List of Illustrations List of Audio Examples Preface Introduction The Rise of the Five-Course Guitar in Spain and Italy, 1580-1630 Italian Guitarists at Home and Abroad Accompaniment Solo Music Counterpoint Stringing Matters Pandora's Lyre The Baroque Guitar Unmasked? Appendix Notes Bibliography
The book is very much to be recommended for its clear English, its
varied structure, and the author's comprehensive knowledge of the
subject matter. . . . Those who want to learn about and experience
an epoch of guitar-playing that hasn't previously been highlighted
are very well served by Eisenhart's book. It has the EGTA editors'
full recommendation for purchase. * EUROPEAN GUITAR TEACHERS'
JOURNAL *
Lex Eisenhardt literally wrote the book on Baroque guitar, in
Italian Guitar Music of the Seventeenth Century: Battuto and
Pizzicato. Eisenhardt's own considerable discography comprises not
only Corbetta and other Baroque guitarists, but also later
guitarists like Sor and Giuliani, as well as the sixteenth-century
vihuela school. Yet the best source of Eisenhardt's interpretations
of Corbetta . . . are openly available for streaming on his website
. . . http://www.lexeisenhardt.com/audio. . . .We owe him a debt of
thanks for this superb gift. -- Ellwood Colahan * SOUNDBOARD
SCHOLAR *
Eisenhardt discusses many topics of interest to the player as well
to the scholar. . . [H]ighly recommended for anyone seriously
interested in the Baroque guitar, the period or the music written
for the instrument. * SOUNDBOARD MAGAZINE *
An important study for all performers concerned with the relevance
of the five-course guitar as a solo instrument and its role in one
of the largest printed repertories of secular song in the 17th
century. The biggest virtue of Eisenhardt's book is its careful,
thorough analysis of the complexities encountered when performing
solo music for the five-course guitar [or guitar-accompanied song].
This book will prove especially useful, then, for the modern
performer interested in the five-course guitar, upon whom
ultimately falls the task of answering the many remaining riddles
that arise from the instrument's widely acknowledged imperfections.
* EARLY MUSIC *
[E]ngaging, well written, and well researched. It is a much-needed
contribution to the current discussion of baroque guitar history
[...], stringing, and performance. Eisenhardt's summary of past and
current thought on performance related issues, combined with his
references to translated original source material, allows even
novices to understand and engage with the issues presented. * LUTE
SOCIETY OF AMERICA *
Presents the issue of tuning in a practice-based approach, written
by one of the foremost performers on the instrument. A fascinating
. . . exploration of the repertoire of the Baroque guitar in Italy,
how it was exported to France and how also in Spain there was a
revival of instrumental music inspired by folklore in which the
guitar played an important role. To make the author's arguments
more clear, we can listen to many musical examples on-line. *
NOSTALGIA *
In every sense a worthy successor to [Tyler's] The Early Guitar.
Mr. Eisenhardt has long been known as a skillful and sensitive
performer on a wide variety of historical guitars and with the
present work he has shown himself to be equally impressive as a
scholar and writer. Well worth the attention of anyone with an
interest in the music of the 17th century. * EARLY MUSIC REVIEW *
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