There is a lightness to the instrument and a refined elegance in Lindberg's playing that is a welcome antidote to the many bombastic guitar recordings of these pieces [by Gaspar Sanz]…. As in his approach to Sanz, Jakob Lindberg's playing here emphasizes the refined, aristocratic side of Murcia's music, with a light, effortless virtuosity and graceful, elegant strummings. His playing is immaculate: clean, flowing and quietly impressive…The sound is excellent and the program notes (by Lindberg himself) contain ample background detail.
American Record Guide

Baroque guitar music from Spain and the Spanish Empire is sometimes performed these days in highly 'orchestrated' arrangements, featuring multiple guitars, harps, percussion, bowed instruments and even dancers. …. Jakob Lindberg, that aristocrat of the lute and early guitar, makes such additions seem a little vulgar. By playing these pieces 'straight' though with due fire and flamboyance when warranted, he emphasizes their more refined qualities.
International Record Review

Jakob Lindberg bereitet auf der Barockgitarre Teile von Sanz' 1674/1675 erschienener Instrucción de musica sobre la guitarra española so lebendig, klangschön und sprechend auf, dass sich der Reiz dieser von volkstümlichen Weisen und Rhythmen geprägten Musik unmittelbar mitteilt. Ähnliches gilt auch für Santiago de Murcias etwa 50 Jahre jüngeren Codex Salvidor (Nr 4), der unter anderem eines der frühesten Beispiele für den damals erst in Mode gekommenen Fandango enthält. Lindberg nähert sich ihm wie auch den hier grössenteils vertretenen älteren Tanzformen mit grossem Elan und einem (selbst bei horrend schnellen Passagen) bewundernswerten Präzision.
Klassik Heute

During the 17th century the five-course baroque guitar was known throughout Europe as the 'Spanish Guitar'. This recording is dedicated to two of the greatest exponents of Spanish baroque music, Gaspar Sanz and Santiago de Murcia. Through their music we have marvellous examples of a Spanish musical tradition that flourished despite strong influences from abroad. A crucial aspect when performing music on the baroque guitar is to decide which way to tune the instrument. Here two tunings are used, one without the lower octaves on the fourth and fifth courses for Sanz and one with these 'bordones' for the music by Santiago de Murcia. The third course is tuned in unison, unlike 'modern' trends to add a higher octave.

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