CALIFORNIA STATE UNIVERSITY, NORTHRIDGE
CHRISTOPHER NICKLIN’S GRADUATE GUITAR RECITAL
A graduate project in partial fulfillment of the requirements
For the degree of Master of Music in Music,
Performance
By
Christopher Nicklin
May 2016
The abstract of Christopher Nicklin is approved:
Dr.Alexandra Monchick Date
Professor Bryan Fasola Date
Dr. Steve Thachuk, Chair Date
California State University, Northridge
ii TABLE OF CONTENTS
Signature page ii
Abstract iv
Graduate Recital 1
Scintilla 1
Vals Op.8 No 3 & 4 4
BWV 914 6
Grand Overture 9
Fantasia Based on Themes from Verdi’s La Traviata 11
Introduction & Variations sur un Thème de l’pera Der Freischütz 14
Conclusion 16
Bibliography 18
Appendix: Program 21
iii
ABSTRACT
Master’s Recital
By
Christopher Nicklin
Master of Music in Music,
Performance
This is a recital and thesis in partial fulfillment of the Master of Music in guitar performance. The works presented in the recital were: Scintilla by Marek Pasieczny, Vals
No3 and 4 by Barrios Mangore, BWV 914 by J.S Bach, Grand Overture by Mauro
Giuliani, Fantasia based on the themes from Verdi’s La Traviata by FranciscoTarrega, and Introduction & Variations sur un thème de l’opera Der Freischütz by Karel
Arnolodus Craeyvanger. In this thesis I give the historical background behind the pieces and composers. Where is it is applicable I also provides details about the scenes of the operas from which the musical themes are taken from.
iv Graduate Recital
SCINTILLA
Scintilla is a work composed by modern guitar composer Marek Pasieczny, and is composed in the style of Arvo Pärt. Arvo Pärt is an Estonian composer born in 1935.
From 1960 to 1976, Pärt was trying to find his voice in musical composition. He experimented with a variety of different compositional styles. Initially he composed using serialism, but in general found it dissatisfying even though he won various awards for his works. He then started working with a collage technique that entailed inserting well- known music into a serial structure.1 Subsequently, he developed his minimalist style that he is known for today. The beginning of his minimalist style is marked by the piano piece Für Alina in 1976. The piece can be characterized by extremely wide intervals with dissonances that do not need to be resolved. To go along with this, Pärt developed a system called tintinnabuli. Tintinnabuli is a simple compositional tool. It obeys the rule that one note from the tonic triad is always audible throughout the duration of the composition. The rule itself can be broken, but in general persists during a great portion of the composition. Each note in the triad is supposed to represent church bells of the
Russian ‘zvon’, a style of music where the bells are not tuned to a scale but rather various pitches that are either higher or lower.2 In Scintilla, notes from the G major triad are used for the tintinnabulation. However, it is the B in the G chord rather than the G that is
1 “David Pinkerton’s Arvo Pärt Information Archive,” accessed April 2, 2016, http://www.arvopart.org
2 Hillier Paul, Arvo Part (Oxford: Oxford University Press, 1997).
1 considered the root considering that note opens and closes the piece. With that in mind the subject of the tintinnabulation is a G major chord in first inversion.
For Marek to get his inspiration for the piece Scintilla from Arvo Pärt, he would have needed certain pieces by Pärt to inspire him. The three pieces that he used for inspiration were De Profundis, Für Alina, and Variations for the Healing of Arinushka. In an interview, Marek says he used Für Alina and Variations for the Healing of Arinushka as ideas for mood rather than compositional technique.3 These pieces are showcased in the first and second movements of Scintilla. Marek’s first movement takes the ideas of expansive ranged intervals. This idea stands out throughout the composition from
Variations for the Healing of Arinushka. At various moments of each composition high and low intervals seem to be randomly played throughout the piece around the almost static middle voice. In the third movement, it takes the idea of block chords that resemble the slow building and dissonant style of Für Alina. Another idea that Marek takes from
Für Alina is the notation of the score. Even though Für Alina was originally written on one stave, he later expanded it to multiple staves to give the voices clarity and uniqueness.4 In this same way, Marek followed the idea even though it is not something naturally seen on guitar. Marek wrote the piece on three staves to give clarity to the voicing.
The work De Profundis has the most influence on Scintilla. De Profundis is a piece that has a four part male choir with organ and various percussion instruments, such as bells. In the second movement of Scintilla, the longest movement of the piece, the
3 Pasieczny Marek, (E-mail message to author, March 28, 2016).
4 Ibid.
2 supertitle Psalm is written above it. This is especially important because De Profundis is written using the text from the 130 Psalm of the Bible. The words of this particular Psalm describe anguish. This is something that the second movement captures as the harmonies generate a sense of uneasiness. Arvo Pärt, an Orthodox Christian, has almost exclusively used Latin text in his works. Pärt, however, treats the text in a cold inexpressive view point in contrast to many other composers.5 Marek also based the first four entrances of the voices from the vocal lines of De Profundis.6 The guitar’s lowest string is tuned down to a low G in this composition. This is something that could be considered foolish, considering the guitar has a hard time staying in tune with a note that low. Additionally, the player must also pluck the string near the bridge, otherwise it is almost impossible to hear. The reason why the composition calls for this low string is to resemble the lower register of an organ, which is featured in De Profundis. Marek is clear in his intent of making the guitar mimic a choir, and in addition, when there are multiple notes on one stave, they also characterize the overtone series of church bells. Bells have such a complexity in sound that it can take multiple notes or even chords to give the resemblance of a bell’s overtones.7 In general, De Profundis is a work with anthemic quality; Marek achieves this by constantly building dynamics in this movement while simultaneously not resolving chords. Because of all these various ideas that are worked
5 Maxwell Steer, Music and Mysticism (Amsterdam: Harwood Academic Publishers, 1996).
6 Ibid.
7 Hillier Paul, Arvo Part (Oxford: Oxford University Press, 1997).
3 into the piece, it comes across as a work in the style of Arvo Pärt even though the harmonic choices themselves are not in Pärt’s style.
VALS Op.8 NO. 3 & 4
Agustín Barrios Mangoré is known as one of the most important guitarist composers in the first half of the twentieth century. It could be argued that as a guitarist he is equal in stature to Andrés Segovia. Being known as a man of culture, he studied many different disciplines, as well as many different cultures. He has been quoted as saying “One cannot become a guitarist if he has not bathed in the fountain of culture”.8
Due to his study of culture, his compositions range in many styles. Barrios pursued his interest in writing folk music of various different styles as well as using European compositional technique. Because Barrios traveled around South America so often, he wrote in the folk styles that he came across after immersing himself in the cultural ideas of the music. However, because he did go to school for composition, he also learned the
European style of composing.
Vals No. 3 and 4 represent two of Mangoré’s most famous works. These two pieces are part of Barrios’s only opus work. Two other valses accompany this work and had the nicknames Primavera and Junto a Tu Corazón, while Vals No. 3 and 4 do not have nicknames. None of these pieces have any relation to each other than the fact that they are all valses and sometimes share the same form. The first two are more closely related to Barrios’ folk style while the other two have elements that are more in the
European tradition.
8 Richard Stover and Agustin Mangore, Vals, Op. 8, No. 3: For Solo Guitar (Melville, NY: Belwin Mills, 1979).
4 Vals No. 3 is a valse in D minor. This valse is written in the European traditional style. In particular this composition is clearly related to the music of Chopin. Barrios valued Chopin’s music and imitated his style in many of his compositions. He even transcribed many of his pieces to the guitar, like Tárrega had also done. The A section of
Vals No. 3 is related to Chopin’s prelude in Op 28 No. 4. The fragmented melody in the
A section goes back and forth from A to Bb. This can be viewed as related to the weeping gesture in the Chopin prelude moving down in semitones throughout the piece. The other evidence that this piece is inspired by Chopin is the harmonic function of the chords. Not only is it highly chromatic but also most of the chords move only one or two notes at a time. This would parallel the Chopin prelude.
The B section of Vals No. 3 ventures away from imitating Chopin. In this section
Barrios brings a more orchestral style to the composition rather than to continue melody and accompaniment style that preceded it. After stating the opening chord in the B section, Barrios interjects obbligato parts in between the melody. These fragments could be viewed as cellos or other instruments interjecting during the slower parts of the violin lines. These lines constantly interact back and forth in order to contrast from the prior accompaniment style in the A section. The C section brings back some of the style of
Chopin but more as a influence rather than an outright imitation. This section seems to be more influenced by Barrios’ virtuosity rather than anything else. Barrios uses arpeggios mixed with carefully placed chromatic notes in order to display the true range of the instrument.
Vals No. 4 was also written in Barrios’ European writing style. Harmonies throughout this piece are again similar to the style of Europe romantic music at the time.
5 Dominant ninth and thirteenth harmonies, as well as dominant harmonies with altered fifths, are the most notable examples that are used within the piece. Even in the introduction it opens with these chords.
With the exception of the campanella section, there is nothing unusual about Vals
No. 4. Often the first thing musicians think of when they hear the word campanella is
Franz Liszt because of his famous etude La campanella, that is based off the works of
Paganini. However, the word campanella describes technique more than anything else. In
Italian the word means little bells. The word evokes the idea of notes ringing over each other just as they do when bells are played. Typically this technique is used for scales on the guitar to make the guitar sound like a harpsichord or any other instrument that has overlapping sonorities. However, Barrios uses it in an entirely different way. Instead he has a pedal tone on the open E string. With this he places a series of chords with a high degree of chromatics over the pedal tone. While this pedal tone is persisting in a campanella style there is a melody in the base. This melody keeps on rising, trying to reach the pedal tone until it finally does on the last note.
BWV 914
BWV 914 is a keyboard toccata written by Bach while he was still developing his compositional technique. It was most likely written in 1707 or 1708 when Bach was in his early twenties. During this time Bach went back to Weimar for the second occasion when Wilhelm Ernst, who was one of the dukes at the time in Weimar, hired him.9 He appointed Bach for the position of Court Organist. Later in his career there, he was
9 Christoph Wolff, Johann Sebastian Bach: The Learned Musician (Oxford: Oxford University Press, 2000).
6 promoted from this position. This period of time was when Bach spent time developing his compositional skills because some of his pieces were not as developed as those of his later periods.
BWV 914 is composition that is comprised of four well-defined sections, the first of these being the opening prelude. This section resembles many of Bach’s organ works.
One of the defining features is the use of space in the opening gesture. Every reiteration of this gesture grows higher and higher and then is followed by the grouping of chords that are falling away. It almost alludes to ideas used later in the famous Toccata and
Fugue in D minor. The prelude is written in the style of the time where it was more or less improvised rather than having each voice carefully planned out. For this reason the prelude could be interchanged with other preludes for performance practice reasons.
The second movement of BWV 914 is a three-voice fugue that is much more formal in nature than the previous prelude. In this section the rhythm is more complex and the interactions between the voices causes a degree of variability. The counterpoint in this section is strict, which comes as a contrast to the previous prelude. This fugue or fugato section, if observing the piece as a whole, is highly chromatic. It again contrasts with the opening prelude that is defined by not venturing far from the key of E minor.
Even though the fugato section is clearly in the key of E minor, the use of chromatic harmony leaves it unstable. The lack of resolution and the constant use of deceptive cadences also contributes to this instability.
7 The Adagio is considered the third movement in this composition. However, in one of the manuscripts known of this composition, the word “Praeludium” is written.10
This could indicate that this is actually the prelude or the start of this piece, explaining the idea that the first two movements were added on later and were not originally part of this toccata.11 This would explain why the first prelude is as short as it is, compared to the rest of the movements. Its length is an appropriate size for preparing the listener to the fugue but when comparing it to the rest of the composition it lacks in content to the rest of the movements. Because of these factors, BWV 914 could be considered two separate pieces. The main style of the third movement is defined by the brisé style. It has some similarities to the opening of the chromatic fugue by Bach. Cadences are often broken up into sizeable arpeggiations with various ornaments. It should also be noted that this section better fits as a prelude for this piece and transitions to the final fugue effortlessly.
BWV 914’s final fugue has one peculiarity that separates it from many of Bach’s compositions. This oddity is that the final fugues subject is borrowed from an anonymous
Italian piece.12 Not only was the subject taken, but the fugue also follows many of the compositional points from the source Italian work. At the time this was acceptable due to the fact that recomposing a work was considered flattery.13
10 Richard Douglas D P Jones, The Creative Development of Johann Sebastian Bach: Music to Delight the Spirit Volume 1: 1695-1717 (New York: Oxford University Press, 2006).
11 Ibid.
12 “Free Classical Music Online,” March 22, 2000, accessed April 3, 2016, http://www.classicalconnect.com/Piano_Music/Bach/Toccata/3165.
13 Ibid.
8 GRAND OVERTURE
Mauro Giuliani can be stated as one of the two most important guitarists during the nineteenth century and the last guitarist to have impact with the classical world until its revival with Francisco Tárrega. Even though his contributions to the guitar are important and are his most important contributions, the relationships that he created cannot be discounted as important to music history. Giuliani was very much engaged in the life and society of Vienna. For example, when he was writing his concertos for guitar,
Hummel helped him with the orchestration. Giuliani also participated in Schubert’s
Schubertiads, he would not only go to Schubert’s parties but collaborate with many of the people there including Schubert himself.14 One could also say that his lifestyle was similar to Schubert’s at the time. “As consequence of this affair was the birth, in 1807, of the composer’s only known illegitimate daughter, Maria Willmuth,”.15 It is conceivable to believe that Giuliani had more than one illegitimate child but only Maria Willmuth can be verified. More than anything else this proves that Schubert and Giuliani had a similar life style in regards to parties and sexual conduct. The most notable relationship in
Giuliani’s life would have to be with Beethoven. After the premiere of his first guitar concerto Beethoven noticed Giuliani, so much so that Beethoven wrote a few guitar
14 Thomas F Heck, Mauro Giuliani: Virtuoso Guitarist and Composer (Columbus: Editions Orphee, 1995).
15 “Michael Lorenz,” April 13, 2015, accessed April 2, 2016, http://michaelorenz.blogspot.com/2015/04/new-light-on-mauro-giulianis-vienna.html.
9 pieces for him.16 However, these pieces have been lost. Giuliani would even perform in the premiere of Beethoven’s 7th Symphony, playing the cello. Even though Beethoven is an exceedingly prominent figure in Giuliani’s life it was Rossini that would be the most important. Giuliani was close friends with Rossini. So much so that Rossini would give him original manuscripts of his works and then give him comments on Giuliani’s arrangements of his pieces.17 In total there are six different pieces named after Rossini himself called the Rossinianae. They are Op. 119-124 in Giuliani’s catalog. However, even though there are six pieces named after Rossini, there are many more written by
Giuliani in the style of Rossini. Rossini is easily Giuliani’s biggest inspiration based on how he writes.
The Grand Overture is clearly also written in the style of any prototypical Rossini
Overture. It opens in a slow intro in A minor with ostinato in the base. This would be similar to La Cenerentola that it opens in the minor key even though after a short amount of time it moves to the parallel major. After the minor introduction it moves into a sonata form that has no real deviations from the form. In the first theme, Rossini’s style is highlighted in Giuliani’s rhythms and articulation. It also should be noted that like
Rossini, Giuliani uses harmonies of the earlier classical period in this piece rather than to move in the romantic direction as many composers started to do at the time. It mostly moves back and forth with tonic to dominate relationships. The transition has similarities
16 Chris Woodstra, Allan Schrott, and Gerald Brennan, eds., All Music Guide to Classical Music: The Definitive Guide to Classical Music (San Francisco, CA: Distributed to the book trade in the US and Canada by Publishers Group West, 2005).
17 "Guitar Composers of the Classical and Early Romantic Period Circa 1780-1900." Guitar Composers of the Early Romantic Era. Accessed April 3, 2016. http://www.earlyromanticguitar.com/erg/composers.htm#giuliani.
10 to that of The Barber of Seville. The use of fragmented short melodies permeates this section, until it reaches the second theme in the dominant key. The second theme uses arpeggio triplets as an effect to mimic the orchestra. These triplets, if orchestrated, would be the string section playing tremolo. Once it reaches the development, mimicking the orchestra is the main focus of the accompaniment in the Grand Overture. This can be best illustrated by the Alberti bass in the first part of the development. Afterwards, there is nothing new in the recaptulation; even the coda follows the prototypical idea of speeding up to a virtuosic frenzy. Even though this piece is straightforward or trivial in how it is written there is still a lot of charm in the writing, something that cannot be quantified by any analysis. This is something that both Rossini and Giuliani’s works both excel at creating. Even though both composers wrote in a more traditional style that was outdated by the time, they still had successful careers.
FANTASIA BASED ON THE THEMES FROM VERDI’S LA TRAVIATA
One of the biggest controversies of this piece is who actually wrote this work.
There are two possibilities: Julian Arcas or Francisco Tárrega. It is said that Tárrega took
Arcas’s works and then wrote them down for profit. Even though it is possible that he did not mean to steal these works, that is what it could be viewed as today. Consequently, because it is written in Tárrega’s hand, it was previously thought to be Tárrega’s work.
Tárrega was known to write works for his students. He would either make arrangements or just write someone else’s work for his students to use. Tárrega was also one of Arcas’ students, and as such, he would have mostly likely had access to Arcas’ works.18 He
18 Wade Graham, Traditions of the Classical Guitar (London: Calder, 1980).
11 could have copied them for future use. In general, when looking at both composers’ works they are exceptionally hard to tell apart. This shows that Julian had great influence over his student in one way or another. In any case there is no way to really verify who wrote what at this point, but it is important to know that this piece can be attributable to these two composers.
La Traviata is a tragic opera written by Giuseppe Verdi. In the opera, Violetta is getting ready for a party. At this party her long time admirer Alfredo confesses his love for her. She initially refuses but then accepts his love. Alfredo and Violetta are reunited after events tear them apart but it is too late and she dies from tuberculosis. This fantasia borrows three main themes from La Traviata. The first of these three is La Traviata’s prelude. It copies the opera rather closely. It almost looks like it is a transcription. This takes up the first thirty-two measures of the guitar piece. Violetta is getting ready for the party that is about to happen at her estate while the prelude is going on. Because there is a scene going on during the prelude and there is only one theme with in the prelude it cannot be considered an opera overture.
Measures fifty through eighty contain the aria “Teneste la Promessa”. This aria takes place at the beginning of Act Three. During this aria Violetta is reading a letter from Giorgio. The letter explains to Violetta that Alfredo has been in a duel with Baron
Douphol, who was Violetta’s former lover and Alfredo’s rival. Only the Baron was injured but more importantly Giorgio admits his faults in the letter and informed Alfredo that he should go see Violetta. At measure ninety-two through one hundred and eighteen of the guitar work comes one of the most popular arias with in the opera, “Sempre
Libera”, translated to “always free”. In the opera it comes at the end of Act One after
12 Alfredo confesses his love to Violetta. After the party she sings this aria contemplating whether Alfredo is the one that she is supposed to love. She states that she is destined to be free. However, this changes as soon as Act Two starts.
One of the most interesting points about Fantasia based on the themes of La
Traviata is which themes were chosen for this work. Even though Tárrega chose some of the well-known pieces within the opera he did not include some of the most popular arias in it and instead chose lesser known arias. The most notable aria that is missing is
“Libiamo Ne’lieti Calici”. This is especially true because “Teneste la Promessa” is not as well known as “Libiamo Ne’lieti Calici”. The reasoning for the arias that are chosen is due to the contour of the guitar work. It alternates from major to minor and then back to major. The order of the tempos is also fast-slow-fast. If the composer, either Arcas or
Tárrega, chose to put in “Libiamo Ne’lieti Calici” instead of “Teneste la Promessa” then it would ruin the different moods that the work traverses. Instead it would be an onslaught to the senses of constant virtuosity. This also explains the order of the arias within the guitar work. Even though “Teneste la Promessa” comes later in the opera because it is a slow aria it works perfectly in the middle of the guitar fantasia, giving a break to the listener as well as giving them more variety of emotions. All these considerations show that the composer was more focused on making a well-rounded composition that would remind listeners about the opera rather than a potpourri of famous arias that do not go together.
INTRODUCTION & VARIATIONS SUR UN THEME DE L’OPERA DER
FREISCHÜTZ
13 Introduction & Variations sur un thème de l’opera Der Freischütz is much like many guitar pieces written at the time. Because opera was so prominent at the time, like movies are today, people would write music based on the famous themes that they heard.
Composers like Giuliani and Mertz had many different works that are based on different opera themes. Each of them had a mature style that developed because of how many of these types of pieces that they had written. This is where peculiarity starts to creep in on this work. It is one of only three guitar works by Karel Arnolodus Craeyvanger. Of these three works one is a set of nocturnes. Another work, that is missing, was based on a
Schubert theme. The final guitar work is the piece stated above.19 In particular this piece is surprisingly well put together considering the amount of music that he wrote for guitar.
This would lead some to believe that other works were lost or just not published. Others could assume that he himself did not write the work and that a modern artist wrote the entire work, as Tilman Hoppstock did, creating an entire fake bio for a composer.
Because of Tilman Hoppstock’s previous falsified information many are skeptical of
Craeyvanger’s credibility.
Even with this skepticism it is hard to deny the overwhelming amount of information found in Netherland records of his existence. His father Gerardus
Craeijvanger was a violin teacher that was alive from 1775 to 1855.20 Gerard
Craeijvanger’s existence can be proven with his one published work that is a string
19 Johannes Moller, Introduction & Variations on a Theme from Der Freischutz (Heidelberg: Chaterelle, 2011).
20 Ibid.
14 quartet in the key of C major.21 The general thought is that Karel’s father taught him music, and violin in particular. It should be noted that Karel’s main instruments were violin and voice, not guitar. This would also contribute to the fact that he did not have a large collection of guitar works because it was not his main instrument. In 1833 he was appointed a violinist in the Collegium Musieum Orchestra of Ultrecht.22 There are various concert reviews of his violin playing as well as other reviews that give evidence that he also sang and played guitar as well at these concerts. Besides his few guitar works, Karel wrote a much greater number of choral works. Most of them were published by Th. J. Roothaan, who was the primary publisher for many small Dutch composers at the time. Richard Hol is an example of another composer published by Th. J. Roothaan.23
Karel’s greater output of vocal music can be explained by the knowledge that he ran three different choral societies during his life :Apollo, Aurora, Duo Apolline.24 With this information it is clear that Craeyvanger was a prototypical musician of the time, and was well versed in many instruments at the time and not just one instrument like musicians of today.
Der Freischütz is an early German romantic opera. It was composed by Carl
Maria von Weber and premiered in 1821. In the story there is a forester named Max that is in love with a woman named Agathe. In order to win her hand in marriage he must win
21 “Category: Craeijvanger, Gérard - IMSLP/Petrucci Music Library: Free Public Domain Sheet Music,” accessed April 2, 2016, http://imslp.org/wiki/Category:Craeijvanger,_Gérard.
22 Moller.
23 Sonneck O.G., Orchestral Music (Washington: Govt. Print. Off., 1912).
24 Moller.
15 a shooting competition. However evil forces are trying to trick him into loosing his life and love. In particular the theme used in Craeyvanger’s theme and variations is “Leise, leise, Fromme Weise” meaning, “Softly sighing, day is dying”.25 This aria is a prayer that
Agathe sings in Act Two. She waits to hear from Max about his shooting but in the meantime is singing next to a window waiting.26 This aria in particular is extravagant in its word description. There is an abundance of words describing the scenery of the mountains, stars, and trees.27 This is something to be expected due to the rustic nature of the opera and German opera in general, which often focuses on the elements of fantasy.
CONCLUSION
Guitar is an instrument that has the capability to emulate many different styles or instruments. The only way to be truly successful at conveying these ideas on the instrument is to understand the history and background of these pieces. Each one of these pieces has a unique approach and style to play them. When playing Scintilla it is important to understand how choirs sing where as when playing valses it is important to understand how to make them dance. The first half of this recital was formed in a way to give the listener variety while listening. This was achieved through playing three unique different styles that range four hundred years apart. The second half of the recital was themed to be a miniature opera. This was done by first opening with an overture and then
25 "Album Reviews." accessed April 3, 2016, https://www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.572715.
26 Ibid.
27 “Aria Database - Search the Database,” 1996, accessed April 3, 2016, http://www.aria- database.com/search.php?individualAria=587.
16 playing two longer compositions that act like two separate acts. Even though the second half of the recital seems to have less variety, the music that is played is from different regions with differing writing aesthetics. This recital was created in a way to showcase the range of the classical guitar as an instrument not bound to one style but an instrument capable of representing many different disciplines.
17 BIBLIOGRAPHY
"Category:Craeijvanger, Gérard." - IMSLP/Petrucci Music Library: Free Public Domain
Sheet Music. Accessed April 2, 2016.
http://imslp.org/wiki/Category:Craeijvanger,_Gérard.
"Guitar Composers of the Classical and Early Romantic Period Circa 1780-1900." Guitar
Composers of the Early Romantic Era. Accessed April 3, 2016.
http://www.earlyromanticguitar.com/erg/composers.htm#giuliani.
Heck, Thomas F. Mauro Giuliani: Virtuoso Guitarist and Composer. Columbus: Editions
Orphée, 1995.
Hillier, Paul. Arvo Part. Oxford: Oxford University Press, 1997.
Jones, Richard Douglas D P. The Creative Development of Johann Sebastian Bach:
Music to Delight the Spirit Volume 1: 1695-1717. New York: Oxford University
Press, 2006.
Kind, Friedrich. "Aria Database - Search the Database." Aria Database - Search the
Database. Accessed April 2, 2016. http://www.aria-
database.com/search.php?individualAria=587.
18 Kuschnerova, Elena. “Free Classical Music Online.” March 22, 2000. Accessed April 3,
2016. http://www.classicalconnect.com/Piano_Music/Bach/Toccata/3165.
Lorenz, Michael and View my complete profile. “Michael Lorenz.” April 13, 2015.
Accessed April 2, 2016. http://michaelorenz.blogspot.com/2015/04/new-light-on-
mauro-giulianis-vienna.html.
Mangoré, Agustín Barrios, and Richard D. Stover. Vals, Op. 8, No. 3: For Solo Guitar.
Melville, NY: Belwin Mills, 1979.
Moller, Johannes, and Tom Edskes. Introduction & Variations on a Theme from Der
Freischutz. Heidelberg: Chaterelle, 2011.
Pasieczny, Marek. "Thesis." E-mail message to author. March 28, 2016.
Pinkerton, David. "David Pinkerton's Arvo Prt Information Archive." Accessed April 2,
2016. http://www.arvopart.org/.
Sonneck, O. G. Orchestral Music (Class M1000-1268) Catalogue. Scores. Washington:
Govt. Print. Off., 1912.
Steer, Maxwell. Music and Mysticism. Amsterdam: Harwood Academic Publishers, 1996.
19
Wade, Graham. "Album Reviews." Naxos Classical Music. Accessed April 3, 2016.
https://www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.572715.
Wade, Graham. Traditions of the Classical Guitar. London: Calder, 1980.
Wolff, Christoph. Johann Sebastian Bach: The Learned Musician. Oxford: Oxford
University Press, 2000.
Woodstra, Chris, Gerald Brennan, and Allen Schrott. All Music Guide to Classical
Music: The Definitive Guide to Classical Music. San Francisco, CA: Backbeat
Books, 2005.
20 Appendix: PROGRAM
Scintilla…………………………………………………………………..Marek Pasieczny
Vals Op.8 No3 and 4……………………………………………………..Barrios Mangoré
BWV 914……………………………………………………………………..…..J.S. Bach
Intermission
Grand Overture………………………………………………………..……Mauro Giuliani
Fantasia based on the themes from Verdi’s La Traviata………………...Francisco Tárrega
Introduction & Variations sur un thème de l’opera Der Freischütz…….. Karel Arnolodus
Craeyvanger
21