Andrés Segovia´S Influence in the Realization of Mario

Andrés Segovia’s Influence in the Realization of Mario Castelnuovo-Tedesco's Sonata Omaggio a Boccherini, Op. 77: A Comparative Analysis of Tedesco's Manuscript Versus Segovia’s Edition

Item Type text; Electronic Dissertation

Authors Meza Peraza, Pavel Francisco

Citation Meza Peraza, Pavel Francisco. (2020). Andrés Segovia’s Influence in the Realization of Mario Castelnuovo-Tedesco's Sonata Omaggio a Boccherini, Op. 77: A Comparative Analysis of Tedesco's Manuscript Versus Segovia’s Edition (Doctoral dissertation, University of Arizona, Tucson, USA).

Publisher The University of Arizona.

Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author.

Download date 07/10/2021 04:25:26

Link to Item http://hdl.handle.net/10150/648612 ANDRÉS SEGOVIA´S INFLUENCE IN THE REALIZATION OF MARIO

CASTELNUOVO-TEDESCO´S SONATA OMAGGIO A BOCCHERINI, OP. 77: A

COMPARATIVE ANALYSIS OF TEDESCO´S MANUSCRIPT VERSUS SEGOVIA´S

EDITION

Pavel Francisco Meza Peraza

______

A Document Submitted to the Faculty of the

FRED FOX SCHOOL OF MUSIC

In Partial Fulfillment of the Requirements

For the Degree of

DOCTOR OF MUSICAL ARTS

In the Graduate College

THE UNIVERSITY OF ARIZONA

2020 2

THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE

As members of the Doctor of Musical Arts Document Committee, we certify that we have read the document prepared by: titled: and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts.

______Date: ______

Final approval and acceptance of this document the final copies of the document to the Graduate College.

I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement.

______Date: ______

ACKNOWLEDGEMETS

I want to express my gratitude to the people that have been involved and helped in different ways during the realization of this project.

To Professor Thomas Patterson for the mentoring, encouragement, and boundless patience during my entire process of study.

To my committee members: Dr. Philip Alejo, and Professor Timothy Kantor for their feedback and advice in the writing process of this document.

To Dr. Janet Sturman for the invaluable support and counsel during my doctorate journey.

To Dr. José Luis Puerta and Dr. John Brobeck for their endless assistance and prompt advice.

Dr. Gabriel Navia for his help with the music analysis, and to Julia Pernet for her proof reading assistance.

TABLE OF CONTENTS

ABSTRACT ...... 6

PART I. BACKGROUND AND OVERVIEW ...... 7

The collaborative relationship between Mario Castelnuovo-Tedesco and Andrés Segovia ...... 7

The guitar music of Tedesco 1932-1939 ...... 9

The genesis of Omaggio a Boccherini ...... 12

Segovia’s editing practices ...... 16

The facsimile score of Sonata Omaggio a Boccherini, op. 77 ...... 24

PART II. ANALYSIS OF THE FORMAL AND STYLISTIC ELEMENTS OF SONATA

OMAGGIO A BOCCHERINI, OP. 77...... 26

Tedesco´s compositional style and his Sonata op. 77 ...... 26

Features of Boccherini’s compositional style in Sonata op. 77 ...... 27

Analysis ...... 30

I. Allegro con spirito ...... 30

II. Andantino, quasi canzone ...... 40

III. Tempo di minuetto ...... 46

IV. Presto furioso ...... 50

PART III. COMPARISON OF SOURCES...... 57

I. Allegro con spirito ...... 58 5

II. Andantino, quasi canzone ...... 72

III. Tempo di minuetto ...... 75

IV. Presto furioso ...... 82

CONCLUSION ...... 92

APPENDIX ...... 94

BIBLIOGRAPHY ...... 98

ABSTRACT

Sonata Omaggio a Boccherini, op. 77 by Mario Castelnuovo-Tedesco (1895-1968) is considered as one of the most important sonatas for guitar of the twentieth century, composed at the request of Spanish guitarist Andrés Segovia (1893-1987). Until recently, the standard edition of Sonata Omaggio a Boccherini, op. 77 was only available in

Segovia´s edited version published by Schott, yet the discovery of the autograph and the publication of this facsimile makes it possible to reassess Tedesco’s original intentions for this work. This document provides an insight into the collaborative relationship between

Mario Castelnuovo-Tedesco and Andrés Segovia and the creative process through the realization of this Sonata. This study will examine and compare the existing sources of

Sonata Omaggio a Boccherini, op. 77 to offer performers with a critical view of the work.

The comparison will discuss primarily the criteria Segovia used in his edition; the differences between the two main existing sources of the work (i.e. Tedesco’s manuscript and Segovia’s edition); and the practicality of its performance. In addition, this document offers a musical analysis in which the influences of Luigi Boccherini (1743-1805) in

Sonata op. 77 will be discussed.

PART I. BACKGROUND AND OVERVIEW

The collaborative relationship between Mario Castelnuovo-Tedesco and Andrés Segovia

Mario Castelnuovo-Tedesco (1895-1968) is regarded as one of the most important composers for the classical guitar in the twentieth century. His musical production is vast, and music written for the guitar forms a sizeable portion of his compositional output.1 A considerable number of his guitar works are frequently performed and recorded worldwide, and some of them have become part of the canon of the modern guitar. Along with Manuel

M. Ponce, Federico Moreno Torroba, Joaquín Turina and Heitor Villa-Lobos, Castelnuovo-

Tedesco was among the composers who built a collaborative relationship with Andrés

Segovia (1893-1987), which resulted in a flourishing creation process and a new repertoire for the classical guitar. Tedesco was one of those composers who “aided Andrés Segovia in his mission to expand the guitar’s repertoire beyond the meager collection available at the beginning of Segovia’s long career by composing many works expressly for him. All of this is remarkable considering that Castelnuovo-Tedesco was not a guitarist”. 2

Castelnuovo-Tedesco and Andrés Segovia met in 1932 during an international music festival in Venice, Italy. Their relationship began with the composition of a first guitar work: Variations à travers les siècles, op. 71 (1932). To the delight of Segovia,

Tedesco proved to be quite proficient in writing for the guitar. “The guitarist was so satisfied that he played the work in all of his concerts that season, and thereafter, Segovia

1 Peter Higham, "Castelnuovo-Tedesco's Works for Guitar" (MM thesis, University of Alberta, Canada, 1977), 1.

2 Matthew Michael Anderson, “An Analysis and Performance Edition of Mario Castelnuovo- Tedesco´s Rondo for Guitar, Op. 129” (DMA diss., University of Georgia, 2011), 1. 8 annually requested a new composition from the Maestro.” 3 The relationship between these musicians was long and prolific and lasted until Tedesco´s death in 1968.

The lifetime collaborative relationship between Castelnuovo-Tedesco and Segovia resulted in a considerable number of guitar works that were expressly composed for the illustrious Spanish guitarist. Over a period of about three decades, Tedesco composed works that would become Segovia´s regular repertoire and that eventually turned out to be standard repertoire for all classical guitarists. The guitar works composed by Tedesco during those years were molded at Segovia´s request and to his musical taste and were consequently composed in a neo-classical/neo-romantic style. Their relationship is to be considered exemplary of an ideal association between composer and performer.

In order to illustrate the extent of this collaboration, a listing of Castelnuovo-

Tedesco´s compositions for guitar is provided.4 This list indicates the works that were composed for Segovia in a chronological order. Nonetheless, it is also important to mention that not all of Castelnuovo-Tedesco´s guitar compositions were written only for Segovia.

A number of works composed for and with guitar were written for other guitarists who eventually made association with Tedesco, especially in his later years.

List of guitar compositions dedicated to Andrés Segovia:

. Variazioni attraverso i secoli (Variations à travers les siècles), op. 71 (1932)

. Sonata Omaggio a Boccherini, op. 77 (1934)

. Capriccio Diabolico (Omaggio a Paganini), op. 85a (1935)

3 Stephen A. Gray, “The Solo Guitar Music of Mario Castelnuovo-Tedesco: A Survey” (MM thesis, San Jose State University, 1978), 23.

4 A complete list of guitar works is provided as an Appendix at the end of this document. 9

. Tarantella, op. 87a (1935)

. Aranci in fiore, op. 87b (1935)

. Variations plaisantes sur un petit air populaire, op. 95 (1937)

. Concerto in D (guitar and orchestra), op. 99, (1939)

. Rondò, op. 129 (1946)

. Suite, op. 133 (1947)

. Guitar Quintet (guitar and string quartet), op. 143 (1950)

. Fantasia for Guitar and Piano, op. 145 (1950)

. Sérénade pour guitar et orchestra de chamber, op. 118 (1943)

. Capriccio Diabolico Omaggio a Paganini (Guitar and orchestra), op. 85a (1945)

. Concerto Sereno (Secondo concerto in Do) per chitarra e orchestra, op. 160 (1953)

. Tonadilla sur le nom de Andrés Segovia pour guitare seul, op. 170 no. 5 (1954)

. Passacaglia Omaggio a Roncalli, op. 180 (1956)

The guitar music of Tedesco 1932-1939

Tedesco´s early guitar works were composed between the years 1932 through 1939, at the beginning of a lifelong collaboration with Andrés Segovia and before Tedesco´s permanent migration to the United States at the outbreak of the Second World War in

Europe, in 1939. The guitar works from this period are among Tedesco´s most important compositions for the instrument. Sonata Omaggio a Boccherini, op. 77, Capriccio

Diabolico, op. 85, and Tarantella, op. 87a, along with the Concerto in D for guitar and orchestra op. 99 are widely considered as his finest compositions, and are frequently found in recital programs, recordings, and guitar competitions. 10

An interesting aspect regarding these early works is the fact that some of the manuscript scores of Tedesco´s guitar music from that period remained missing for years.

Only recently, after the opening of the Andrés Segovia archives in Linares, Spain, the manuscript scores of many works that were written for Segovia were discovered and published, including the manuscripts of works such as Sonata Omaggio a Boccherini op.

77, Tarantella op. 87, and Capriccio Diabolico op. 85. In the light of these discoveries, it is now possible to assert that the manuscripts reveal alterations in the Segovia editions.

Sonata Omaggio a Boccherini, op. 77 is considered one of the most important sonatas written for guitar in the first half of the twentieth century. Its length, treatment of its thematic material and overall design make it stand out when compared to other guitar sonatas of the same period. Omaggio a Boccherini is comparable in stature to the guitar sonatas composed by Antonio José (1933) and Joan Manén (1929). Other sonatas from the same period by composers such as Manuel M. Ponce and Joaquín Turina, are generally more brief and concise in their treatment of sonata form. 5

Capriccio Diabolico op. 85 (1935) and Tarantella op. 87a (1936) are also some of

Tedesco´s emblematic masterpieces. Both works became standard works for Segovia, in which he displayed his characteristic sound and phrasing. “The Capriccio Diabolico was, like others, the response to a precise request from Andrés Segovia, who had suggested that the composer should write a tribute to Paganini. Segovia was quick to perform both the

Capriccio Diabolico and the Tarantella in his concerts, works that became part of the core

5 Corey E. Whitehead, “Antonio José Martínez Palacios´ Sonata for Guitar (1933): An Analysis, Performer´s Guide and New Performer´s Edition” (DMA Document, University of Arizona, 2002), 31. . 11 of his concert repertoire.” 6 According to Angelo Gilardino, a controversy between composer and guitarist was generated by Segovia´s modifications to the original manuscript of Capriccio Diabolico:

The present writer received letters in which [Tedesco] clearly expressed his desire that other guitarists should see the original scores prior to their publication with Segovia's corrections, which he always considered had been forcibly extracted from him, even though he naturally had unconditioned respect for Segovia…. The changes made by Segovia - aimed at making certain passages more fluent and cantabile to suit his style of playing - led to a sort of de-structuring of the piece, and since Castelnuovo-Tedesco was a composer who never wrote a single note without it having a precise reason for being there, one can easily understand that the overall shape of the piece was weakened. This left the composer dissatisfied and in 1945 he attempted to recover the work by preparing a version for guitar and orchestra (op. 85/2). 7

Tarantella op. 87a was destined to become Castelnuovo-Tedesco's most popular work for solo guitar. 8 Along with Capriccio Diabolico, Tarantella appeared to be heavily corrected by Segovia. Angelo Gilardino´s edition based on the original manuscripts of both works reveals and explains Tedesco´s original intentions, along with Segovia´s modifications.

In 1939, prior to departing to the United States, Tedesco composed his Concerto in

D, op. 99. It is important to note that this was the first concerto written for Segovia, and it remains among the three or four concertos most often performed. These early works became part of the core repertoire of Segovia, who not only made the world premieres but also made the first recordings and would continue to perform them throughout his career.

6 Mario Castelnuovo-Tedesco, Capricho Diabolico and Tarantelle, New edition based on the original manuscripts, eds. Angelo Gilardino and Luigi Biscaldi (Milan: Ricordi, 2006), 1.

7 Ibid., 2.

8 Ibid., 4. 12

The genesis of Omaggio a Boccherini

Following the composition of Variations à travers les siècles in 1932, Segovia’s request for a new work arrived soon with the added suggestion: “your great countryman,

Boccherini, loved the guitar very much and he wrote for this instrument. Why not compose a work in homage to Boccherini? I would like you to compose an important piece of music: a sonata in four movements of different tempi.” 9 This request by Segovia follows one of his main artistic goals: the commission of new, large-scale guitar works that would contribute to position the guitar as a serious concert instrument. Sonata Omaggio a Boccherini, op. 77 belongs to a period when Segovia commissioned a series of works in sonata form from various composers including Manuel M. Ponce (1882-1948) and Joaquín Turina (1882-

1949).

Tedesco promptly started composing, and he wrote the sonata between November

1934 and March 1935. About the Sonata Omaggio a Boccherini, op. 77, Peter Higham states:

Castelnuovo-Tedesco's second work for the guitar was on a much larger scale…Despite its earlier guitar composition, it remains one of the better known and most well regarded of the guitar works…The first movement, Allegro con spirito, comprises two themes in sonata form…the third movement, Tempo di Minuetto, recalls the spirit of the music of its dedicatee; the final movement is fast and energetic, perhaps also hinting Boccherini's Spanish influences. A march-like section, which returns at the end, finishes the sonata with vigor.10

9 Angelo Gilardino, “Osservazioni sulla Sonata op. 77 Omaggio a Boccherini di Mario Castelnuovo- Tedesco,” Il Fronimo no. 71 (April 1990): 1.

10 Peter Higham, “Castelnuovo-Tedesco’s Works for Guitar” (MM thesis, University of Alberta, Canada, 1977), 13-14.

Upon completion of the Sonata Omaggio a Boccherini, op. 77, Tedesco sent it to

Andrés Segovia (at the time living in Barcelona, Spain) who revised and provided fingerings for the Schott-Mainz edition, who published it in 1935 as part of the “Gitarren

Archive” (“Andrés Segovia Collection”). Segovia’s edition of Omaggio a Boccherini, with the marking “Fingered by Andrés Segovia,” has become the standard edition of this work, and has been widely performed and recorded.

Tedesco was already a mature composer by the time he started his relationship with

Segovia. Neither a guitarist nor familiar with guitar writing at that time, he learned the features of the instrument with the aid of Segovia and soon started composing for the guitar. During the composition process, Tedesco often wrote to Segovia to discuss his guitar writing. Segovia would propose adjustments to a particular work in process, in most cases to make it more idiomatic for the guitar. Peter Segal comments on this fruitful composer-performer relationship: "In Castelnuovo-Tedesco [Segovia] found a composer who could write in a style which agreed with his tastes but who was unable to subsume his personality beneath that of the guitarist."11 This assertion demonstrates that Tedesco was someone who wanted to keep the integrity of his works. At times, however, Segovia initiated changes without consulting Tedesco, “aimed at making certain passages more fluent and cantabile to suit his style of playing," and he adjusted said passages to his technical skill and/or musical taste.12 In addition to fingerings, some of the collaborative scores reveal substantial musical alterations. These modifications are reflected in elements

11 Peter E. Segal, “The Role of Andrés Segovia in Re-Shaping the Repertoire of the Classical Guitar” (D.M.A. diss., Temple University, 1994), 74.

12 Mario Castelnuovo-Tedesco, Capricho Diabolico and Tarantelle, 2.

14 such as chord re-voicings, note omissions, note changes, harmony and counterpoint deletion, arpeggio edits and melodic modifications, and sometimes even the deletion of measures or entire sections.

During the creative process of Sonata op. 77, there was an exchange of letters in which both composer and performer would discuss the overall shaping of the work. In a letter to Andrés Segovia, dated on December 12th, 1934, Tedesco comments on several points:

My dear Andres.

Thank you for your letter. I went over the "Sonata ", and indeed I had almost forgotten it over these last months ..., it still impresses me as being quite all right. I re-edited the arpeggios in the '"Andantino- and hope that by lifting them one octave higher they may sound better. I added a few chords in the closing section of the "Finale" you'll choose from among the three versions as best suits you). I think that should do. I am hesitant as to what / should do with the "Minuetto": the "Trio" and the repeat are indeed a bit shorter (I had told you so from the very outset ... ), above all if one deals with them separately; yet, since the other movements are rather long, it is not altogether to be regretted the "Minuetto" isn't too stretched out. At any rate, I will lengthen the repeat and I'll do so by playing from Tempo to page 6 (instead of page 9) up to the sign /. Should you wish the Trio as well to be longer, I'd suggest a "double” of the "Trio”, which I wrote on page 9bis. It´s charming enough, I believe, but I frankly don´t know whether it would sound better on the higher or in the lower octave (perhaps it would be best played once on the treble notes and once an octave lower): after all it is all a matter of taste and of sonority, and I leave this matter entirely in your hands. Needless to say I'd be delighted if you recorded the "Minuetto" and the "Finale": it is such a rare joy to hear you perform that it will be a real treat to have you play, as it were... at home. Send me the final draft whenever you have it ready. Meantime kindly present my greetings to Mrs. Segovia along with my warmest and affectionate feelings for you. Yours, Mario.13

13 Mario Castelnuovo-Tedesco, Sonata “Omaggio a Boccherini,” op. 77, ed. Angelo Gilardino (Ancona: Bèrben, 2007), 5.

Taking into consideration that Sonata op. 77 was only the second guitar work by

Tedesco and that at this time, his relationship with Segovia was still incipient, it can be inferred that Segovia might have felt at liberty to amend Tedesco´s score to his personal taste, as he often would proceed with works that were written for him. Eager to premiere this music, it seems as if Segovia was prompt in revising and sending to publication, without further discussion and final check by Tedesco, even though the composer had requested Segovia to “send him a draft whenever is ready.” In the foreword to the new edition based on the original manuscripts of Capriccio Diabólico and Tarantella by

Castelnuovo-Tedesco, Angelo Gilardino states the following:

It is likely that Castelnuovo-Tedesco accepted Segovia´s corrections, though this does not necessarily mean that he preferred the altered score to the original. In fact [Gilardino] received letters in which the composer clearly expressed his desire that other guitarists should see the original scores prior to their publication. 14

Moreover, this incident generated a controversy and eventual hiatus between composer and performer:

Somehow the composer's discontent became known to Segovia who, in an undated letter to the composer in the spring of 1959, threatened never to play his friend's music for guitar again, as he didn't want to upset him with any unappreciated performances. Castelnuovo- Tedesco replied to Segovia loyally and firmly and in a letter dated the 3rd of May 1959 (when he happened to be in Florence) he reasserted his esteem for the great guitarist and his enormous appreciation for how Segovia performed his music - except in the Capriccio diabolico. In other words, to achieve his reconciliation, the composer was not willing to pay the price of hypocrisy (by hiding his opinion of what Segovia had done to the piece in 1935). 15

14 Mario Castelnuovo-Tedesco, Capricho Diabolico and Tarantelle, 9. 15 Ibid., 9. 16

After Sonata op. 77, Capriccio Diabolico and Tarantella were the following guitar works that Tedesco wrote for Segovia. Bearing in mind the chronological proximity, along with the aforementioned recent evidence of Segovia´s revisions regarding the latter works, it is reasonable to think that during the creation process of

Sonata op. 77 some things might have not been thoroughly discussed, and that even though Tedesco might have abided to Segovia´s editing, perhaps he did so not entirely convinced.

It is also important to mention that, although Sonata op. 77 does not appear to have been drastically altered when compared to Capriccio Diabolico, the revisions made by Segovia are not to be ignored nor can they considered to be irrelevant in the overall scheme of the work. Therefore, an assessment of Andrés Segovia´s editing practices, along with an examination of the manuscript score becomes necessary for the purpose of this study.

Segovia’s editing practices

The role of Andrés Segovia in creating a new repertoire was critical in realizing his dream for the guitar to be considered a serious concert instrument. This new repertoire, along with Segovia´s virtuosity and charisma, attracted larger and larger crowds in major concert halls, which generated enthusiasm among composers to write guitar music.

Dissatisfied with most of the guitar repertoire of the nineteenth-century, Segovia undertook the task of soliciting works from various twentieth-century composers. He 17 engaged in collaboration with composers that he deemed would write music according to his demands and musical taste. 16

The relationships with the composers who wrote music for Segovia would be a symbiosis in which Segovia played the role of “the instrumental virtuoso/interpreter who contributed to the process of “commissioning”, composing, editing, performing, recording, and publishing musical compositions. As a result of Segovia´s immense appetite for new repertoire, this process was repeated countless times to the point that the guitar´s literature would undergo a dramatic change.” 17 Many of the works that Segovia commissioned during the first half of the twentieth century, particularly between the 1920s and 1930s, became the core of his repertoire. Notable compositions from this period include the four guitar sonatas and Variations sur La Folia de España et Fugue by Manuel M. Ponce,

Joaquín Turina´s Sevillana (Fantasía) and Sonata op. 61, and Sonatina by Federico

Moreno Torroba, among others. In addition to premiering these new works, Segovia would subsequently publish and record the music which generated further interest and enthusiasm for the instrument. These activities “…constituted a turning point in the complexion of the guitar repertoire which characterizes the instrument to this day.” 18 Segovia´s position as the pre-eminent guitarist of the twentieth century stands unchallenged. His role in the development of the literature of the instrument is not without criticism, however. 19

16 Within the context of the 20th-century, Segovia is considered in a general sense as a conservative.

17 Segal, 5.

18 Ibid., 19.

19 Ibid., 5.

Segovia´s role as a music editor is critical to the understanding of the repertoire that he commissioned. Most of the works that were written for Segovia were published only after his revisions. In his editions published by Schott, Segovia provided fingerings, as well as string indications. His editorial decisions clearly portrayed his aesthetics and provide an insight into his style as a performer and his approach to phrasing and tone color. His editorial work has raised interest and at times controversy from guitarists and scholars alike.

The work of guitarists and musicologists in discovering and publishing the original manuscripts has revealed that Segovia had a history of making significant editorial changes to the music. It seems as if “the intersection between composer and performer was not always clearly defined. While each performs a necessary function in the creative process, a question arises when the creativity of the one is interfered with by the self-interests of the other.” 20

A comparative analysis of the manuscripts and the Segovia editions of Manuel M.

Ponce, whose collaboration with Segovia preceded Tedesco´s by nearly a decade, reveals the extent of Segovia´s revisions. In the prologue to Ponce´s Complete Works for Guitar

According to the Original Manuscripts, Miguel Alcázar states the following:

Whenever a text is transmitted, or communicated by any means, a variation may occur because occasionally editors, copyists or even performers, are not careful enough with the source itself. By omitting certain items, by trying to correct something that is considered wrong, or perhaps by not knowing the style and context in which a text was originally written, alterations may be introduced, as has happened in many times with biblical texts. Because of this, the critical work on a given text consists in detecting these changes in

20 Ibid., 36. 19

order to restore it, whenever possible, to its original form, and in some cases to reconstruct something that does not exist anymore. Also a text may be accepted in good faith and by getting used to it, in spite of its lack of authenticity, it may often be preferred to the authentic and true version because of the familiarity that has been established. All this is applicable to the case of Ponce, which is why I have tried to make known the original version of his guitar works, which explains why when playing his music one feels, sooner or later, that something is missing, that something is not right and in the end one finds out that the original conception was changed. 21

Alcázar’s publication of these manuscripts has become central to our understanding of Ponce’s original intentions, and they serve to illustrate Segovia's editorial practices concerning Ponce's music.

These types of editorial modifications can be found in varying degrees in the

Segovia editions of Manuel M. Ponce. For instance, in Sonatina Meridional, Segovia takes several liberties that may have gone beyond the composer´s intentions. Segovia’s alterations include changes to dynamics, character, and tempo indications. In addition,

Segovia made changes to the arrangements of chords, added notes, and in some instances made modifications to the rhythmic structures. Some of the notable differences appear in the first movement, as seen in Musical Examples 1 and 2.

21 Miguel Alcázar, Obra completa para guitarra de Manuel M. Ponce de acuerdo a los manuscritos originales (Mexico: Conaculta, 2000), 10-11.

Musical Example 1. Segovia’s edition of Sonatina Meridional Movement I, mm. 209-

212.22

m. 209

Musical Example 2. Manuscript version Sonatina Meridional Movement I, mm. 209-212.23

When one compares the two excerpts, it is evident that Segovia’s modifications stray significantly from the original. The major change he makes is that he transposes the entire passage down by a perfect fourth: in measure 209, Ponce writes a D Major triad over an A pedal and continues the sequence from there. By contrast, Segovia lowers the chord to

A Major with an E pedal and finishes the sequence. Furthermore, besides adding an animando e crescendo indication, Segovia adds accents in measures 210 and 212, and he extends the length of the lower pedal notes by an eighth beat. Although the rhythmic changes and the articulation markings might be stylistic preferences that a performer would

22 Manuel M. Ponce, Sonatina Meridional, ed. Andrés Segovia (Mainz: Schott, 1939), M. I, mm. 209-212.

23 Manuel M. Ponce, Sonatina Meridional, ed. Tilman Hoppstock (Mainz: Schott, 2006), M. I, mm. 209-212. 21 make as a part of their interpretation of the work, the totality of Segovia's modifications significantly changes the sound from its original version.

Also, in the first movement of this work, Segovia adds notes, perhaps to make the passage more melodic. In measures 79-82, one can see how Segovia adds notes to the downbeat chords and divides eighth notes into sixteenth notes. The following two examples show these marked differences between the original and Segovia's edition.

Musical Example 3. Segovia’s edition of Sonatina Meridional Movement I, mm. 73-85.24

m. 79

Musical Example 4. Manuscript version Sonatina Meridional Movement I, mm. 79-82.25

In Movement III, Segovia modifies the musical structure of measures 2-4 with the addition of notes to fill in harmonies and makes a rhythmic modification to the chords of measure 4. Segovia’s changes result in a more rhythmic, Spanish character, which is in

24 Segovia, Sonatina Meridional, M. I, mm. 73-85.

25 Hoppstock, Sonatina Meridional, M. I, mm. 79-82.

22 accordance with the title “Meridional”, referring to the southern regions of Spain, including

Andalusia and Murcia.

Musical Example 5. Manuscript version Sonatina Meridional Movement III, mm. 2-4.26

Musical Example 6. Segovia’s edition of Sonatina Meridional Movement III, mm.2-4.27

Not only did Segovia alter existing material in Sonatina Meridional, but he also added more measures to lengthen the piece. In his published edition, four new measures have been added after bar 139. Musical Examples 7 and 8 clearly show this addition.

26 Hoppstock, Sonatina Meridional, M. III, mm. 2-4.

27 Segovia, Sonatina Meridional, M. III, mm. 2-4.

Musical Example 7. Segovia’s edition of Sonatina Meridional Movement III, mm. 136-

150.28

m. 139

Musical Example 8. Manuscript version Sonatina Meridional Movement III, mm.136- 148.29

m. 139

Segovia appears to add these measures to extend the melodic material and delay the arrival of the new section in measure 140. Segovia essentially repeats measures 136-139

28 Segovia, Sonatina Meridional, M. III, mm. 136-150.

29 Hoppstock, Sonatina Meridional, M. III, mm. 136-148. 24 but changes the melodic line of the first two measures. These changes result in an embellishment of sorts, and he uses the repeated high F# in measures 140 and 141 to create melodic and harmonic tension against the G in the sustained chords, which emphasizes the arrival of measure 140 in Ponce's score. These changes create a very different effect when compared to the original score.

The facsimile score of Sonata Omaggio a Boccherini, op. 77

The facsimile score of Sonata op. 77 Omaggio a Boccherini was discovered in 2001 by the Italian composer and scholar Angelo Gilardino. In the foreword to this edition,

Gilardino includes revelatory information regarding Tedesco's manuscript and Segovia's treatment of said document:

I managed to collect all of [Tedesco´s] works for guitar, with the exception of his scores for solo guitar dating back to the days when he still lived in Italy, between 1932 (the year he wrote his 1rst piece for guitar) and 1939, when he moved to the States. In spite of my requests, the composer never sent me the manuscripts of the Variazioni attraverso i secoli, the Sonata ("Omaggio a Boccherini "), the Capriccio diabolico ("Omaggio a Paganini"), the Tarantella, or the piece entitled Aranci in flore ("Orange blossoms"). I felt it would have been less than tactful if I had asked him the reason why. I guessed that in the stir and bustle of his moving first from Italy to New York and to Larchmont, and then from there to California, much had been lost, so I avoided asking any further. Now I know he did not send me those manuscripts simply because he no longer had them. Not that he had lost them; instead he had handed or sent them to Segovia. After settling down in the States the composer no longer gave his original manuscripts to any performer. He handed them blueprinted copies instead. This explains why at the Andrés Segovia archives all of Castelnuovo- Tedesco's music composed in the States is made up of xerographs. Finding the original manuscripts of the Variazioni attraverso i secoli and of the Sonata was a sheer stroke of luck. - The retrieval of the original versions allows us to fully grasp the gist of these compositions and thus read them without having to necessarily adopt Segovia's editing…When in May 2001, in Linares (Spain), I came across the original manuscript, I was not at all surprised to read on the title page the word Sonatina rather than Sonata…As was his custom, Segovia did not send the publisher the composer’s manuscript, but a copy drafted by him, with his own fingering on it. This is the reason why the composer’s manuscript was still among Segovia’s papers from 1934, as I found it in 2001. Schott’s edition was 25

copyrighted in 1935, so Segovia did not put too much time between its first performance and publication. One thing is sure: besides himself, no other guitarist in those days could have cleared the technical hitches of such a challenging piece of music. 30

The fact that Segovia did not send the composer´s manuscript, but a copy drafted and fingered by himself to Schott is the reason why this manuscript was not found in

Castelnuovo-Tedesco´s archives. For a very long time, no one had access to this manuscript score, and therefore comparing it with Segovia´s version had not been possible until recently.

30 Mario Castelnuovo-Tedesco, Sonata “Omaggio a Boccherini,” 4-6.

PART II. ANALYSIS OF THE FORMAL AND STYLISTIC ELEMENTS OF SONATA OMAGGIO A BOCCHERINI, OP. 77

Tedesco´s compositional style and his Sonata op. 77

Mario Castelnuovo-Tedesco´s compositional style is often considered conservative.

While at times he used some modern techniques such as serialism, most often the formal, melodic and harmonic language of his compositions is unequivocally conventional and seldom strays dramatically away from classical or romantic style. In fact, “Tedesco always maintained tonal frameworks and a melodic lyricism in his music that in turn caused critics to dismiss him as being unworthy of serious consideration.” 31

The works Castelnuovo-Tedesco composed for Segovia at the initial stages of their relationship were written in the neo-classical/neo-romantic style. During this period, and at the request of Segovia, Tedesco composed his two homages to eighteenth and nineteenth- century Italian composers, Luigi Boccherini, Sonata Omaggio a Boccherini, op. 77 (1934), and Nicolo Paganini, Capriccio Diabolico Omaggio a Paganini (1935). Regarding these types of homages, Angelo Gilardino states:

The "homage" is a musical genre in which a composer pays tribute to a deceased musician, by assuming certain terms and models of reference of another author, based on his general work or his poetics. There are generally two types of homage: the referential and the mimetic. The referential homage preserves the composer´s characteristics of thought and style, referring to the poetics of a particular author as the subject of the own memory. Very successful examples of this type are “I'Hommage à Rameau” by Claude Debussy (second song of the first series of «Images» for piano) and in the guitar field, Manuel de Falla's "Homenaje", thought as an epicedium for Claude Debussy. The mimetic tribute, on the other hand, has the characteristics of a real imitation and tends to remake the stylistic procedures of the author to whom it is directed. It is the type of tribute in which Manuel Ponce

31 David S. Asbury, “20th Century Romantic Serialism: The Opus 170 Greeting Cards of Mario Castelnuovo-Tedesco.” (DMA diss., University of Texas at Austin), 2005, vii.

composed some of his guitar works with his skillful mimesis of Weiss, Sor, and Schubert. Needless to remark the superiority that places the referential homage in the properly artistic sphere, while the mimetic homage, however cleverly conceived, remains in a properly artisanal area, that is, by trade: not for nothing many composition teachers assign the imitation of the various authors of the past as school homework. 32

In his response to Segovia´s request of a four-movement sonata, Tedesco was prompt in composing an homage in the form of a piece that depicts some elements of

Boccherini´s style, while at the same time maintaining his own compositional style. In this way, Tedesco proceeds to compose a type of homage known as a “referential homage”.

Features of Boccherini’s compositional style in Sonata op. 77

In his Omaggio a Boccherini, Tedesco uses a diversity of compositional resources that, without necessarily imitating Boccherini´s music, suggest elements usually present in

Boccherini´s compositions. In the first movement of the Sonata, Tedesco emulates

Boccherini´s unique treatment of the sonata form.

Musicologists Christian Speck and Stanley Sadie have made the following observations about the absence of a development section in Boccherini's sonata-form strategies:

Development, however, is an uncertain word to use in referring to Boccherini’s sonata-style movements. There is little thematic development in the Viennese Classical sense. He usually repeats some of his thematic material in related keys, and sometimes includes lengthy passages where instrumental figuration occupies the foreground while a harmonic scheme slowly unfolds. His tonal patterns are not always surely handled: a

32 Angelo Gilardino, “Osservazioni sulla Sonata op. 77 Omaggio a Boccherini di Mario Castelnuovo- Tedesco,” 1.

development section often ends in the wrong key, necessitating a clumsy switch at the recapitulation (particularly between major and minor).33

Musicologists James Hepokosky and Warren Darcy label this type of sonata form as

“Type 1”. According to their treatise:

Type 1 sonatas are those that contain only an exposition and a recapitulation, with no link or only a minimal link between them. These have been referred to as “sonatas without development” (or instances of exposition-recapitulation form, “slow- movement sonata form” or the “sonatina”). Type 1s normally lack internal repeats. Fast tempo examples of the Type 1 sonata include Mozart´s overture to The Marriage of Figaro and most of Rossini´s overtures.34

The use of Boccherini’s model of sonata form in the Omaggio a Boccherini has been addressed by the Italian guitar scholar and composer Angelo Gilardino in his article,

“Osservazioni sulla Sonata, op. 77 Omaggio a Boccherini di Mario Castelnuovo-Tedesco.”

In it Gilardino states the following:

Several of these “Boccherinian” procedures can be found in the first movement of the Sonata…We will start by noting the elementary two-part structure of the piece, divided into two sections almost equivalent in amplitude and thematic density…Immediately observe that also the lack of a central section of development is compensated by the amplitude of each of the areas of the exposition and recapitulation; practically, the composer has dealt with each theme immediately after presenting it, thus making unnecessary a central development section.35

33 Christian Speck and Stanley Sadie, "Luigi Boccherini", Grove Music Online, Oxford Music Online, 2001, http://www.oxfordmusiconline.com.ezproxy1.library.arizona.edu/subscriber/article/grove/music/03337. 34 James Hepokosky, and Warren Darcy. Elements of Sonata Theory. Norms, Types, and deformations of the Late-Eighteenth-Century Sonata (New York: Oxford University Press, 2006), 344.

35 Gilardino, 13.

Castelnuovo-Tedesco brilliantly evades, with this composition, the arduous problem of adapting the sonata form to the guitar language. Not being able to reach a high degree of specificity in instrumental writing (specificity that he knew how to achieve in piano writing), he prefers to limit himself to the adoption of some traditional modules, of sure efficacy, and to the persistence of their use, entrusting all sonatistic architecture. If it is somewhat reduced, its essentiality is also the bearer of an impeccable balance, and the capricious peculiarity of the form does not prevent it from being outlined, in the end, in terms of a clear neoclassicism, responding to the ideals of a generation of composers who, in the first thirty years of the twentieth century, had seen in the return to eighteenth-century formal purity a model of perfection. 36

Elaborating on the previous points, in the first movement of the Sonata, the influences and procedures of Boccherini´s style are clearly evident: the treatment of the thematic material is similar to that of a typical monothematic sonata, in which the first and the second themes are more clearly defined by their tonal levels than by their thematic content. Moreover, the themes seem to be presented and quickly varied or developed, and since there are no strong cadences, it is often difficult to define clear sections. The central development section is short and does not wander too far away harmonically.

Boccherini stylistic influences are also found in the 3rd movement, where Tedesco recreates the "ceremonious" spirit of the eighteenth-century minuets, where a hint of the famous Minuet from the Quintet No. 11 can be perceived. Also, as a way of suggesting the

Andalusian influence in Boccherini´s music, the use of the Phrygian cadence (typical in

Spanish folk music) can be found in passages of the 1st and the 4th movement. Finally, another reference to Spanish music can be also found in the 2nd movement. We cannot forget that this Spanish element may be also hinting at Andrés Segovia, the dedicatee of this Sonata.

36 Gilardino, 23-24. 30

Although not intending to provide an extremely thorough analysis, the next division of this paper will discuss a few points regarding structure and general thematic, harmonic- melodic content.

Analysis

I. Allegro con spirito

In his article “Oservazioni sulla Sonata Omaggio a Boccherini di Mario

Castelnuovo-Tedesco”, Angelo Gilardino states that Tedesco wrote this movement according to a bipartite sonata-form, where there is not a clear development section; he presents thematic groups that are developed and articulated, often immediately afterward.

Elaborating on this statement, in the first movement of Sonata Op. 77 Tedesco chooses to emulate Boccherini´s procedures regarding sonata-form, and deals with themes and overall structure conforming to a pattern that was more common of the eighteenth-century sonata- form schematic, than that of the traditional early nineteenth-century´s sonata-form.

Tedesco´s design comprises two main parts (exposition and recapitulation), and a rather short central section that does not wander too far away from the main keys. Similarly to

Boccherini´s music, Tedesco´s strategy consists of presenting themes and their subsequent developments and derivations thereafter, instead of presenting unique and contrasting A-B type of material. This way of dealing with thematic material often results in a continuing motion in which there are not strong cadence points and therefore, it is not always clear where each part or section begins.

The 1st movement begins with an exposition that encompasses a primary theme area consisting of three themes, and their subsequent derivations. The first theme (a) 31 comprises measures 1-13, where a bold theme appears stating the D major tonic key

(primary theme). This theme begins with an anacrusis that affirms the tonic of D in the first four bars, interspersed with a series of major triads in chromatic descending motion, that lead towards a new motif (deciso) that presents a major 6th interval. This major 6th motif will be further presented and developed in different passages of this movement.

Musical Example 9. Sonata op. 77, 1st movement, mm.1-12.

A second theme (b) appears in measure 14 through 21. Although it seems to be new material, the melodic major 6th interval with the same notes (F-D) in the upper voice has already appeared before in measure 5.

Musical Example 10. Sonata op. 77, 1st movement, mm. 14-21.

A third theme (c) can be identified in measures 22-29. Also, another theme derives (upper bass line, mm. 22-25, and upper voice, mm. 26-29), and will be used as material further in this movement.

Musical Example 11. Sonata op. 77, 1st movement, mm. 22-29.

Following this passage, a small transitional chromatic bridge follows until a fermata sign, which serves as a rhetorical pause that precedes and announces the beginning of the secondary theme area. The anacrusis at the beginning signals that this theme is a derivation of theme a (a´) of the primary theme area.

Musical Example 12. Sonata op. 77, 1st movement, mm. 30-42.

The secondary theme is presented in the key of the dominant (A major). In this case, it is the tonal level that defines the category of a secondary theme, rather than the thematic contour, as it was common in the eighteenth-century sonata-form.

Musical Example 13. Sonata op. 77, 1st movement: mm. 38-46.37

A derivation of the third theme (c, mm. 22-29) appears in measure 51 in the upper voice.

Musical Example 14. Sonata op. 77, 1st movement, mm. 51-62.

37 Gilardino, 18. 34

Upon analysis of this thematic material, it is evident that this theme is a derivation of c, since the melodic contour and rhythmic figuration is quite similar. Although they are not literally the same, it appears clearly as a derivation of the same material. At this point it seems clear that Tedesco is using the unique approach to sonata form that was typical in

Boccherini´s music.

Musical Example 15. Sonata op. 77, 1st movement, mm. 22-29. 38

Regarding the Spanish elements that are reminiscent of Boccherini´s Spanish influences, Tedesco uses the typical Phrygian cadence in some passages of the 1st movement. For instance, measures 102-103 contain a Phrygian cadence. In this case, there is a harmonic sequence that involves G minor-F major-E flat-D major. The F major and E flat major chords of this sequence have been deleted in Segovia´s edition but can be seen in

Tedesco´s facsimile score.

38 Gilardino, 16. 35

Musical Example 16. Sonata op. 77, 1st movement, mm. 102-103. Segovia´s edition and

Facsimile score.

A possible outline of the First part of this movement can be defined this way:

A. First part (Exposition)

Theme a b c + a´ c´ Area Primary Secondary theme area theme area

Key D Major Bb Major Bb Major A major A

Measures 11-13 14-21 22-29 38-46 51-62

A harmonic shift from A major to C sharp minor, along with a double bar marking at the end of measure 62, allows us to define where a possible central part (development) begins. Even if one were to argue that this section constitutes a proper development section, it is short compared to the exposition and recapitulation, another Boccherini trademark.

Furthermore, the harmonic shift does not wonder away too far from the main keys.

Confirming with the aforementioned article by Speck and Sadie, “there is little thematic development in the Viennese Classical sense,” and like Boccherini, Tedesco also “repeats thematic material in related keys.” 36

At this point, the composer elaborates over themes c´and a´, and although it may seem like a proper development section, the length and the harmonic plan manner in which this part appears seem to indicate otherwise. This feature is close to the schematic of Type

A sonata-form (or “sonatina”) as defined by Hepokowsky and Darcy. 39 It is no coincidence that initially, Tedesco had named this work “Sonatina”, to which Andrés Segovia rebelled against.

Musical Example 17. Sonata op. 77, 1st movement, mm. 59-66.

A common procedure in Tedesco´s music is the use of double bars and fermatas to divide small or large sections. In bar 122, the composer writes a fermata to separate the central part from the recapitulation section. Although these double bars do not appear in the

Segovia edition, these indications appear in the manuscript score, and thus it is possible to infer this point.

Musical Example 18. Sonata op. 77, 1st movement, mm. 111-122.

39 James Hepokosky and Warren Darcy, Elements of Sonata Theory, 344.

During the central part, Castelnuovo-Tedesco explores the two thematic materials within the secondary theme area in different keys, culminating with a sequence of parallel chords in chromatic movement (mm. 111-122), which serves as a retransition to what could be considered a recapitulation.

Although it may (or not) be considered a proper development section, a central part could be defined using the following schematic:

B. Central part

c´ c´ a c´

Theme Secondary theme

Key C# minor A Major Bb Major

Measures 63 75-82 83-86 87-94 103-110

Following the previous central part, Tedesco presents all the themes and derivations according to the same order of the exposition section. The recapitulation of the first theme is extended and developed from the second motif of that same theme, which is in fact one of the characteristics of Boccherini's sonata form. The characteristic major 6th interval is emphasized during three different phrases.

Musical Example 19. Sonata op. 77, 1st movement, mm. 127-138.

Also, theme a ´at the recapitulation appears in the tonic key of D major, in accordance with the normal harmonic procedures within the sonata form.

Musical Example 20: Sonata op. 77, 1st movement, mm. 164-170.

The last measures of the first movement consist of a short sequence of parallel chords with a D in the bass as a pedal, in which the composer presents the “head” of the 1st theme (main theme) for the last time, fragmented and repeated consecutively, as a short coda.

Musical Example 21. Sonata op. 77, 1st movement, mm. 206-218.

A diagram of the recapitulation can be drawn this way:

Recapitulation

a b c + a c Theme Primary Secondary Coda theme theme

Key D Major A minor Bb Major D major A major

Measures 123-138 139-146 47-150 164-171 206-218

In conclusion, the first movement seems ambiguous at a first glance. The way

Tedesco uses thematic material does not facilitate a quick analysis. In spite of some elements that allow us to define a structure of the movement, the presentation and development of the thematic material seem to be Tedesco´s plan to emulate Boccherini´s treatment of sonata-form. The lack of strong cadence points and contrasting themes do not allow to identify sections easily. The design used by the composer, however, conforms to 40 one of the common schematics in the late eighteenth-century sonata-form: an exposition section with two themes in tonic and dominant; an equally long recapitulation with all themes in the tonic key, and a not so lengthy central part in which the composer cycles through the materials in a rather concise manner.

II. Andantino, quasi canzone

The melancholic character of the second movement of Sonata op. 77 resembles a

Siciliana dance from the Baroque period. It is written in the key of G minor, and the indication quasi canzone is evoking an aria with a simple melody in the upper voice using a dotted rhythm in 6/8 meter. The Siciliana form is often used by Tedesco in works such as the Sonatina for flute and guitar op. 205, and in the Sonatina canonica for two guitars, op.

196.

Musical Example 22. Sonata op. 77, 2nd movement, mm. 1-4.

Musical Example 23. Sonatina for flute and guitar op. 205, 2nd movement mm. 1-4.

Besides the delicate use of imitative polyphony, a noteworthy feature of these types

of movements is the use of refined melodies that are almost always confined to the

upper voice, in which the composer displays his sensitivity. Also, the use of scordatura

(6th string to D and 5th string to G), takes advantage of open string basses to provide

natural resonance to tonic and dominant keys.

This movement is structured in a standard ABA scheme and it is built with three

themes which are developed in different keys and meters. A formal scheme could be

defined as follows:

Themes a b c a b a c

Sections A B A

The main theme (a) is presented form bar 1 to 7. The simple melodic contour, along with the use of the minor key and characteristic dotted rhythm unmistakably suggests a

Siciliana dance. The presentation of the melody is followed by a reiteration in the middle voice on the 2nd measure. This theme concludes with a D major chord on bar 7.

Musical Example 24. Sonata op. 77, 2nd movement, mm. 1-7.

A second theme (b) is subsequently presented in measure 7, which consists of a short pentatonic melody that, instead of maintaining the initial dotted rhythm, is made of sixteenth notes. Additionally, a change of harmony, from D major to D minor, and a sudden change of dynamics from mf to p are part of this new material. This second theme is further developed in different keys.

Musical Example 25. Sonata op. 77, 2nd movement, mm. 7-12.

Subsequently, a third theme (c) appears in measure 17, as a restatement of the first theme, again with the dotted rhythm in the upper voice, only an octave higher. The staccato markings suggest the pizzicatti accompaniments that are common in Boccherini´s music for strings.

Musical Example 26. Sonata op. 77, 2nd movement, mm. 17-22.

In measure 51, Tedesco presents the 2nd theme (b), but now with a different tempo indication (m. 55) - Allegretto malinconico (a characteristic tempo and character indication in works by Boccherini). In this passage, the main melodic motif of the “1st Spanish

Dance” of La vida breve, by Manuel de Falla is unmistakably quoted. This is an interesting reference of a contemporary Spanish composer of Tedesco.40

40 Manuel de Falla was the leading Spanish composer at that time, and “Danza No. 1” of La Vida Breve (1904-1905) was well known and performed in various versions and arrangements. A noteworthy version and performance was made by violinist by Fritz Kreisler in 1926 and, a connection to guitar performance of this famous work can be found in the brilliant arrangement for two guitars by Catalan guitarist-composer Emilio Pujol (1957).

Musical Example 27. Danza No. 1 de La Vida Breve by Manuel de Falla.

The second theme based on Manuel de Falla´s La vida breve is presented on measure 7 for the first time, in a quasi-inverted form.

Musical Example 28. Sonata op. 77, 2nd movement, mm. 7-15.

This second theme is afterward presented with different tempo and character indication on measures 55-60, where a sort of dialogue appears between the upper voice and the bass line. This time, the quote of Falla´s theme is more evident because it appears at a faster tempo.

Musical Example 29. Sonata op. 77, 2nd movement, mm. 55-60.

Finally, the composer recapitulates the initial theme on measure 65 in the key of G major (parallel major), which quickly reverts to the original minor key. While not completely presenting theme A as in the first section of this movement, but rather using fragmentations of the theme, this 2nd movement is concluded with a brief 3rd thematic material (C) that leads to the final cadence in the key of D major.

Musical Example 30: Sonata op. 77, 2nd movement, mm. 79-82.

III. Tempo di minuetto

The minuet was a court dance that was widely used for instrumental music by European composers during the Baroque period, and it was in fact one of the few dance forms still in fashion until the late eighteenth-century and early nineteenth-century. Luigi Boccherini regularly used this dance form in many of his instrumental works, particularly his music for string quartet and string quintet, some of which have become representative of the classical repertoire. Accordingly, Castelnuovo-Tedesco composed a minuet for the 3rd movement of

Sonata op. 77, emulating the character of those by Boccherini. The minuet of Sonata op. 77 reminisces on the famous minuet from the Quintet No. 11 for strings in A Major by Luigi

Boccherini (1743-1805).

Musical Example 31. Minuet from String Quintet in E, op. 11, no. 5 for strings by L. Boccherini.

Among the traditional eighteenth-century minuet´s principal features are the preference for anacrusis beginnings, and the use of clearly outlined melody as a main structural element, articulated through repetitions of motifs. Boccherini´s minuet begins with an anacrusis of four sixteenth notes that precedes the beginning of a well-defined melody in the upper voice, which violas, cellos and double basses accompany with pizzicatti. These accompaniment patterns are generally based on simple rhythms and play the role of replacing for the baroque continuo bass that would accompany the main voices.

As in Boccherini´s minuet, Tedesco´s 3rd movement of Omaggio a Boccherini begins with an anacrusis prior to the melody in the upper voice, while basses and middle voices are accompanying. The staccato markings on the bass notes also seem to emulate the pizzicatti played by violas, cellos and double basses in Boccherini´s minuet.

Musical Example 32. Sonata op. 77, 3rd movement, mm. 1-3.

The standard Tempo di Minuetto generally used in the classical period has a tripartite structure, Minuet-Trio and Double-Minuet., which is summarized as follows:

[:A:] [:B A:] [:C:] [:D C:] [:A:] [:B A:]

Minuet Trio - Minuet

Double

Conventionally, the musical form of the Minuet with Trio (and Double) uses plenty of repetitions, partly because composers want to familiarize the listener with the themes as quickly as possible. However, Tedesco does not obey the traditional Minuet and Trio repetition scheme, not going for the use of standard repetition bars, which allows either replication or embellishment of the themes.

The way Tedesco achieves this is by first presenting the theme A, not with a repeat bar, but through a full reproduction, initially equal and later developed.

Musical Example 33. Sonata op. 77, 3rd movement, mm. 1-16.

Also, he writes a repetition of theme C in the Trio, and like the previous example, first fully presenting, and then, by harmonizing the same thematic material in a different way, he colors the latter part of the theme in the second statement. Thereafter, he decides to repeat the D theme in the Double, again, not through a double repetition bar, but through a 49 reiteration of what has already been presented, reproducing the same motif an octave down, initially identical and then developed, as already done in the Minuet section.

Musical Example 34. Sonata op. 77, 3rd movement, mm. 56-65.

This minuet begins in the key of G minor, and subsequently Tedesco leads the Trio

(measure 40) and Double sections (measure 56) to the parallel key of G major, and then returning to the initial key of G minor in the whole recapitulation of the Minuet section.

This harmonic plan establishes a clear distinction of the three main sections. Finally, after these considerations, the scheme used by Tedesco varies somewhat when compared to the traditional structure of the classic minuet:

‖: A :‖ ‖B A‖ ‖: C :‖ ‖: D ‖ [: A :]

Minuet Trio & Double Minuet

IV. Presto furioso

Sonata Omaggio a Boccherini´s fourth movement is a bright and energetic piece written in the tonic key of D major. As a means of paying tribute to the Spanish (Andalusian) influences in Boccherini’s music, Tedesco uses elements that are typical of folk Spanish music in this movement. 41

The Presto furioso is structured as a Simple Rondo, where a refrain and contrasting episodes can be clearly identified even though developed or varied to some degree every time they are repeated. A general harmonic and melodic overview can help to differentiate its sections this way:

Theme A B A C A B A C Refrain Episode 1 Refrain Episode Refrain Episode Refrain Episode 2 1 2 Key DM AM DM Gm DM DM DM DM

41 Luigi Boccherini lived in Spain where he worked as a musician in the court of the Infant Luis Antonio de Borbón and later for the Marquis of Benavente, who was a lover of the guitar. While in Spain, he absorbed the influences of Spanish folk music, some of which are evident in some of his string quintets with guitar, such as his Quintet No. 4, G 448 in D, with its famous Fandango.

The refrain begins with a series of arpeggios followed by a melody harmonized by sixths. As noted above, the sixth is largely employed in the first movement as a thematic element. This melody is afterwards presented in the bass line alternating with a pedal in D.

The colorful B flat in arpeggios and melody reminisces the typical Phrygian cadence which is common in folk Spanish music. 42 The Phrygian cadence represents a Spanish musical idiom associated with the Andalusian style, which eventually became emblematic to the aesthetics of Spanish nationalism, and has been used by several romantic and nationalist composers to evoke the “exotic”.

Musical Example 35. Sonata op. 77, 4th movement, mm. 1-12.

42 In the Phrygian cadence, the root of the final chord is approached from a semitone above. In this case, the B flat note is one semi-tone above the 5th note of the root chord (A).

After a short intermediate section with a pedal note of D in measures 13-20, the refrain appears again in measure 21. This repetition is varied somewhat, and it is completed through an ascending scale in sixths towards a final D, supported by a D chord in double forte.

Musical Example 36. Sonata op. 77, 4th movement, mm. 21-31.

The refrain appears further ahead in this movement with a few modifications. The second appearance is substantially shorter (only 8 measures), with only the arpeggios and melody in sixths. The third reappearance of A towards the end of the movement presents the melodic motif in descending thirds, with also descending dynamic markings that go from mf to p (measure 205). Through an ascending movement, the melody in thirds 53 concludes with a forte marking on measure 209, which will lead towards a vigorous march, also made of a melody in parallel sixths.

Section B (or Episode 1) is in the key of A, and it is made of a simple melody in the upper accompanied by a descending arpeggio.

Musical Example 37. Sonata op. 77, 4th movement, mm. 33-41.

Within section B a diverse motif appears with a descending and ascending arpeggio in staccato, until reaching a third melody in the upper voice in measure 75 with pedal in C.

The same motif is repeated, but this time with a melody in thirds in the lower voice and with a B flat ostinato with staccato markings in the treble in measure 83.

Musical Example 38. Sonata op. 77, 4th movement, mm. 72-90.

The thematic material of Section B (or 1st episode) is presented once more in measure 127 with the melody in the upper voice accompanied by a descending arpeggio with a pedal note in D. This melody moves forward into a brief transition where a repeated single E flat in descending registers and dynamic markings is used to leap into the second motif of this section (Measure 157), where a pedal note in the lower voice is consistent above a sequence of thirds. Contrary to the first appearance of this motif, this time the pedal note is always in the bass voice, and the motif is presented three times, instead of two. This second presentation of Episode 1 is followed by a 12-bar retransition section that heads back to theme A for the last time.

Musical Example 39. Sonata op. 77, 4th movement, mm. 157-178.

A striking theme for the 2nd episode appears in bar 107 for the first time, and it consists of a march-like theme in G minor with the marking Alla marcia-risoluto. The melody is made of parallel sixths with a dotted rhythm and a pedal in D, and it is written in an ascending melodic sequence of two phrases that culminate in mm. 115 with a fragmentation. This theme will be thereafter used in the key of D major as material for a closing final section in measure 209.

Musical Example 40. Sonata op. 77, 4th movement, mm. 107-117.

A descending and ascending melodic sequence of intervals of sixths appears as a build-up section towards a brilliant conclusion of this sonata, where a four triple-forte chord sequence will culminate in a final D major chord.

Musical Example 41. Sonata op. 77, 4th movement, mm. 222-230.

PART III. COMPARISON OF SOURCES

Segovia’s revisions of Omaggio a Boccherini include re-voicing of chords, deletion of chords, omission of notes, changes in the register of notes, and changes of indications for tempi, articulations, and dynamics. In many of these cases, Segovia's revisions favor a more simplified technical solution, and sometimes these modifications follow his style of guitar playing.

The comparison of Segovia´s edition with the original manuscript score allows to infer that most of the modifications seem to have focused on preserving the relevance of the melody, especially in the upper voice. In this process, Segovia would sometimes sacrifice either harmony or counterpoint, and thus affecting the overall sonority as written by

Tedesco, all of this by means of deleting notes and/or respelling chords to facilitate execution. Even in sections where Segovia maintains the same harmony, re-positioning chords, or deleting one or two notes of chords affects the sonority as originally thought by the composer.

With very few exceptions, the chords that Tedesco wrote are technically possible.

Perhaps because Tedesco was a pianist and not a guitarist, his chord spelling is more wide open and does not always appear as stacks of thirds, thus giving more a profound sonority and emphasis to particular spots. In these cases, Segovia opts to respell chords in an almost triad-like manner, to simplify the performance.

Segovia´s deletion of notes often serves a technical purpose, and appearing in passages where these deletions simplify the performance and lend fluidity to the music. The same idea applies to passages where there is deletion of counterpoint, in which Segovia decidedly deletes notes to favor the melodic aspect of those passages. 58

This comparison of sources will address those passages which, in my opinion, stand out and need to be addressed due to their importance within the context of the piece.

Segovia also made several minor changes: these will not appear in my comparison as I deem them unnecessary for the purposes of this study.

I. Allegro con spirito

In the first movement, Allegro con spirito, Segovia begins with respelling the chords in measures 8-12, placing the bass an octave lower, and changing the bass line movement as written by Tedesco, in favor of a lower A note as a pedal with the harmonic progression above it:

Musical Example 42. Segovia edition, mm. 8-12.

This kind of editorial decision facilitates the passage from a technical standpoint since it spreads the chords easily on the guitar while using the repeated A bass note as support for more sonority. Tedesco´s writing is technically possible as written.

Musical Example 43. Facsimile score, mm. 8-12.

One of the most remarkable cases of substantial differences occurs on measures 20 and 21. Segovia deletes most of the notes of the bass line in both measures, and opts for preserving the upper voice only and supporting the downbeats with either a single bass note or a chord. The deletion of notes to favor the upper melody is evident since Tedesco's composition at this point is technically possible. Dynamics and articulation markings also differ.

Musical Example 44. Segovia’s edition, mm. 20-21.

Musical Example 45. Facsimile score, mm. 20-21.

A similar case of deletion of notes by Segovia occurs in measures 145 and 146, again with conflicting indications for articulation and dynamics. 60

Musical Example 46. Facsimile score, mm.145-146.

Musical Example 47. Segovia’s edition, mm.145-146.

Segovia often changes chords to be executed on neighboring strings to favor an easy execution. For example, in measures 31 and 33 Segovia respells the chords, deciding to keep the notes of the chords (except the bass note) as close as possible to each other.

Music Example 48. Segovia’s edition, mm 31-33.

Tedesco´s manuscript shows a different chord spelling that, besides being technically possible, also produces a more profound sonority because the notes are spread and appear in a lower register.

Musical Example 49. Facsimile score, mm. 31.33.

In measures 39- 40 Segovia opts for triad-like chords, avoiding the awkwardness of performing chords on disjunctive strings. Also, he leaves out the chord on the first beat of measure 41, which includes a dissonance between a D natural and a D sharp. This chord deletion facilitates the execution in favor of the melody line.

In measures 40-41, the chord spelling changes appear to facilitate the overall execution of the passage. In this case, Segovia decides to spell the chord D#-A-C-F#, and to also anticipate the E major 7th chord one beat earlier so that the execution of the melody will be easier without the same chord on the first beat of measure 41. Even though

Segovia´s solution is technically easier, the aural effect and overall result is different to

Tedesco´s writing.

Musical Example 50. Segovia’s edition, mm. 39-41.

Musical Example 51. Facsimile score, mm. 39-41.

In measure 45 Segovia simplifies the 2nd beat by deleting a C sharp that completes an A major chord as written by Tedesco. Also, he includes different articulations by adding slurs on both figures.

Musical Example 52. Segovia´s edition, m 45.

Musical Example 53. Manuscript score, m. 45.

Measures 46-49 show a different articulation design as compared to the manuscript.

Tedesco´s articulation markings use a phrasing slur, instead of a technical slur in Segovia´s edition. This implies the use of 2 technical slurs (instead of 1) to achieve the effect as 63 originally conceived by the composer. Segovia deletes the staccato markings on the 2nd beat of each measure.

Musical Example 54. Segovia´s edition, mm. 46-49.

The manuscript score shows a different design for articulations that include staccato markings on the 2nd beats. In addition, the slurs that appear are encompassing all the notes of the 1st beat of each measure.

Musical Example 55. Facsimile score, mm. 46-49.

Another discrepancy appears in measure 53, where Tedesco has written the notes F natural and D on the downbeat, while Segovia changes to F sharp and deletes the D note, thus affecting the harmonic and melodic sequence.

Musical Example 56. Segovia´s edition, mm. 52-53.

Musical Example 57. Facsimile score, mm. 52-53.

One of the noteworthy alterations to the manuscript score that Segovia made can be found in measures 88-89, where a chord respelling and displacement is used as an easier technical alternative to the original chord and rhythmic design as written by Tedesco.

Segovia writes the C# an octave higher, while Tedesco an octave lower. Again, while the harmony is not altered, the sonority of the chord is different.

The chord on the 2nd beat is anticipated by Segovia with an added C#, while

Tedesco writes this chord on the 1st beat of measure 89, producing a quite different effect due to the dissonance produced by an E natural and E flat on the same beat.

Musical Example 58. Segovia´s edition, mm. 88-89.

Musical Example 59. Facsimile score, mm. 88-89.

The following measures (90-92) also show changes in the register of the chords written on the 2nd beat of each measure. Segovia writes the bass note an octave higher, while Tedesco an octave lower, which produces a more profound sonority. Also, the notes in the upper voice differ in articulation markings, as Segovia deletes the staccato written by

Tedesco.

Musical Example 70. Segovia´s edition, mm. 90-92.

Musical Example 71. Facsimile score, mm. 90-92.

Another discrepancy can be found on the downbeat of the 2nd measure, where

Segovia simplifies to only two notes (F and B flat), while Tedesco writes a four note chord

(Bb6/4). While Segovia´s solution is technically easier, Tedesco´s can be played as written.

Musical Example 72. Segovia´s edition, m. 93.

Musical Example 73. Facsimile score, m. 93.

Measures 94-97 show editorial changes made by Segovia similar to those in measures 46-49, where we can find a different articulation design from the original manuscript. Tedesco writes staccato markings and a phrasing slur that included the first 3 notes of the downbeats on measures 95-97.

Musical Example 74. Segovia´s edition, mm. 94-97.

Musical Example 75. Facsimile score, mm. 94-97.

In measure 98 Segovia deletes three chords in favor of the melody line in the upper voice. In this case Segovia deletes a sequence of chords from a passage that is technically quite difficult as written by the composer, yet still possible to execute.

Musical Example 76. Segovia´s edition, m. 98.

Musical Example 77. Facsimile score, m. 98.

Measures 99-101 show the same kind of editorial modifications made by Segovia as in the aforementioned measures 46-49 and 94-97 regarding articulation markings.

Musical Example 78: Segovia’s edition, mm. 99-101.

Musical Example 79. Facsimile score, mm. 99-101.

Segovia modifies the chords that appear in measures 156-158, re-voicing these in a triad-like manner to simplify the execution, while Tedesco writes a chord in wide position.

Even though the harmony is not altered, the resulting harmony is affected.

Musical Example 80. Segovia´s edition, mm. 156-158.

Musical Example 81. Facsimile score, mm. 156-158.

A case of note omission appears in measure 166. To simplify the passage Segovia deletes the G note in the upper voice. Although seemingly a minor modification, this note deletion affects the overall musical result of the passage.

Musical Example 82. Segovia´s edition, m. 166.

Musical Example 83. Facsimile edition, m. 166.

The second beat of measure 170 shows a minor change in the bass note, as well as a deletion of note. Segovia changes the bass line an octave lower and deletes the F note in the middle voice, while Tedesco writes the bass note an octave lower. The deletion of the F note leaves the D major 6/4 harmony incomplete.

Musical Example 84. Segovia´s edition, m. 170.

Musical Example 85. Facsimile edition, m. 170.

Segovia deletes two chords in measure 175, leaving only the upper voice. He also changes the staccato and adds notes to the last chord in the measure.

Musical Example 86. Segovia´s edition, m. 175.

Musical Example 87. Facsimile score, m.175.

Discrepancies in measures 178-180 consist of the omission of chords by Segovia.

This passage can be particularly difficult to execute, although it is possible from a technical standpoint.

Musical Example 88. Segovia´s edition, mm. 178-180.

Musical Example 89. Facsimile edition, mm. 178-180.

Segovia makes minor changes in measures 206-209 by suppressing the double basses, preserving only the lower bass notes.

Musical Example 90. Segovia´s edition, mm. 206-209.

Musical Example 91. Facsimile edition, mm. 206-209.

II. Andantino, quasi canzone

The second movement of Omaggio a Boccherini is perhaps the most challenging to

perform according to Tedesco´s original score, since there are a few passages that have

been written in a way that is technically impossible to play on the guitar. Although Segovia

has successfully solved these passages to his own criteria and taste, there are a few points

that deserve attention to detail to achieve a clearer idea of the music.

Tedesco´s writing in measures 10-12 for instance, show a pair of octaves on G flat

and F placed right after arriving to the chord A-Eb-D. Since it is not possible to play these

octaves as written, Segovia has deleted the lower notes in favor of the upper ones.

However, he shortens the D note of the chord and interrupts the length of the upper voice in

order to allow the fingers to shift towards the G flat and F notes right next to it.

Musical Example 92: Facsimile score, mm. 10-12.

Musical Example 93. Segovia´s edition, mm. 10-12.

Another passage worthy of attention can be found in measures 21-22, where there are clear changes in the articulation. Segovia deletes the staccato markings written by

Tedesco. Even though these may be considered as minor modifications, the result on character differs significantly.

Musical Example 94. Segovia´s edition, mm. 21-22.

Musical Example 95. Facsimile score, mm. 21-22.

The musical passage in measures 31-32 reveals noteworthy discrepancies and decisions made by Segovia with regard to the notes on the bass line. These differences can be seen in the second half of measure 31, where Tedesco´s manuscript shows an F note an octave lower in the bass line, after a C-Gb-Eb chord. The sources show a different sequence of notes in the bass line. My proposition is to play the F note that begins the bass line with a finger of the right hand tapping that note on the 6th string, while holding the chord, and to play the rest of the notes as written, including the staccato markings deleted by Segovia.

Musical Example 96. Segovia´s edition, mm. 31-32.

Musical Example 97. Facsimile score, mm. 31-32.

In measures 33 to 34, Tedesco writes a Bb-Gb C chord with a tie on the C note in the upper voice that goes through measure 34. Segovia´s revisions of this passage change the length of both chord and C note in the upper voice. This passage can be solved if instead of shortening the chord and deleting the tie in the upper voice, one plays the F note in the bass line with the thumb finger of the left hand. 75

Musical Example 98. Facsimile score, mm. 33-34.

Musical Example 99. Segovia´s edition, mm. 33-34.

III. Tempo di minuetto

Segovia´s revisions of the 3rd Movement of Sonata op. 77 appear to make things easier from a technical standpoint. Some of these revisions show deletion of notes that

Segovia may have not considered to be necessary and that would simplify the performance of the passages. Other modifications also include changes in articulation markings.

When comparing the sources, the differences can be seen from the first measures.

The bass line written by Tedesco shows consistent staccato markings, while Segovia´s edition is not always consistent in this aspect. Also, Segovia deletes notes in the bass line 76 from measure 2 to 7. The most remarkable changes appear on the 3rd beat of measures 4, 5 and 6 in which Segovia leaves out the chords written by Tedesco, preserving only one note as bass line. Tedesco´s writing is quite clear in its harmonic aspect and is technically possible.

Musical Example 100. Segovia´s edition, mm.1-8.

Musical Example 101. Facsimile edition, mm. 1-8.

A case of a repositioned chord can be seen on the 2nd and 3rd beats of measure 36, where Segovia writes a 3-note chord to be played on neighboring strings. Tedesco´s 4-note chord in the original score produces a richer sonority.

Musical Example 102. Segovia´s edition, m. 36.

Musical Example 103. Facsimile score, m.. 36.

The passage in measures 53-55 shows differences starting on the 3rd beat of measure

53, where the sources differ in the bass line. Segovia changes Tedesco´s basses, particularly those notes on the downbeat of each group of eight notes. Also, the chord on the downbeat has been repositioned by Segovia.

Musical Example 104. Segovia´s edition, mm.53-55.

Musical Example 105. Facsimile score, mm.53-55

Measures 56-59 of Segovia´s edition appear to be somewhat different from

Tedesco´s manuscript score. The arrival to a D on the downbeat of the 2nd beat is grouped on eight notes along with the rest of the notes on that measure. Tedesco´s writing is different as the D note on the downbeat of the 2nd beat is written as a single upper voice note that lasts two beats, while the rest of the eight notes are part of a lower voice. The same situation occurs in the sequence that follows on measure 59, only a 3rd lower.

Musical Example 106. Segovia´s edition, mm. 56-59.

Musical Example 107. Facsimile edition, mm. 56-59.

Segovia´s modifications of measures 64-65 consist of the deletion of some notes that complete three note chords on the first and second beats of measure 64. These modifications not only are unnecessary since these chords can be played as written, but also leave the harmony as written by Tedesco somewhat incomplete.

Musical Example 108. Segovia´s edition, mm. 64-65.

Musical Example 109. Facsimile score, mm.. 64-65.

On the downbeat of measure 70, Segovia fills out the Eb 6/4 chord to be played with five notes, instead of a simple three-note chord written by Tedesco. This is an awkward decision as it is not possible to hold the chord for the length originally indicated by the composer. Tedesco also has written a piano marking, which along with the discrete three note chord and a rest sign on the bass line, turns out to be more appropriate for this delicate passage.

Musical Example 110: Segovia´s edition, m. 70.

Musical Example 111. Facsimile score, m. 70.

The passage in measure 72-72 appears to show similar discrepancies to those in measures 64-65. Segovia deletes notes in the middle voice that form chords on the second beats of measures 72 and 73, and on the downbeat of measure 74. The rich harmonies written by the composer are left out for a simplified solution that is technically easier. Also, the bass note on the second downbeat of measure 74 has been changed from D to G.

Musical Example 112. Segovia´s edition, mm. 72-74.

Musical Example 113. Facsimile score, mm. 72-74.

Segovia changed the last measure of the 3rd movement by writing a G minor chord in the upper register, while Tedesco´s writing shows a single G note on the bass line with a staccato marking. Segovia´s decision seems to try to give a more conclusive character to the ending, while Tedesco´s intention appears to be more elegant and delicate. This type of modification shows Segovia´s taste.

Musical Example 114. Segovia´s edition, m. 91.

Musical Example 115. Facsimile score, m. 91.

IV. Presto furioso

Although Segovia did not drastically alter the harmonic structure of the overall work, his editorial revisions often affect the sonority intended by Tedesco. In the fourth movement, there are several differences, starting with the tempo/character marking of the movement. Tedesco's label appears as Presto furioso, while Segovia modifies this indication to Vivo ed energico. The sequence of notes in the opening arpeggios is different.

While Segovia’s revision of this passage may sound similar, Tedesco’s writing of this arpeggio creates a more profound effect because of the richer sonorities of the lower range.

Regarding the arpeggios in this movement, Segovia generally changes them for arpeggios generated from chords which can be executed on neighboring strings, mostly in stacks of thirds. The aural result is quite significant.

Musical Example 116. Segovia’s edition, mm.1-2.

Musical Example 117: Facsimile score, mm.1-2.

The change of the D note that alternates with the E flat and G to an octave lower facilitates the performance of this passage. Tedesco´s writing is more challenging as written. Also, there is an omission of a staccato marking on the E flat.

Musical Example 118. Segovia’s edition, mm.13-14.

Musical Example 119. Facsimile score, mm. 13-14.

Another example of differences between the two sources occurs in measures 30-31 at the end of the first section. Tedesco’s writing shows a passage that is playable as written, while Segovia´s revision opts for a change in the sequence of notes and a harmonic note on the downbeat of measure 31:

Musical Example 120. Segovia’s edition, mm.30-31.

Musical Example 121. Facsimile score, mm.30-31.

Starting on the last sixteenth note of beat one in measure 30, Segovia changes

Tedesco’s G#-D-F-B-D to D-F-G#-B-D, which not only changes the melodic structure of the chord, but results in a more closed voicing of the chord.

Measures 37-38 show discrepancies starting with a change of the arpeggio in measure 37, followed by a modification in measure 38 that preserves only the upper voice and deletes the rest of the notes that actually form an arpeggio. 85

Musical Example 122. Segovia´s edition, mm. 37-38.

Musical Example 123. Facsimile score, mm. 37-38.

The same procedure applied by Segovia in measure 38 can be seen in mm.45-48.

Musical Example 124. Segovia´s edition, M.M. 45-48.

Musical Example 125. Facsimile score, mm. 45-48.

The arpeggio in measure 58 shows differences as Segovia decides to organize the chord in stacks of thirds to be played on strings 1, 2, and 3. Tedesco´s writing on the other 86 hand, requires an arpeggio to be played on separate strings, which requires more technical skill. This same modification appears in measure 71.

Musical Example 126. Segovia´s edition, m. 58.

Musical Example 127. Facsimile edition, m. 58.

The passage in measures 91-98 shows differences in the arpeggios (M. 93-94, and

97-98). The chord on the second-beat of these measures differs, affecting the harmony.

Musical Example 128. Segovia´s edition, mm. 91-98.

Musical Example 129. Facsimile score, mm. 92-98.

Measures 119-121 are quite different. Segovia decides to preserve only the upper voice, thus deleting the middle voice and the basses. In addition, he changes the rhythm to eighth notes, instead of the dotted rhythm written by Tedesco, and lastly, he includes a different articulation marking by adding a pizzicato indication over the notes on the upper voice.

Musical Example 139. Segovia´s edition, mm. 119-121.

Musical Example 140. Facsimile score, mm. 119-121.

In measures 135 to 142 Segovia modified the sequence of arpeggios to a design of chords that would generate arpeggios that can be played on neighbor strings, even though some of the notes are changed. This is a clever revision by Segovia, since this is one of the passages that would need careful attention and a skillful performer to achieve a successful execution if attempting to perform from the manuscript score.

Musical Example 141. Segovia´s edition, mm. 135-142.

Musical Example 142. Facsimile score, mm. 135-142.

Another case of modification of chords occurs in measure 151, where Segovia, without changing the harmony, places the three upper notes to be played on neighbor strings, as opposed to separate strings.

Musical Example 143. Segovia´s edition, m.151.

Musical Example 144. Facsimile score, m. 151.

A noteworthy passage with discrepancies between sources can be found in measures

181-183, where Segovia decides to simplify by deleting the lower notes to favor the melodic line in the upper voice. The sequence of intervals written by Tedesco is more clear in its harmony (B major). Also, Segovia adds a pizzicato indication, while Tedesco writes this sequence with staccato markings. The dynamic markings also differ.

Musical Example 145. Segovia´s edition, mm.181-183.

Musical Example 146. Facsimile edition, mm. 181-183.

In measure 209 the sources differ somewhat since Segovia adds a six string chord to fill in the D major harmony and enhance the sonority of the ascending sequence. Tedesco´s writing shows an ascending sequence with a crescendo marking, minus a chord at the end.

The double basses (D and A) written by Tedesco produce a richer sonority.

Musical Example 147. Segovia´s edition, mm. 209-212.

Musical Example 148. Facsimile score, mm. 209-212.

Segovia deletes the double basses written by Tedesco in measures 219-221. The aural effect differs as the composer´s intention seems to add support to the dotted rhythm in the upper voice.

Musical Example 149. Segovia´s edition, mm. 219-221.

Musical Example 150. Facsimile score, mm. 219-221.

CONCLUSION

Sonata op. 77 Omaggio a Boccherini is one of the major guitar sonatas composed during the first half of the twentieth century. With the help of Andrés Segovia, it has become one of the main works within the standard guitar repertoire. It is necessary to recognize that without the immense talent and drive of a figure of the magnitude of

Segovia, many of the guitar works that are known and widely played until now would not have been composed, published or performed, and ultimately would not have become part of the canon of the guitar literature.

The analysis in this study intends to aid the performer by illustrating the structural and stylistic components of this work needed to cohesively perform this music. The insight into the still incipient Castelnuovo-Tedesco and Andrés Segovia´s collaborative relationship at the time this Sonata was composed allows us to explore the creative process and eventual outcome pertaining this important guitar work. The assessment of Andrés

Segovia´s editing practices illustrate on his criteria and approach to the music that was expressly written for him. These two aspects are essential in our understanding of Segovia´s shaping of this repertoire. Moreover, it is necessary to understand that Segovia´s revisions were made at a time when he was considered the most authoritative voice when committing to the significant task of publishing, performing, and eventually recording this music.

The rising interest in rescuing, revealing, and analyzing original manuscripts of musical works has become a compelling task for scholars and performers to attain a better- informed interpretation of the music. Some of those seemingly long-lost documents are still being discovered as it is the case of Sonata op. 77, on which this study is focused. An assessment and comparison therefore becomes necessary tasks for the performer. At the 93 time Sonata op. 77 was composed, Castelnuovo-Tedesco was still in the process of tackling the intricacies of writing for such an unusual instrument such as the guitar. Even though

Tedesco had been proving himself proficient in guitar writing, there were still certain issues that would arise, in which Segovia would have to make decisions, and often in these decisions his personal taste and own criteria would determine a different result than intended by the composer. Although Segovia´s revisions seem reasonable from a technical standpoint, Tedesco´s writing is worthy of attention as most of it appears as not only technically possible, but also richer and more interesting in its final aural outcome.

It is my hope that this study will be good of service for teachers, students, performers and aficionados to further their knowledge of this important work for guitar.

APPENDIX

LIST OF GUITAR COMPOSITIONS

Solo guitar:

o Variazioni attraverso i secoli (Variations à travers les siècles), op. 71 (1932)

o Sonata Omaggio a Boccherini, op. 77 (1934)

o Capriccio Diabolico (Omaggio a Paganini), op. 85a (1935)

o Tarantella, op. 87a (1935)

o Aranci in fiore, op. 87b (1935)

o Variations plaisantes sur un petit air populaire, op. 95 (1937)

o Rondò, op. 129 (1946)

o Suite, op. 133 (1947)

o Tonadilla sur le nom de Andrés Segovia pour guitare seul, op. 170 no. 5 (1954)

o Passacaglia Omaggio a Roncalli, op. 180 (1956)

o Tre Preludi mediterranei, op. 176 (1955)

o Escarramán, A Suite of Spanish Dances from the XVI Century (after Cervantes), op. 177 (1955)

o Platero y Yo, op. 190 for guitar and narrator, text by Juan Ramón Jiménez (1960)

o Tre Preludi al Circeo, op. 194 (1961)

o 24 Caprichos de Goya, op. 195 (1961)

o Appunti, Preludi e studi per chitarra, op. 210 (unfinished, 1967–8)

o From the set of Greeting Cards, op. 170

• Tonadilla sur le nom de Andrés Segovia, op. 170/5 (1954)

• Rondel über den Namen Siegfried Behrend, op. 170/6 (1954)

• Preludio in forma di habanera sul nome di Bruno Tonazzi, op. 170/7 (1954)

• Tanka (Japanese Song) on the name of Isao Takahashi, op. 170/10 (1955)

• Ninna Nanna, a Lullaby for Eugene, op. 170/14 (1957)

• Canto delle Azzorre sul nome di Enos, op. 170/15 (1958)

• Canzone Siciliana sul nome di Mario Gangi, op. 170/33 (1962)

• Ballatella on the name of Christopher Parkening, op. 170/34 (1963)

• Sarabande on the name of Rey de la Torre, op. 170/36 (1964)

• Romanza sul nome di Oscar Ghiglia, op. 170/37 (1964)

• Fantasia sul nome di Ronald e Henry Purcell, op. 170/38 (1966)

• Canción Cubana on the name of Héctor García, op. 170/39 (1965)

• Canción Venezuelana sul nome di Alirio Díaz, op. 170/40 (1966)

• Canción Argentina sul nome di Ernesto Bitetti, op. 170/41 (1966)

• Estudio sul nome di Manuel López Ramos, op. 170/42 (1966)

• Aria da chiesa sul nome di Ruggero Chiesa, op. 170/43 (1967)

• Brasileria sul nome di Laurindo Almeida, op. 170/44 (1967)

• Japanese Print on the Name Jiro Matsuda, op. 170/46 (1967)

• Volo d'Angeli sul nome di Angelo Gilardino, op. 170/47 (1967)

• Canzone Calabrese sul nome di Ernest Calabria, op. 170/48 (1967)

• Tarantella campana sul nome di Eugene di Novi, op. 170/50 (1967)

Two guitars:

o Sonatina canonica, op. 196 (1961)

o Les Guitares bien tempérées, op. 199 (24 preludes and fugues in all 24 major and minor keys) (1962)

o Fuga Elegiaca, op. 210a (1967) Chamber:

o Guitar Quintet (guitar and string quartet), op. 143 (1950)

o Fantasia for Guitar and Piano, op. 145 (1950)

o Aria for oboe, cello and guitar, op. 146c, No. 3 (1950)

o Romancero Gitano, for mixed choir and guitar, op. 152

o Sonatina for Flute and Guitar, op. 205 (1965)

o Eclogues, for flute, English horn & guitar, op. 208 (1965)

o Vogelweide: ein Lieder-Cyklus für Bariton und Gitarre (oder Klavier), op. 186 (1959)

o The Divan of Moses-Ibn-Ezra (1055-1135): a cycle of songs for voice and guitar, op. 207 (1966)

Concertante:

o Concerto in D (guitar and orchestra), op. 99, (1939)

o Sérénade pour guitar et orchestra de chamber, op. 118 (1943)

o Capriccio Diabolico Omaggio a Paganini (Guitar and orchestra), op. 85a (1945)

o Concerto Sereno (Secondo concerto in Do) per chitarra e orchestra, op. 160 (1953)

o Concerto for Two Guitars, op. 201 (1962)

Transcriptions:

o "Minstrels" da Preludes, Libro I by Claude Debussy (1951)

o "Pavane (pour un Infante défunte)" by Maurice Ravell (1953)

o Sonata I for Guitar and Harpsichord. Realization of the figured bass of a work by Rudolph Strauber (c1725-1780) (1958) for guitar and harpsichord

BIBLIOGRAPHY

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Asbury, David S. “20th Century Romantic Serialism: The Opus 170 Greeting Cards of Mario Castelnuovo-Tedesco.” DMA diss., University of Texas at Austin, 2005.

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Bream, Julian, guitarist. Sonata, by Mario Castelnuovo-Tedesco. Angel Records. CD 1995.

Castelnuovo-Tedesco, Mario. Capriccio Diabólico and Tarantella. New Edition based on the Original Manuscripts. Edited by Angelo Gilardino and Luigi Biscaldi. Milan: Ricordi, 2006.

——. Sonata “Omaggio a Boccherini,” op.77. Edited by Andrés Segovia. Mainz: Schott, 1935.

——. Sonata “Omaggio a Boccherini,” op.77. Edited by Angelo Gilardino. Ancona: Bèrben, 2007.

——. Una vita di musica (un Libro di Ricordi). Florence: Cadmo, 2005.

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