canción" from Rodriguez is another composition together with a 

second part. I didn't like the other part so presented here is just one part.

Maybe rude but sometimes you have to be that way....

Played on the Thomas Prisloe 2008 that in fact is my main guitar nr.1

Lots' of volume and never aggressive in sound. Beautifully rounded

hights together with strong lower ends. Spruce topped.

Nr. 24.

"Home" composed by Andrew York is another soulful composition I like 

a lot. But the original music that goes with this composition doesn't match

the beautiful rendition Andrew York himself is giving on YouTube. So I

wanted to forget the notes and just listened to Andrew the way he played the

composition at that time as it possibly evolved into an even more organic

piece to my opinion. Also played on the same guitar as Nr. 23.

Nr. 25 and 26 from the CD Historic Guitars III: Guitar and Flute

 

Nr. 25

Oblivion is a piece written by Astor Piazzolla and as I like his music 
some pieces had to be there and performed. There are solo guitar per-
formances of this piece but this arrangement draw my attention immediately.
I've performed it live with me old guitar colleague Paul Hagenaars who
also is involved in Latin American music. For this CD I had to adapt
my transcribed version to a Flute and Guitar version. I hope you like it.

Played on an Antonio Duran guitar from 1974 but built by Rafael Moreno
Rodriguez. You can read more around tis guitar on my other Blog: 
www.oldromanticguitars.blogspot.com

Nr. 26

Of course well known to a big audience as it has been recorded by Grace Jones

"Strange I've seen that face Before" with respect to the original version to my 

opinion. It is a quite challenging piece but people almost invariably are asking 

for some "firework". So here it is. Played on the same guitar as nr. 25