89095 Paganini Concert at A Intro
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Niccold Paganini (1782- 1840)
Sonata Concertata (M.S.2) for Guitar & Violin Urtext edition with facsimile of the original manuscripts Edited by Giuseppe Gazzelloni
Contents Introduction Commentary Facsimile of the autograph manuscripts Urtext setting of ttre Sonata concertata (M.S. 2) First published 1990bv ChanterelleVerlas. @1990by'Michael Macmedken,ChanterelleVerlag, D-6900 Heidelbers. W. Cermanv. ' All rights riiewed. ltris edition contains new and original material and is strictly copyright, No oart ofit mav be reproduced in anv form or bv anv means without the 'prior perir ission in wrifine of the Publishers. Co'verdesisn bv Jo Kniuf. Printed in the Ul( by York Print Ltd.
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INTRODUCTION Paganini and the Guitar In common with other 19th century guitar music, parallel Paganini's interest in the guitar began to be seriously investi- voices often employ only one slur, This is placed either above gated when itbecame generallyknown how much he wrote for or below, this instrument. Research has now established thathis interest in the guitar was not fanciful, nor a passing whim; on the contrary, this instrument was his constant companion and a Minuetto d.edicatoalla Signora Dida (M.S. 104) favourite medium for composition.Various contemporaryaccounts praise his guitar playing, comparing it to his prowess O r i o i n o l n n t a t i n n . on the violin. In spite of his contacts with leading guitar 5.i players ofthe day such as Carulli, Giuliani, Iegnani ind Zani de Ferranti, his compositional style remained distinctive and does not reveal their influence. Fuller details on this subiect and on his guitar notation are conrainedin the Chanteiellc edition of Paganini's Solo Guitar Works.l The edition also includes a Bibliography and a listing of all Paganini's known Played: works for and with the guitar.
Paganid's Guitar Notation Decifering Paganini's nervous, rapid handwriting presents several problems, It is very compressed,full of crossings out and often dilficulttoread, Furthermore, inmany casesitisinconsistent; even iilentical passagesare differently notated: GhiribizzoNo. 3 (M.S. 43): Volrz
Editorial Policy and Practice TIte Chanterelle Paganini series of music for and with guitar aims to present the composer's works in an integral and accurateedition. This is the llrst attempt to do so inJorporating current musicological procedures. All catalogue numbers refer to the Moretti - Sorrento Catalogue,zwhosenumbering system is prefixedby the letters M.S. The original autograph text has been adopted for the present edition.Nothinghas beenadded,taken a way or altered in any way including note duration. ltre direction of some stems has been changed to give a clearer reading.
Sonata No. 2 (M.S. 84): lMinuettoj Original: In the autograph manuscripts there are few expression signs. Fingering is almost completely absent; in fact, left hand indications are rare, while there are none at all for the risht hand. The precise)ength of slurs is often diflicult to determine, particularly when they are wrilten transversally from rhe biss. The problem often lies in determining which note is the last coveredby the slur: GhiribizzoNo. 3 (M.5.4}:Valtz
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Played: 12 ^
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For the presentedition, all indications in squarebrackets and all dotted slurs are editorial additions, as are thebar numbers at the beginning of each stave. Any variants with the manuscripts are detailed in the Commentary.
i#Itisunderstoodthattheguitaristwi||interprettheoriginal musical text which, in common with much early 19th century guitar notation, considers only the rhythmic aspect of note It is almost always possible to solve these ambiguities by values (determined by stemming requirements). Usually these analysing and playing the problem passage. note values do not indicate a satisfactory musical d,tralion, which must be established by the player. This process should
also involve a correct separation ofthe voices. For example: Sonata No. 26 (M.5.84): Allegretto Original notation:
TIre fundta conceltolo is dedicated to the Genoesenoblewoman Emilia D Negro,swho marrieil the Polish General Dombrows$s son on December 28th, 1803, and subsequently ailopted her husband's name; her maiden name is used on the front page of the autographed violin part which dates the work to not later than 1803.6 TIte Sonata concerta lo is in A major and has three movements, the first of which is developed completely in accordance with the typical rules of early J.9th century Sonata.? In contrast to the coeval Grand Sonato (M.S. 3), in which the guitar plays a predominantrdle with the violin essentially accompanfng, in the Sonota concertato both instruments develop an effective articulate musical discourse,
Although the Sonata concerteta consists of tather concise rnovements, it is of substantial and soljd construction. Paganini's inexhaustible inspiration comes out clearly, His musical language, rich in spontaneity and elegance, is intoned in a distinct expressive cant a b i Ie form Giuseppe Gazzelloni Latina, 1989
The Sonata concerta.ta fot groitat aad violin (M.S. 2) The autogaph manuscript of the Sonota. concertatd for gtitat and violin (M.S. 2) is in the Biblioteca Casanatense in Rome, call mark 5624. It consists ofa scoreand a separate violin part, both in oblong format. The score has twelve pages, ten of which are music. Its title page,reproduced in thefacsimile sectionofthis edition, reads: Sonata lConcertata p[er] Chittona, e Violino / Ded,icato alLa Sig." Emilia Di Negro I d.aNiccold Paganini / Partittura .'Ihe movements are listed as follow s:Alle Spiritoso, Adagio / [a]ssai / fE]spressiuo, Rondeau I Allegretto con brio Scherzando-
NiccoldPaganini,The Complete SoloGuirar WorAs(in 3 volumes), edited by Giuseppe Gazzello ,, Chanterelle Verlag, Heidelberg, 1987(English and Italian t€xts).
CatoJoqo ternatico delle nusiche di Nicald Pagazizi, a cura di Maria Rosa Moretti e Anna Sorrento (Comune di Genova, 1982).
The original title ofthis work is: Grazd Sonata I d Chittarra Sola I Con'Accompagnanento di Vialino I Composta da I Niccoli, Paganini I Partitturd See Niccold Paganini, Grand Sonata (M.S. 3), editedby GiuseppeGazzelloni, Chanter€lle Verlag (ECH 0O2), Heidelbery, 1989.
Apart from the Duerro alrcady mentioned, this collection also includes ms. copiesof Sei Duettini fot violit\ and guitar (M.S. 9), Du e Duerri forviolin and Suitar(M.S. 14 & 16) and Sei D.rerri for violin and guitar (M.S. 110).
Sonata No. 34 (M.S. 84) for sologuitar is also dealicatedto her, See NiccoldPaganini, ?,h€Complete Solo Guitar Wor&s,op. cit., Vol. 2, ChanteE e Verlag (ECH 098).
The Sonata concertata (M,5.2) certainly dates fmm the same period as the GrauL Sonata (M.S. 3). Both compositions are conceivedfor the same instruments (guitar and violin) and the respective mss. contain obvious similarities in handwriting. In addition, both sources sre certainly \i/ritten on the same type of paper. See introduction to Niccold Paganini, Grand Sonata (M.5. 3), op. cit., Chanterelle Verlag (ECH 002) and D. Prefumo, Paganini e Ia chitarra, in "il Fronimo", no. 23, 1978,p. ?.
The termsonata also appearsas a title inother works ofPaganini. Usu ally this i s employed in its et)rmological meaning (ie piece to be played), without any r€ference to the binary-trip artite form which distingubhes the frr'st movement ofthe 19th century Sonata.
The separate eight page violin part has music on six of its pages. The first page reads: Sonata p[er] Chitara, e Yiolirc I Ikd.imta lA Modamigella Emilia d.i Negro / d.a / Niccold Paganini / Violino. The titles of the movements differ slightly from those on the score. These are: AILegro Spiritoso, Adagio Espressiuo,Ron' deau Con Brio ScherzandoThere is also a manuscript copy (with the same catalogue number 5624) of the Sona.tqconcertatd (M.S. 2) in the Biblioteca Casanatense.This consists of two oblong 6 page fascicles containing the guitar and violin parts respectively: the music occupies4 pages in each. ltre copyist (perhaps by associating it with the Grar?dSonola M.S. 3)i has modified the title on the front-page (identical for both parLs). It teads: Sonata / Per Chitarra con dccornp.tod.i Violino I Dedicata I Nla Sig.* Emilia Dinegro I Dol Sig.' Niccold Paganini- Details of the instrumentation follows. There is a further manuscript copy of the Sonato,concertqt