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ARDTJO CONTEI\TS Page

Introduction

4

1. F, Sor: 2. W.A. Mozart: 3. \f.A. Mozart 4. J. Haydn: 5. Anon.: 6. L.v. Beethoven: 7. L.v. BeethoVefl: 8. F. Carulli: 9. M. Giuliani: 10" \)7,A. Mozart: 11. W.A. Mozart: 12. F. Carulli 13. F. Sor: 14. F. Sor:

Study in C, op. 6 no. g. Contredanse Polonaise Minuet and Allegro Little Dance Allegretto German Dance Aliegro Polonaise Concertata Andante (from pianc; Concerro no. 21 r\.40 /) Rondo Aiia Turca (from piano Sonara K. 331)

Duo in G Duo in A. op.

55

Divertis'sement for Two Guitars. op.6z

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Performance advice 71 II

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THE CTASSTCAL PERIOD (L75O - 1830) Classicism was concerned with the virtues of clariqv and proportion and as such can be seen as a reaction to the opulence and excessive ornamentation of the Baroque era. The transitional period befween the Baroque and Classical periods is known as the Rococo.

Vienna emerged as the centre for the new ideas which flourished in music in the 177O's.It was also the home of Haydn, Mozart and Beethoven. These three composers developed and expanded the larger musical forms such as the sonata, the symphony and the set of variations. These years also witnessed the growth of new ideas regarding freedom and independence, both of the individual and of the nation. Revolutionary movements in France and North America led to the overthrow of aristocratic and colonial povrers. Beettroven was one of the first cornposers to write music not specifically commissioned by wealthy patrons.

The harpsichord was gradually replaced by the pianoforte, opening up expression for the perfomer.

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a

wider rarrge of dynamic

In the following extract from a letter to his father Leopold, M'ozart describes the musical aesthetic of the Classical period: "But passions, io ftratter lsow uiolent, sltould neuer be expressed in sucb a Laay as to arouse disgust, nor sbould tbe rnusic offind tlse ea6 euen tuben descNbing the m.ost dramcr.tic situation. It should alutays be pleasing to tbe listeneq tbat is to say: It'must neuer stop being mwsic|'

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THE CL{SSICAL GUTTARAND ITS COMPOSERS The Classicai period is often described as the guitar's goiden era. A great deal of guitar music was pubiished, largely to meet the demands of the many amateur performers of the time . Guitar tuition was said to be one of the essentials of a young lady's education. One of the period's most proiific composers was Mauro Giulia.ni (178I-1829). He lived. for a time in Vienna and had over 15O of his compositions published. Giuliani was also an accomplished violinist and is said to have taken part in the first performance of Beethoven's 7th symphony. But it was Paris that becam€ the centre of guitar playing. Among many guitarists who lived and worked in the ciry were the Italians Matteo Carca.ssi (1792-1853), Ferdinando Canttlli (17701842) and the Spaniards Dionisio Aguado (17541549) arnd.Fermamdo Sor (I778-LB3D. Carcassi and Carulli were both guitar virtuosi and gave frequent performances in private salons and at other small venues. Sor is known as "the Beethoven of the guitar", largely due to the significance his Nlethode Guitar tutor), his small guitar studies and his larger solo compositions had for the instrument"s development. Musically however he is more ciosely related to Haydn. Among his other works the ballet "Cendrillon" 'was the most popular and was performed over 100 times in Paris. Sor ravelled on concert tours to England, Germany and Russia, and was received with acclaim everywhere he played. T,vpical for his compositions is a clear sense of structure, his musical forms building on Classical values. The music is idiomatic (i.e. ideally suited for the instrument) and never empry or superflcial. Even his most virtuosic works have depth and contrast.

Sor's friend and compatriot Aguado was a dynamic and inventive composer. His music is virnrosic

with characteristic passages of rapid scales and arpeggios. Aguado also built a special g-uitar stand, the "tripodion", to support the instrurn€nt, thereby allowing the performer greater freedom.

Sor's guitar duet (The Two Friends), op. 41,is dedicated to Aguado. In variation form, it is constructed as a musical contest between rwo talented rivals. Audiences must ha,re marvelled at the virtuosiry of these lwo Spanish friends when they performed this showpiece . From "Les Deux Amis"

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Dionisio Aguado with his

iripodion

Aguado was also a pioneer of the correct notation of guitar music. A passage would be written this way: I

But should be written this way (to give an accurate notation of note-vatues):

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THE IhTSTRUMEI{] rhis neriod the fiv. e-cor:rse guitar went out of fashioa for good. Both in the home and for most Uus orher purposes it was replaced by the guitar with six single strings we are familiar with today. This developmenr may be explained both by the improvements in string quality and the instrument's volume of sound, and by the desire to meet the Classical period's demands for clarify and puriry. Tn III

The body and string length (mensur) of 19th century guitars were relativeiy small. On the larger modern instrument certain fingerings in the music of the period ar€ therefore difficult to execute

.

The period's most famous luthiers were Ren6 Lacote in Paris, who worked together with composers like Carulli and Sor, and the Italians Yincenzo and George Louis Panormo, father and son, who were based in London.

It is interesting to read the comments of music critic

FJ. F€tis after a concert given by Sor

in 1828:

January 16tb I beard some ucr.riations played brilliantly by M. Woetz and. a guitar solo performed by M. Sor Tbis piece, infour parts/uoices almost tbrougbout, had clear and elegant barnxony and seemed dfficult to play. But it xuas a pity tbat tbe instrument's sound u)asn't fuller. In my opinion Sor bas neglected tbis uital aspect of an instrument tlsat in itself bas too uteak a oOn

sound., Today there are many performers who have speci altzed,in interpreting the music of the guitar's ogoldeq erar. Their gramophone recordings have brought to life again the period's style of performance and the instrument's characteristic, intimate sound.

SYMBOLS LEFT AND zuGHT HAND

PIMA is the abreviation for the Spanish names for the fingers

P =PULGAR I = INDICE M = MEDIO A = ANUIAR O = open string

@ @@ etc. - indicates I,[,III etc - indicates 2/6-4/6-5/6

the strings the positions (The ffet whefe the 1st finger is piaced)

C - means caPo or barrb C - indicates the number of strings stopped with

1st finger

- Broken chord or arpeggio (usually starting from the

bass)

-

Keep the finger on the string, iust release the pressure while shifting

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legato or slur. (The B and the G# is pla)'ed

with the left hand)

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Mont Serrat

ROMAI\iCF ROMANCE. who loves to nod and sing. With drowsy head and fblded wing. Among the -sreen leaves as they shake Far down within som shadowy lake. To me a painted paroquet Hath been - a most tamiliar bird Taught me my alphabet to say -

To lisp my very earliest word While in the wild wood ldid lie. A child - with a mosr knowin-u eye. Of late, eternal Condor

-years

So shake the very Heaven on high

With turnult as they thunder by, I have no tirne ibr idle cares Through gazing on the unquiet sky. And when an hour with calmer win-ss Its down upon my spirit flings l'hat litrle time with lyre and rhyme To while away - fbrbidden thingsl iVIy' heart wouid f'eel to be a crime Unless it trembled wirh rhe strings. E.

Allen Poe

(1809

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1. Study

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F. Sor

Fernando Sor received his first musical education from the monks of the Montserrat abbey in Spain. He learnt counterpoint from a Father Viola and the fruits of his studies are ciearly in evidence in this Studv in C, originally composed for solo guitar.

Suggestedtempo: ) =76

2. and 3. Contredanse and Polonaise

WA. Mozart

toIozart was a child prodigy and perfbrmed when he was only six years old at the Viennese Court together vrith his four year older sister Anna (Nannerl). He began to compos e at avery youn g ege and the rwo pieces Contredanse and Polonaise probably date frorn this period (ca. 1762).

The Andante marking in the (Contredanso is e{itorial. Suggested tempi:

) = 126 Polonaise . = 7684 Contredanse

1

4. Minuet and Allegro

J. Haydn

These fwo charming pieces were originally written for piano. There are few technical problems here. The quinruplets in the Minuet are played with one right hand stroke and can be empioyed as a little slur exercise . Suggested tempi:

Minuet ) Allegro ).

5. Little Dance

= 96 = 66

Anon.

This piece comes from the collection "Biederme ier Tinze" published in Germany ca. 1820 and is specially arranged for this volume.

Suggestedtempo: ) =l3z

6. & 7. Nlegretrto and Germirn Dance

L.y. Beethoven

Beethoven qzas a young man when he wrote these two pieces for piano, and they can be said to reflect the taste for iight music prevalent at that time. ln his later compositions, especially his symphonies and sonatas for piano and violin, he would explore far griater depths. One of the characteristics of the Allegretto is arpeggio figuration in the styie of Giuiiani. Suggested tempi:

Allegrerto: J = 176, GerrnerrDance: J =160

pg.z ) = M4

8. Allegro

F.

Carulli

Dynamics have a vital part to play in the performance of this-contrapuntal piece . In addition to the forte and piano markings you should pay particular attention to the crescendo that ac companies the repeated note figures at the start of the second section.

Suggestedtempo: ) =lj}

9. Polonaise Con certata

M. Giuliani

For his contemporaries Giuliani had almost the status of one of today's (pop stars). Ajter his death a group of his students published a periodical in Lon