The heterogeneous output of Santiago de Murcia, one of the key figures in the Baroque guitar repertory, includes a number of transcriptions from the op.5 of Arcangelo Corelli, the famous collection of ‘sonatas with violin and string bass or harpsichord’ published in Rome in 1700.

Stefano Maiorana turns his attention to the Baroque guitar, investigating its unique sound and its ability to adapt to different languages and styles.