Наукові збірки Львівської національної музичної академії імені М.В. Лисенка

THE FORMATION OF THE TRUMPET CONCERTO GENRE IN AUSTRIAN MUSIC OF THE PRE-CLASSICAL ERA

Оlexandr Baklazhenko — 2025-11-28

At the end of the sixteenth century, the trumpet was relatively quickly integrated into art music, which necessitated its purposeful use in various contexts, not just in purely applied ones, as it had been before. A new performance style on the natural trumpet, called “clarino”, crystallized and became one of the most prominent markers of Baroque music in general. In the second half of the seventeenth century, new examples of trumpet literature by M. Cazzatti, J. B. Viviani, and others appeared in European music. The purpose of the article is to actualize the achievements of the Baroque and early classical repertoire for trumpet and to emphasize the role of the Austrian school in its formation. The research methodology is based on historical, cultural and analytical methods.In addition to Italy, Austria played a key role in the development of new areas of trumpet functioning, where this instrument was widely used in both church and court music. One of the determining prerequisites for this process was the intensive growth of the role of the Vienna Court Chapel. An additional factor that contributed to the expansion of the trumpet repertoire was the active musical life at the bishops' residences, particularly in Salzburg and the Kremsier. At this time, a powerful generation of Austrian national composers was being formed, most of whom turned to the genre of trumpet sonata: H. Schmelzer, P. J. Veivanovsky, and H. I. F. Biber. This trend continued at the stage of formation of the trumpet concerto, represented by the works of such Austrian composers as Johann Josef Fuchs, Johannes Matthias Sperger, Georg Reutter Jr.Scientific novelty: The present study examines most of these works in more detail and often for the first time in Ukrainian musicology, as well as identifies the performers for whom they might have been written.Conclusions: The main stylistic differences of the works for the Viennese and Salzburg court chapels are established: in the first case (G. Reuter Jr.) these are three-part compositions with a characteristic alternation of fast-slow-fast parts, in the second (M. Haydn, L. Mozart) – two-part compositions with signs of bipartiteness, that is, the inclusion of features of all four traditional parts in a two-part form.

«SONGS OF THE STARS» BY BOHDANA FROLYAK THROUGH «SHADOWS OF FORGOTTEN ANCESTORS» BY SERHIY PARAJANOV: FEATURES OF COMPOSITIONAL AND DRAMATURGICAL EMBODIMENT

Oksana Garmel — 2025-11-28

For the first time in Ukrainian musicology, the work for symphony orchestra «Songs of the Stars» (2010) by Bohdana Frolyak, which was inspired by the legendary film «Shadows of Forgotten Ancestors» (1964) directed by Serhiy Parajanov, is being researched. The history of the creation of «Songs of the Stars» was studied. The characteristic features of poetic cinema in general and the film «Shadows of Forgotten Ancestors» in particular, which resonate with the compositional solution of «Songs of the Stars», are highlighted. The functioning of the image of the star in the story by M. Kotsiubynsky and the film by S. Paradzhanov is analyzed and, thus, the connection between the programmatic title of the work by B. Frolyak and the sources that inspired the idea is revealed. The form of B. Frolyak's work is defined as a sonata form with an extended episode in development, a transformed reprise and a coda. The compositional and dramaturgical features of «Songs of the Stars» were consistently analyzed, the main imaginative spheres, thematics, the logic of development were characterized. Timbre means and the use of sonorous techniques are emphasized. It was found that at the intonation level, B. Frolyak's work is original and independent. The connection with the music of the film is emphasized by only one example – the citation of the melody of the folk song «Verbovaya doschechka» in the development episode «Songs of the Stars». The conclusions emphasize the originality of B. Frolyak's work, its concept, composition, and imaginative dramaturgy. Three aspects are highlighted, according to which it is proposed to consider the semantic connections between the symphonic work «Songs of the Stars» and the film «Shadows of Forgotten Ancestors»: the program title, the connection between the general compositional logic of poetic cinema and the logic of the form of a musical work, the degree of influence of the film's plot on the composition and dramaturgy of the symphonic work.

BEL CANTO AND CHINESE VOCAL PHONETICS: GENDER DIMENSION OF INTERCULTURAL DIALOGUE

Victoria Gigolaeva-Yurchenko — 2025-11-28

The article is devoted to a comprehensive analysis of the Bel Canto phenomenon compared to Chinese vocal phonetics through the lens of gender semiotics. The European tradition of Bel Canto, formed in the seventeenth and 19th centuries, is based on the principles of cantilever, Legato, timbre equality and perfect breathing, as well as on transparent loud articulation. It distinguishes various roles of soprano (colorful, lyrical, dramatic, spinto), which symbolize archetypal models of femininity: from tenderness and purity to tragedy and heroic passion. Instead, the Chinese vocal tradition, represented by the theaters of Jinjiai and Kuntsii, as well as the chamber-vocal work of the XX–XXI centuries. Singing in it is at the same time "recitation" and "speech", where phonetics and articulation carry a semantic load. A special role is played by the feminine roles of tribute (price, Hua-Dan, Tao-Ma-Dan), which reflect the range of cultural archetypes: nobility, playfulness, heroic. In this way, phonetics becomes a tool for fixing gender codes in musical practice.In the article, as in the XX–XXI centuries. The intercultural dialogue of European and Chinese vocal schools generates new phenomena – including the formation of "bifonetics" that integrates Western and oriental articulation models. Examples of adaptation of Chinese vocalists to Bel Canto technique and interpretation strategies of European singers in the Chinese repertoire are analyzed. The research methodology is based on historical, comparative, analytical, semiotic and gender approaches. The scientific novelty is the systematic comparison of the phonetic bases of Bel Canto and Chinese tradition in the gender aspect, and practical importance is the possibility of using results in modern vocal pedagogy and cross-interpretation.

VOCAL FEATURES OF BANDURA PERFORMANCE: BETWEEN FOLK TRADITION AND ACADEMIC SCHOOL

Natalia Koval — 2025-11-28

The article is devoted to the analysis of vocal features of bandura performance in the context of the interaction of the folk tradition and the academic school. Bandura, as one of the most characteristic symbols of Ukrainian culture, combines instrumental and vocal components that form a unique syncretic phenomenon. The historical basis of this art is the kobzar singer, which arose at the intersection of epic recitation and musical accompaniment. The vocal component of the traditional kobzar singing was distinguished by natural sound formation, close connection with speech intonation, declarational character, wide respiratory support and expressiveness, oriented primarily to the transmission of the content of the word. Such specificity formed a kind of artistic model, in which the leading place was occupied by semantic power and emotional sincerity, not technical virtuosity.With the assertion of academic music education, there was a need to integrate folk principles of singing into modern professional practice. The Academic School of Singing does not deny the tradition, but creates its new basis, expanding the vocal capabilities of the performer. Its main achievements for bandura art are the formation of the right breathing technique, the development of the resonant apparatus, the stability of intonation, the accuracy in the recreation of intervals, as well as the expressive diction necessary for the artistic interpretation of the Ukrainian word. This allows to maintain the timbre naturalness of the voice and at the same time provides a professional level of stage performance.In modern practice of bandura art, organic synthesis of folk and academic traditions is observed. It is manifested in solos, where the vocal line is organically combined with instrumental accompaniment, in ensemble forms that require accuracy of order and ensemble consistency, as well as in a modern repertoire, where Ukrainian composers combine folklore intonations with academic forms.It is concluded that the combination of the folk tradition and the academic school in vocal performance on the bandura forms a modern model of singing, which combines continuity and openness to new artistic searches. Such synthesis contributes to the preservation of Ukrainian cultural identity and at the same time integrates bandura art into the world professional musical space.

BETWEEN SUFFERING AND ETERNITY (ON THE EXAMPLE OF THE PRELUDE AND FUGUE NO. 3 IN G MAJOR BY V. ZADERATSKY)

Nataliya Makarova — 2025-11-28

Vsevolod Petrovich Zaderatsky (1891–1953) is a genius, one of the brightest representatives of Ukrainian composers of the 20th century, whose work was banned for a long time. Still little studied and almost not performed in Ukraine.The experience of imprisonment in a concentration camp located in the Kolyma River valley not only did not break his psychological integrity, but also became a powerful impetus for the creation of a unique cycle "24 Preludes and Fugues", which became a kind of mystical-psychological diary of unprecedented psychological depth of that time. This is a story of a tragic composer, lasting more than two and a half hours, about his own experiences and the tragedy of his brothers as a demonstration of the ability of the human spirit to withstand all adversity, even in terrible times of totalitarian violence. Here the sound becomes the voice of an entire era, stubbornly telling its story about what cannot be spoken about. Prelude and Fugue No. 3 in G major recreates a document of personal and collective cultural memory, in which a kind of temporal and thematic double frame is created, symbolizing the mental and psychological hopelessness of the unfortunate prisoners in a terrible existentially borderline situation. The multi-layered inner musical content, which clearly demonstrates the splitting of the "I" of each prisoner's personality, echoes the previously unseen suffering, which nevertheless leads everyone to the place of meeting with Eternity. The Prelude embodies the eternal movement, which through numerous transformations leads to God, and the fugue figuratively complements the diptych, personifying the hymn of the tireless struggle of the individual, which even the evil Fate is unable to overcome. Diptych No. 3 occupies a special place in the cycle "24 Preludes and Fugues", which shows us, the descendants, that every person is able to rise above terrible circumstances and emerge from the shadow of suffering into the light of eternal Love and Peace.

THE ORGANS OF THE LATIN CATHEDRAL IN LVIV AS WITNESSES TO THE MUSICAL HISTORY OF THE CITY FROM THE 15TH TO THE 21ST CENTURY

Mark-Yefrem Novakovych — 2025-11-28

The article is devoted to a comprehensive study of the history of the organs of the Latin Cathedral in Lviv as unique musical artefacts that, over several centuries, reflected the artistic, technological, and aesthetic transformations of leading European organ-building schools. Drawing on a wide range of sources–archival documents, historical chronicles, photographs, descriptive materials, and a comparative analysis of organ specifications—the study traces the evolution of the Cathedral’s organs from the first documented reference in 1402 to their present condition. Particular attention is paid to the role of organ music in the religious, cultural, and social life of Lviv from the fifteenth to the twenty-first century, as well as its influence on the formation of local musical traditions.The article outlines the cultural and artistic interactions that shaped the tonal concept of the Cathedral’s organs, with emphasis on the Austrian, Baltic, French, and German organ-building traditions. The research also analyses the role of Lviv as one of the key centres of East-Central European organ building in the nineteenth century, where a distinctive regional tradition emerged. The study focuses on the “Great Organ,” preserved to this day, created by three generations of Lviv masters: Roman Dukhensky (1839), Ignacy and Aleksander Żebrowski (1881–1888), and Jan Śliwiński (1899).The article examines the artistic, historical, and socio-cultural context in which the instrument underwent modifications, tracing the development of its tonal and structural concept from a “classical” model to a distinctively romantic sound while retaining a significant portion of the original 1839 material.A separate section is devoted to the contributions of the Cathedral’s leading music directors and organists of the nineteenth and twentieth centuries: Henryk Jarecki, Stefan Surzyński, Józef Nowakowski, and Bronisław Pacan. It is emphasized that their professional activity and the continuity of performance traditions have enabled the Latin Cathedral to maintain an uninterrupted musical practice spanning more than a century. The article highlights the unique artistic and historical value of the Cathedral’s organs as living witnesses to the musical history of Galicia and as an important component of East-Central European cultural heritage.

THE MUSIC LIBRARY OF THE SAN PIETRO A MAJELLA CONSERVATORY IN THE PRESERVATION AND PROMOTION OF ITALY’S CULTURAL HERITAGE

Olena Ponomarenko — 2025-11-28

The relevance of the study lies in the need for a comprehensive examination of the activities of the Music Library of the San Pietro a Majella Conservatory in Naples (Conservatorio di Musica San Pietro a Majella) as a unique center for the preservation, research, and promotion of Italy’s cultural heritage. The Music Library represents one of the oldest and most valuable collections of musical sources in the country. Founded at the end of the 18th century, the institution integrates educational, research, library, and museum functions, having accumulated extensive archival, bibliographic, and museum collections. The study traces the history of the establishment of the Music Library and Archive, which preserve composers’ autographs, opera manuscripts, theoretical treatises, correspondence, and rare printed scores. It highlights the contribution of prominent Neapolitan musicologists and bibliographers – Saverio Mattei, Giuseppe Sigismondo, Francesco Florimo, among others – to the formation of scientifically valuable collections, cataloguing, and preservation of historical sources. The museum collections are characterized as reflecting the evolution of Naples’ musical life through portraits, musical instruments, documents, and composers’ personal archives. The research analyzes the current directions of activity of the Music Library and Museum, including the digitization of collections, creation of electronic catalogues, organization of exhibitions and concert programs, and promotion of musical heritage through international projects. A particularly illustrative example is the project “Naples, Naples. Of Lava, Porcelain and Music” (“Napoli, Napoli. Di lava, porcellana e musica”), implemented in collaboration with the San Carlo Theatre (Teatro di San Carlo) and the National Museum of Capodimonte (Museo Nazionale di Capodimonte). This initiative demonstrated a new model of inter-institutional cooperation and the integration of musical art into the broader system of cultural communication in Naples. It is emphasized that the activities of the Music Library of the San Pietro a Majella Conservatory constitute a model of synthesis between scientific, educational, and creative initiatives within the cultural space of contemporary Italy, combining tradition, innovation, and the diversity of artistic practices.

VIOLIN CONCERT IN UKRAINE AT THE TURN OF THE 19TH AND 20TH CENTURIES: THE ARTISTIC EXPLORATIONS BY JOSEPH KARBULKA

Nataliia Samostrokova — 2025-11-28

The artistic explorations of Czech violinist Josef Karbulka are examined in the context of the violin concerto genre development in Ukraine at the turn of the 19th and 20th centuries, with an attempt to highlight the artistʼs contribution to the formation of the Ukrainian violin art performing and compositional traditions. A little-known work from the violin repertoire, the Concerto in D minor, published in 1911, is analyzed. It is argued that over the centuries, outstanding foreign performers have made their mark on Ukrainian music, often combining performing with composing and teaching, becoming founders of violin schools and innovators in artistic and performing creativity. Among them, Karol Lipiński, Henryk Wieniawski, Karol Szymanowski, Paweł Kochanski, and other artists occupy a special place, whose work has significantly influenced the development of the domestic music environment and, in general, European violin art. At the same time, at the turn of the 19th and 20th centuries, other musicians, mainly of Polish and Czech origin, also made notable achievements in the artistic space of Ukraine, contributing to the expansion of performance practices, the professionalization of the musical environment, and the integration of Ukrainian culture into the European context.Among them were J. Karbulka, J. Kubelik, E. Mlynarsky, J. Perman, P. Perkovsky, F. Stupka, and a number of other violinists. The activities of these artists, which combined performing skills with pedagogical initiatives and organizational work, left a significant mark on the musical life of the 20th century.An examination of the role of Joseph Karbulkaʼs (1866–1920) Violin Concerto in D minor, published in 1911, showed that the work was one of the precursors to Karol Szymanowskiʼs compositional achievements, in particular, his First Concerto for Violin and Orchestra (1916), written in collaboration with Paweł Kochanski, Serhii Bortkevychʼs Violin Concerto, created together with Czech violinist F. Smith (1916), Viktor Kosenkoʼs Violin Concerto (1919), and their followers, which initiated the development of the violin concerto genre in the 20th century.As a result of the analytical study of Josef Karbulkaʼs Concerto for Violin and Orchestra in D minor, it is argued that the artist's work combined a high technical level with lyrical expressiveness. Although the work is an example of the dominant-solo type of communicativeness of the performing parts, it sometimes shows the integration of solo and orchestral parts characteristic of the Romantic era, which indicates elements of symphonization of the genre. Among the main specific features of the work are the use of ethno-characteristic motifs and rhythmic-intonational models, as well as features of free form creation (compositional modulation, etc.), which together form the specific identity of the Concerto.The combination of performance, pedagogy, and composition in Joseph Karbulkaʼs work testifies to the artist as one of the key figures in the formation of both Ukrainian and European violin traditions at the turn of the 19th and 20th centuries. Therefore, we see the prospects for further research on this topic in a comparative view of the violin works by Josef Karbulka and his contemporaries, as well as in highlighting the pedagogical role of the Czech master in Ukraine.

J.S. BACH’S MUSIC IN JAZZ AND POP TRANSCRIPTIONS

Stepan Solanskyi — 2025-11-28

The socio-cultural reasons for the appearance of jazz and pop transcriptions of clavier and organ compositions by the famous German composer and organist of the Baroque era Johann Sebastian Bach (1685–1750) are examined. It is noted that in the era of Romanticism piano transcriptions were made of J.S. Bach’s organ works available both for home music making and for concert halls. The growth of interest in the creativity of the German composer caused its large extent. It is noticed that the music of the Baroque era and jazz are brought together by the improvisational approach. It is emphasized that jazz, rock and pop musicians are very interested in the compositions of J.S. Bach. Their consideration focuses on four types of adaptation of works of academic music into «light popular genres» proposed by the researcher G. Rösing – arrangement, parody, fragmentation and «new formations», which are often combined within the same treatment. The works of J.S. Bach in the 20th–21st centuries were transcribed by musicians of various directions and by performers on various instruments. The «Play – Bach» fashion was started by the French pianist Jacques Loussier (1934–2019), who recorded the album «Swingin' Bach Guitar» under the slogan «Bach would have played it like this today». Jazz and pop transcriptions of the German Cantor's music were made by: pianist Chick Corea, multi-instrumentalist Keith Jarrett, violinists S. Grappelli, E. Sauta, guitarist J. Reinhart, the «Swingle – Sisters» ensemble, the «Play Bach» trio (J. Loussier, K. Garros and P. Michelot), synthesizer players V. Carlos and A. Cozzina, and others. Among the famous jazz arrangements of the works of J.S. Bach should be called «Bach Goes To Town» by B. Goodman, «Tribute To Bach & Parker» by L. Konitz, «Bach To Bach» by J. Loussier, «Get Of My Bach» by J. Shearing, «Bach Panther» by S. Delplace.Transcriptions, processing and arrangement of the artist’s creative output show how his reception has changed in different historical and stylistic periods.

MODERN TECHNIQUES AND THE SPECIFICS OF THEIR APPLICATION IN THE INTERPRETATION OF CLASSICAL GUITAR REPERTOIRE

Oleksii Taran — 2025-11-28

The article is devoted to the analysis of contemporary techniques of classical guitar playing and the specifics of their application in the interpretation of concert repertoire. A wide range of techniques is examined – from percussive approaches (golpe, body percussion, tapping, slap) to experimental means («guitar bow», prepared guitar). It is shown that these techniques expand the timbral and rhythmic possibilities of the instrument, transform interpretative thinking, and bring the guitar closer to the tendencies of contemporary musical language.The methodology is based on a combination of scientific and methodological literature analysis and the author’s practical experience as a performer and pedagogue. Particular attention is given to international reference works and sheet music editions that systematize modern techniques, their notation, and methods of mastery.The practical aspect relies on examples from the works of Leo Brouwer, Roland Dyens, and other composers, as well as on the analysis of their use in competition and educational practice. It is proven that contemporary techniques contribute to the transition from a cantilena-based model of interpretation to polyphonic and rhythmical-textural thinking. They make it possible to create multilayered textures, imitate ensemble sound, and stylize popular genres, while at the same time posing new challenges: dynamic balance, coordination of movements, and avoidance of excessive gestures.The methodological recommendations focus on step-by-step acquisition – from exercises and rhythm control to integration into musical works. Emphasis is placed on the importance of video analysis, the use of a metronome, and experimental practices for developing interpretative freedom. Special attention is given to the need for a critical approach to innovative means (in particular prepared guitar), which requires the performer to clearly distinguish between traditional and experimental sound production.The scientific novelty lies in the systematization of contemporary techniques in combination with methods of their acquisition, integrating global approaches with Ukrainian pedagogical practice.The practical significance is determined by the possibility of applying the materials in educational programs and rehearsal work. The integration of contemporary techniques enriches the guitar concert repertoire and raises the professional level of the modern guitar school.

V. BARVINSKY’S PIANO WORKS IN PERFORMANCE AND RECORDING

Fu Yuanyuan — 2025-11-28

The study of the formation of the performing tradition is a very important factor on the basis of which approaches are developed to the search for their own interpretative models by contemporary performers, especially in our time, when Ukrainian musical culture has received special conditions for presentation to the world. An idea of the approach to reading V. Barvinsky’s works can be partially formed on the basis of reviews of concerts by the author and his contemporaries, however, recorded professional audio recordings of musicians of high professional and artistic level are of particular value. The purpose of this study is an attempt to form a perspective on the historical projection and tradition and lines of continuity in their performance.An attempt to review the historical process of forming the foundations of performing traditions in the field of V. Barvinsky’s piano works demonstrates their close relationship with the development and crystallization of professional professionalism in the musical culture of Galicia in the interwar period, the functioning of art centers in the leading centers of the Ukrainian diaspora, and the consistent struggle to restore his works in the repertoire of Ukrainian pianists after a long period of artificial stagnation. The continuity of performing priorities from teachers to students in several generations is noticeable, as is the desire to achieve high mastery in the field of interpretation through non-national components of professional education. This demonstrates a logical kinship with both the convincing national beginning of V. Barvinsky's work and the organic harmony of his creative intentions with European artistic achievements, the requirement of high professionalism, erudition, and breadth of thinking for the appropriate interpretation of the author’s text. Original interpretive models of outstanding pianists of different generations (who studied or consulted directly with the author, his students, witnesses of their performances), recorded in sound recordings, provide invaluable material for studying the tradition and create a basis for crystallization of their own paths for young performers of today.

CHAMBER AND VOCAL WORKS BY OLENA ILNYTSKA: SEMANTIC ASPECTS

Olena Yakymchuk — 2025-11-28

The semantic features of chamber and vocal works by contemporary Ukrainian composer Olena Ilnytska are considered in the article. By applying contemporary techniques the composer changes not only the timbral palette of the voice and the instrument, but also the genre paradigms of vocal music. The purpose of the article is to highlight the semantic features of O. Ilnytska’s chamber and vocal works. The theoretical, interpretive, comparative, complex methods, and the method of generalization comprise the methodology of the research. Their combination enables achieving the aim of the article. Scientific novelty. The chamber and vocal works by O. Ilnytska in the semantic context is analyzed for the first time. Conclusions. O. Ilnytska carefully selects poetry for her vocal works. The composer prefers canonical texts and poetry by V. Stus. In spiritual songs, the author continues the traditions of Orthodox and Catholic liturgical singing.The combination of chanting, melismatics, and recitation with contemporary techniques enhances the inner expression of the canonical text. A characteristic feature of chamber and vocal works is the deepening of the semantics of the poetry in an ontological context. The composer reflects despair and devastation, despondency. The composer combines various techniques. The singing, whisper, recitation, exhalations, individual consonants, foreshlags, and glissando arecombined in the vocal. The playing on the keyboard and stringsare combined on the piano. The sul tasto, sul ponticello, glissando, pizzicato, ricochet, vibrato, tremolo are combined on the cello. In every technique, the composer vividly demonstrates a deep understanding of the poetic word. The listener finds philosophical and existential meanings in her works.

ЕСТЕТИКА ПЕРЕКЛАДАННЯ БАРОКОВОЇ МУЗИКИ НА ГІТАРУ (НА ПРИКЛАДІ СОНАТИ ДЛЯ ФЛЕЙТИ ТА BASSO CONTINUO Й. С. БАХА, BWV 1034)

Anton Yaloza — 2025-11-28

The article examines the aesthetics of transposing of Baroque music for guitar, using the example of J. S. Bach's Sonata for Flute and Basso Continuo, BWV 1034, by the renowned contemporary guitarist D. Russell. What is relevant in enriching the repertoire and developing guitar music art in the 21st century. Due to the academization of the guitar thanks to the creative efforts of A. Segovia in the 20th century, namely: the expansion of the guitar repertoire with works by contemporary composers; the transposition of Renaissance, Baroque, and Classical music; the opening of guitar classes in conservatories and music schools around the world; and bringing the sound of the guitar to philharmonic audiences.This was based on the establishment of classical guitar music from the Biedermeier and Romantic periods of the 19th century, through the work of European composer-guitarists: Italians – F. Carulli, M. Giuliani, M. Carcassi, N. Paganini; Spaniards – F. Sor, F. Tárrega; Austrians – A. Diabelli, J. Mertz, Frenchman N. Costa and others. The research method is based on analytical, historical-descriptive, hermeneutic, musical-textual, stylistic-comparative, interpretative, and intonational methods. The scientific novelty lies in the fact that for the first time, the transposition of J. S. Bach's flute music to the classical guitar is considered in the context of identifying certain issues: the transposing content of the flute solo and the change in the bass line, which is based on the improvisational nature of the Baroque basso continuo. The aim of the study is to reveal the universality of the classical academic guitar, which historically has its origins in the stringed and lute instruments of the Renaissance, in creating textural integrity in the arrangement, through the combination of solo and accompanying voices. And adapt the composer’s musical idea by preserving the original musical material as much as possible (dramaturgy, emotional and dynamic intensity) without confronting the capabilities of the instrument, analyzing the original Baroque work.