"The three pieces transcribed in this volume are taken from suites in the Weiss “London Manuscript.” Though a facsimile of the original lute tablature is not included here, guitarists should find no significant changes from it that are not notated and explained.
There are no tempo markings in the original tablature, but the position of these pieces in their respective suites as well as similarities to Weiss's other works may help. The Ciaccónne in E-flat and the Passacáglia in D replace the usual presto or gigue as final movements, implying a fast tempo. The Ciaccóna in A is probably more moderately paced, keeping with the late Baroque concept of this type as a slow dance of Spanish origin. Its placement among other movements suggests this, as does its resemblance to the Menuette in Weiss's “L'Esprit italienne” suite."
From the preface
Daniel Adams represents the next generation of American classical guitarists - accomplished virtuosic players whose performances are supported by a strong commitment to scholarly research. He has been active in a wide variety of early music, performing on lute, Baroque and Renaissance guitars in the Peabody Renaissance Ensemble and the 19th century guitar at Carlo Barone's “Accademia l'Ottocento” in Italy.
His article, “Literary Themes in J.K. Mertz's Bardenklange, Op.13,” was recently published in Soundboard, journal of The Guitar Foundation of America. A recent graduate of the University of Colorado-Boulder, he holds a D.M.A. from that institution as well as both a M.Mus. and Graduate Performance Diploma from The Peabody Conservatory.
In addition to numerous recitals across the country, Dr. Adams has performed in the final rounds of numerous competitions, winning the MTNA East Coast Regional competition in 2000. In addition to his studies with Frank Koonce (Arizona) and Julian Gray (Peabody), Dr. Adams has studied in master classes with many of the world's pre-eminent guitarists including Ben Verdery, John Williams, Manuel Barrueco, Scott Tennant and William Kanengiser.
PREVIEW
