In the summer of 1836, Paganini heard Luigi Legnani play in Turin and liked it so much ("it gave me the greatest pleasure") that he arranged concerts with him. Nothing came of the idea, but it shows how highly Legnani was regarded as an inspiring guitar virtuoso at a time when the instrument was still more associated with the Iberian Peninsula.

Legnani did more than anyone else to increase the popularity of the instrument through his performances and compositions, and Giulio Tampalini pays tribute to his legacy with this remarkable compilation.
In this remarkable premiere recording, Tampalini presents Legnani's complete solo music for his own instrument. Much of it consists of arrangements and transcriptions of popular opera melodies and arias: Music to perform, to captivate and charm the audience with his own playing, but composed with enough skill and imagination to appeal to modern listeners too.

Opera culture in Italy at the time, in the first half of the 19th century, was dominated by the figure of Rossini, and Legnani arranged pieces from L'Italiana in Algeri, La Cenerentola, Zelmira and La donna del lago, to name but a few. Not all of these are spectacular gems or pure transcriptions - there are variation movements, potpourris and lyrical arias - but Legnani's mastery of both the guitar and the art of transcription is exemplified by his masterful reduction of the overture to William Tell for a single instrument!

Legnani also looked further afield, not only to Bellini and the early operas of Verdi, but also to Carl Maria von Weber and Joseph Weigl. CD3 is dedicated to his most extensive original collection: the 36 Capricci, published by Artaria in 1822, which are practically a handbook showing all the expressive possibilities of the instrument and comprehensively covering all major and minor keys.

On a larger scale, the Gran Capriccio combines operatic artistry with the technical finesse and form of the earlier capriccios. Legnani also demonstrates his own talent as a melodist in the Gran Capricce Opp. 34 & 60: impressively constructed works that belong in the repertoire of every modern guitarist.

Giulio Tampalini is considered one of Italy's most charismatic guitarists of our time. He is the director of the Brescia International Guitar Academy in Brescia and founder of the IGC Italian Guitar Campus.
His previous albums on Brilliant Classics have been hailed by the international press, and with this collection he brings a groundbreaking version of Legnani's music to record.

- Luigi Legnani (1790-1877) was an influential Italian guitarist, singer and composer whose contributions significantly shaped the classical guitar repertoire.
Legnani was born in Ferrara, Italy, and initially gained recognition as a talented tenor who performed in operas throughout Europe. However, it was his exceptional skills as a guitarist and his innovative compositions that earned him his place in music history.

- The guitar as a serious concert instrument gained popularity in the early 19th century. Legnani's technical skills and expressive playing style quickly earned him recognition. Legnani became known for his virtuoso performances and was often compared to his contemporaries such as Mauro Giuliani and Fernando Sor.

- Over the course of his career, Legnani composed over 250 works for the guitar, demonstrating his deep understanding of the instrument's possibilities. His compositions include etudes, caprices and variations on popular opera melodies, particularly by Rossini. Among his most notable works are the "36 Caprices, Op. 20", a collection that remains a cornerstone of the classical guitar repertoire due to its demanding technical challenges and rich musicality.

- Played with great technical mastery and deep musical understanding by Giulio Tampalini. In his extensive discography for Brilliant Classics, the complete recordings of guitar music by Matiegka , Llobet and Tarrega have received particular praise. "A quite outstanding Recuerdos de la Alhambra that could not be surpassed under any circumstances" (MusicWeb International).