Giuseppe Antonio Brescianello: Colascione Partita III: II. Adagio (arr. Ruggero. Chiesa)
Niccolo Paganini: Ghiribizzi, MS 43: No. 8 in C Major. Andante
Gioachino Rossini: Semiramide, Act 1: III. Quartetto "Di tante regi e popoli" (Arr. Mauro Giuliani)
Domenico Cimarosa: Sonata No 9 in D minor (arr. Moshe H. Levy)
Mauro Giuliani: 24 Studi, Op. 48: No. 5 in E Minor. Allegro
Luigi Legnani: 36 Caprices, Op. 20: XXIV. Allegro molto
Domenico Cimarosa: Sonata No 49 in C Sharp Minor. Larghetto (arr. Julian Bream)
Giuseppe Antonio Brescianello: Colascione Partita XVI: IV. Gigue (arr. Ruggero. Chiesa)
Matteo Carcassi: Le Nouveau Paillon, Op. 5: No. 6. Allegretto
Mauro Giuliani: Le Papillon, Op.50: No. 15. Allegretto
Giulio Regondi: 10 Etudes: No. 1 in C Major. Moderato
Francesco Molino: Romance
Giulio Regondi: Air varié de l'opera de Bellini "I Capuleti e i Montecchi": Variation 2
Giuseppe Antonio Brescianello: Colascione Partita VI: IV. Aria (arr. Ruggero Chiesa)
Mauro Giuliani: Studi Dilettevoli, Op. 98: No. 4 in A Major. Allegretto
Marco Aurelio Zani de Ferranti: 6 Mélodies Nocturnes Originales, Op. 41a: No. 1. Le souvenir
Ferdinando Carulli: Fandango, Danse Espagnole, Op. 73: No. 2
Niccolo Paganini: Grande Sonata, MS 3: II. Romance. Più tosto largo. Amorosamente

Most people automatically associate classical guitar music with Spain. But as this new recording debut by Italian guitarist Andrea Belmonte (b. 1996) demonstrates, Italian composers, especially during the 18th century indicated by most of the composers in the above list, were strong proponents of this highly versatile stringed instrument. And even in the 20th century, Italian composers like Togni, Berio, Scelsi, Petrassi, etc ... have written original works for the guitar. In fact most of these composers have helped establish the guitar's reputation as more than just a popular or 'folk' instrument.

Whereas rhythm and dance are the backbone of Spanish guitar music, Italians are more concerned with the melody, and Andrea Belmonte's highly expressive playing perfectly suits the cantabile style omnipresent in this music. His nuanced phrasing, subtle accents, gradual dynamic contrasts almost like a breathing motion, infuse each and every note with purpose. Even in a technically demanding piece like the Giuliani Study No. 5, Belmonte's main focus is the clear delineation of the melodic line. The music is what stands out, and that's musicianship at it's best. The guitar used for this recording is a 1970 José Ramirez instrument.

You know, when I first saw the cover of this CD I thought to myself: "This is going to be light and superficial stuff only good as background music". Quite the opposite. Never judge anything by its cover!