Luys Milán
“Livro de música de vihuela de mano, intitulado El Maestro”
Fantasia V - segundo tono
Fantasia VI - primero y segundo tono
Fantasia XV - quinto y sexto tono
Fantasia XVII - quinto y sexto tono
Fantasia XVIII - septimo y octavo tono
Luys de Narváez
“Los seys libros del Delphin de música de cifra para tañer vihuela”
Fantasia IV - cuarto tono
Fantasia VI - sexto tono
Fantasia VIII - octavo tono
Fantasia IX - primero tono
Fantasia XI - quinto tono
Fantasia XII - quinto tono
6 diferencias sobre O Gloriosa Domina
Alonso Mudarra
“Tres livros de música en cifra para vihuela”
Glosa sobre un Benedictus
Fantasia II
Fantasia III
Tiento II - segundo tono
Fantasia XVII - segundo tono
Fantasia XVIII - segundo tono
Tiento V - quinto tono
Fantasia XXI - quinto tono
Tiento VIII - octavo tono
Fantasia XXV - octavo tono
Fantasia XXVII - octavo tono
"Although the long-term brief of this recently launched series isn't disclosed, it would seem we're dealing with an anthology aimed at guitarists wishing to explore the vihuela's heritage beyond the handful of hits that were first unveiled in that ground-breaking Pujol book back in 1956. In this first helping, Milan is represented by five Fantasias, Narvaez by six Fantasias and a set of Diferencias, while Mudarra takes the lion's share with seven Fantasias, one Glosa and three Tientos. No individual item is immediately familiar, but the unsmiling demeanour of 16th-century Spain in heavyweight mode is unmistakeable. Caceres provides realisations of the tablature, plus detailed left-hand fingerings and suggested embellishments in the less busy moments. [...]The F# tuning is recommended with just two exceptions: the fourth Narvaez Fantasia and Mudarra's Glosa sobre un Benedictus de una missa de Josquin. This is fair enough in that the open F# would have been used infrequently in the Fantasia and not at all in the Glosa. Quality transcriptions from an experienced hand. [...]"
Paul Fowles (Classical Guitar Magazine)
