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CONTEI\TSPage

4Introduction

1. F, Sor:2. W.A. Mozart:3. \f.A. Mozart4. 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. Carulli13. F. Sor:14. F. Sor:

Performance advice

Study in C, op. 6 no. g.ContredansePolonaiseMinuet and AllegroLittle DanceAllegrettoGerman DanceAliegroPolonaise ConcertataAndante (from pianc; Concerro no. 21Rondo Aiia Turca (from piano Sonara

r\.40 /)K. 331)

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71

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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 areaction to the opulence and excessive ornamentation of the Baroque era. The transitional periodbefween 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 wasalso the home of Haydn, Mozart and Beethoven. These three composers developed and expandedthe 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 ofthe individual and of the nation. Revolutionary movements in France and North America led to theoverthrow of aristocratic and colonial povrers. Beettroven was one of the first cornposers to writemusic not specifically commissioned by wealthy patrons.

The harpsichord was gradually replaced by the pianoforte, opening up a wider rarrge of dynamicexpression for the perfomer.

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 dis-gust, nor sbould tbe rnusic offind tlse ea6 euen tuben descNbing the m.ost dramcr.tic situation. Itshould 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 COMPOSERSThe Classicai period is often described as the guitar's goiden era. A great deal of guitar music waspubiished, largely to meet the demands of the many amateur performers of the time . Guitar tuitionwas 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 atime in Vienna and had over 15O of his compositions published. Giuliani was also an accomplishedviolinist 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 andworked in the ciry were the Italians Matteo Carca.ssi (1792-1853), Ferdinando Canttlli (1770-1842) and the Spaniards Dionisio Aguado (17541549) arnd.Fermamdo Sor (I778-LB3D. Carcassiand Carulli were both guitar virtuosi and gave frequent performances in private salons and at othersmall venues.

Sor is known as "the Beethoven of the guitar", largely due to the significance his Nlethode Guitartutor), his small guitar studies and his larger solo compositions had for the instrument"s develop-ment. 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 onconcert tours to England, Germany and Russia, and was received with acclaim everywhere heplayed.

T,vpical for his compositions is a clear sense of structure, his musical forms building on Classicalvalues. The music is idiomatic (i.e. ideally suited for the instrument) and never empry or superflci-al. Even his most virtuosic works have depth and contrast.

Sor's friend and compatriot Aguado was a dynamic and inventive composer. His music is virnrosicwith characteristic passages of rapid scales and arpeggios. Aguado also built a special g-uitar stand,the "tripodion", to support the instrurnnt, thereby allowing the performer greater freedom.

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

Yln. 3.

IDionisio Aguadowith his

iripodion

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

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

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

The body and string length (mensur) of 19th century guitars were relativeiy small. On the largermodern 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 compo-sers like Carulli and Sor, and the Italians Yincenzo and George Louis Panormo, father and son, whowere based in London.

It is interesting to read the comments of music critic FJ. Ftis after a concert given by Sor in 1828:

oOn January 16tb I beard some ucr.riations played brilliantly by M. Woetz and. a guitar solo per-formed by M. Sor Tbis piece, infour parts/uoices almost tbrougbout, had clear and elegant bar-nxony 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 asound.,

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

SYMBOLSLEFT AND zuGHT HAND

PIMA is the abreviation for the Spanish names for the fingersP =PULGARI = INDICEM = MEDIOA = ANUIAR

O = open string

@ @@ etc. - indicates the stringsI,[,III etc - indicates the positions (The ffet whefe the 1st finger is piaced)

C - means caPo or barrb2/6-4/6-5/6 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

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

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PER.FORNTAh{CE ADVICE

ROMAI\iCFROMANCE. who loves to nod and sing.With drowsy head and fblded wing.Among the

-sreen leaves as they shakeFar down within som shadowy lake.To me a painted paroquetHath been - a most tamiliar bird -Taught me my alphabet to say -To lisp my very earliest wordWhile 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 highWith turnult as they thunder by,I have no tirne ibr idle caresThrough gazing on the unquiet sky.And when an hour with calmer win-ssIts down upon my spirit flings -l'hat litrle time with lyre and rhymeTo while away - fbrbidden thingsliVIy' heart wouid f'eel to be a crimeUnless it trembled wirh rhe strings.

E. Allen Poe(1809 - 1849)

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1. Study h C, op. 6, no. I F. SorFernando 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 inthis Studv in C, originally composed for solo guitar.

Suggestedtempo: ) =76

2. and 3. Contredanse and Polonaise WA. MozarttoIozart was a child prodigy and perfbrmed when he was only six years old at the Viennese Courttogether vrith his four year older sister Anna (Nannerl). He began to compos e at avery youn g egeand the rwo pieces Contredanse and Polonaise probably date frorn this period (ca. 1762).The Andante marking in the (Contredanso is e{itorial.Suggested tempi: Contredanse ) = 126

1Polonaise . = 7684

4. Minuet and Allegro J. HaydnThese fwo charming pieces were originally written for piano. There are few technical problemshere. The quinruplets in the Minuet are played with one right hand stroke and can be empioyedas a little slur exercise .

Suggested tempi: Minuet ) = 96Allegro ). = 66

5. Little Dance

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

Suggestedtempo: ) =l3z

Anon.

1820 and

6. & 7. Nlegretrto and Germirn Dance L.y. BeethovenBeethoven qzas a young man when he wrote these two pieces for piano, and they can be said toreflect the taste for iight music prevalent at that time. ln his later compositions, especially hissymphonies 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. CarulliDynamics have a vital part to play in the performance of this-contrapuntal piece . In addition tothe forte and piano markings you should pay particular attention to the crescendo that accompanies the repeated note figures at the start of the second section.

Suggestedtempo: ) =lj}

9. Polonaise Con certata M. GiulianiFor his contemporaries Giuliani had almost the status of one of today's (pop stars). Ajter his deatha group of his students published a periodical in Lon

10. Andante (from Piano Concerto ff. Zt in C major, K.4G7) W.A.MozartMozart wrote this concerto in March 1785. The slow second movement has been popular eversince and in our own time has been used as film music. For this arrangement for two guitars themusic has been transposed tiom F to E major.

Suggestedtempo: . =56

l_1_l Notice how the 1st. guitar in this passage repeatedlv tenses and relaxes.

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tr 1. Rondo Alla Turca (from piano Sonata in A major, K.33L)'W.A. Mozart

The Austrian musicologist Ludvig Kochel devoted his career to compiling a catalogue of Mozart -scompositions. The abbreviaton "K." and a numberafter the title of a Mozart work inclicates its placein his catalogue.

Rondo Alla Turca is the linal movement of Nlozart-s Piano Sonata in A major (K.331) which isregarded as on of his most important sonatas.

The title Alla f'urca (in the Turkish style) reflects the fact that all things exotic, foreign lnd mysticaiwere fashionable in Mozart's dav.Suggested tempo: r = 116-120

If the right hand fingering in this section is too difficult, it may be performed with morelegato slurs.

tr

*ffi75

12. Duo in G F. CarulliThe Italian composer and guitarist Ferdinando Carulli was born in Napies in I77A. He was taughtmusic by a local priest and learned to ptay the cello. He probably taught himself to play the guitarand by the rurn of the century was well known as a guitar virtuoso. He moved to paris in lg0g andstayed there untii his death in 1841.

Carulli is thought to be the first composer who wrote concertos for guitar ancl orchestra.His Concerto in A major, op. 140, is the most well-known.

Some 350 Carulli compositions were published. The piece in this book is selected fromSix Duets, op.34.

Suggested tempi: Largo: J = BO.Rondo: J = 88.

[-1 A double dotted rhythm is recommended here for dramatic effect. The next bar should beLij performed as written, giving a nice contrasr.

L3 ] Let the crescendo grow with the chromatically ascending bass line.

tr dternative flngering.

tr Suggested variation.3-1-3{t}

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13. Duo in A F. SorOp. 55 consists of three duos in binary fbrm set in the keys of A, G and C major. They are modera-tely difficult. It is worth noticing the way Sor makes small variations in the repetitions.

Suggested tempi: Andante i = 88Allegretto J. =66

tr Suggestecl fingering.

The original slurs by Sor \,it,

Frorn tbe balletCen'drillon

(Cinderella)

L4. Diyertissernent for two guit ats,, op. 62 F. Sor

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The term Diverrissement is Itaiian and means a lighrweight, entertaining piece or a potpourri(i.e. a collection of diverse parrs).sor's opus 62 was^P"lbabJywritten around 1836 andis one of his last compositions ro be publis-hed. As we can see ffom:the work;s,.fro1t.orr., Cr.. *g" ) it is O.Oit*O,to,,his.pupil MadameFondard' sor employs chromatic and melodic

'a,.*, ffi;;;;;;*a'n#", who was arso acrivein Paris at this time' 'whether the two co.mpor.rr-.r'., *.t i, not known, but the influence of rheRomantic movemenr on Sor is clearry:eudent,in ,.".iui^or rri, rac#.*r."

Suggestecl cempi: Andanrino, ) = 96:Polonaise: ) = fi4

E For the repeat the prayers can vary their performance by exchanging parrs.

tr Norice the chromatically descending music, a rypicelty Romanric idiom (see above).

Suggested variation.

tr Suggested variation.

tr The same passage in the original score (lst. guitar):

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SlrE}{ LIJI\DESTADLundestad made his olficial debut in 1974, being in fact the first ever on classical guitar in Norway.Since then he has played nurnerous concerts in Scandinavia, Eastern Europe, South America andEngland, including career highlight perfbrmances at the Vigmore Hail. foIany radio, television andrecording performances have followed these concerts. Together with fellow countryman Geir OttoNilsson they perforrn regularlv under the name The Norwegian Guitar Duo.

Lundestad has also distinguished himself as an accomplished teacher through his work at the MusicConservatory in Osio, Norway. He is one of the founders of the annual Norwegian Guitar Festival atSkjeberg High School, and has also lectured at the Royal Academy of Nlusic and Guildhall School ofMusic & Drama in London.