Gaspar Sanz, by far the best-known composer for the baroque (five-course) guitar, published his tutor Instruccion de musica sobre la guitarra espanola in Zaragoza (1674-75). With practical instruction and an account of music theory, it also includes 12 pages of music, mostly of popular dances of the period. The settings are relatively simple, inviting embellishment and even instrumental extension such as was commonplace at the time it was published.
Whereas most recordings of this music have been performed on the guitar alone, Jose Miguel Moreno not only takes full advantage of the tacit invitation by adding plenty of stylish embellishment, he also enlists the support of three colleagues, who add variety of timbre by deploying a variety of other plucked string instruments and percussion. Despite his worthy and enhancing effort, the succession of brief items (only five of the 31 last longer than three minutes), many rooted in the same few keys, and the limited variety of instrumental colour may soon try the patience of listeners whose interests are not focused on the guitar or on popular Iberian music of the period. For those who are particularly interested in these things it will appeal strongly, though after a few repetitions it may become an ‘archive’ to be selectively consulted as and when appropriate. Annotation (in English, Spanish, French and German) and quality of recording are first-class. A video or DVD including dancers would have a much wider appeal; the steps of many of the dances are known.'