{"id":6107,"date":"2017-02-09T16:47:06","date_gmt":"2017-02-10T00:47:06","guid":{"rendered":"http:\/\/classicalguitarmagazine.com\/?p=6107"},"modified":"2017-02-09T16:47:06","modified_gmt":"2017-02-10T00:47:06","slug":"video-pick-of-the-week-germanys-barrios-guitar-quartet-plays-antonio-vivaldis-la-follia","status":"publish","type":"post","link":"https:\/\/classicalguitarmagazine.com\/video-pick-of-the-week-germanys-barrios-guitar-quartet-plays-antonio-vivaldis-la-follia\/","title":{"rendered":"Video Pick of the Week: Germany&#8217;s Barrios Guitar Quartet Plays Antonio Vivaldi&#8217;s &#8216;La Follia&#8217;"},"content":{"rendered":"<p>Don&#8217;t let the name of this versatile German foursome fool you. The<a href=\"http:\/\/www.bgq.de\/index_e.htm\" target=\"_blank\"> Barrios Guitar Quartet <\/a>is <em>not<\/em> devoted to playing the music of Agust\u00edn Barrios (who was certainly a formative inspiration). Indeed, the group\u2014Stefan Hladek, Martin Wentzel, Antje Asendorf, and Ulf Borcherding\u2014plays music from the Renaissance to the present: <a href=\"http:\/\/www.bgq.de\/Seiten\/cd.html\" target=\"_blank\">BGQ releases<\/a> have included works by Boccherini, Purcell, Vivaldi, Torroba, Falla, York, Goss, Weill, and others.<\/p>\n<p>But they do seem to have a particular affinity to <a href=\"https:\/\/en.wikipedia.org\/wiki\/Antonio_Vivaldi\" target=\"_blank\">Antonio Vivaldi<\/a> (1678-1741). In 2000 they released a CD of <em>The Four Seasons<\/em>, and this week&#8217;s lively and beautifully edited Video Pick finds the quartet taking on the the 12th (and final) piece of his <em>Sonata Op. 1, RV 63<\/em> (1705), written for two violins and basso continuo. No. 12 features Vivaldi&#8217;s variations on the popular &#8216;La Follia&#8217; theme, which appears to have been floating around Western Europe since the mid-1500s, and became a jumping-off point for a number of composers during Vivaldi&#8217;s lifetime, including Corelli, Scarlatti, Marais, Handel, and others. The arrangement is by Stefan Hladek, who plays a Baroque guitar made by a contemporary German luthier named Otto Rausch\u2014it&#8217;s a five-course guitar, but played here with just nine strings instead of ten.<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Don&#8217;t let the name of this versatile German foursome fool you. The Barrios Guitar Quartet is not devoted to playing the music of Agust\u00edn Barrios (who was certainly a formative inspiration). Indeed, the group\u2014Stefan Hladek, Martin Wentzel, Antje Asendorf, and Ulf Borcherding\u2014plays music from the Renaissance to the present: BGQ releases have included works by Boccherini, Purcell, Vivaldi, Torroba, Falla, York, Goss, Weill, and others. But they do seem to have a particular affinity to Antonio Vivaldi (1678-1741). In 2000 [&hellip;]<\/p>\n","protected":false},"author":11,"featured_media":6110,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"video","meta":{"advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[5,7],"tags":[],"class_list":["post-6107","post","type-post","status-publish","format-video","has-post-thumbnail","hentry","category-stories","category-watch","post_format-post-format-video"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2017\/02\/BGQ.jpg?fit=2303%2C1535&ssl=1","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/6107","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/users\/11"}],"replies":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/comments?post=6107"}],"version-history":[{"count":0,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/6107\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media\/6110"}],"wp:attachment":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media?parent=6107"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/categories?post=6107"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/tags?post=6107"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}