Guitar Lute - Mandolin Complete Catalogue December 2020
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References in Potpourris: 'Artificial Fragments' and Paratexts in Mauro Giuliani's Le Rossiniane Opp. 119–123
References in Potpourris: ‘Artificial Fragments’ and Paratexts in Mauro Giuliani’s Le Rossiniane Opp. 119–123 Francesco Teopini Terzetti Casagrande, Hong Kong The early-nineteenth-century guitar virtuoso Mauro Giuliani (1781– 1829) was a master of the potpourri, a genre of which the main characteristic is the featuring of famous opera themes in the form of musical quotations. Giuliani’s Le Rossiniane comprises six such potpourris for guitar, composed at the time when Rossini was the most famous operatic composer in Europe; they are acknowledged as Giuliani’s chef-d’oeuvre in this genre. Through an investigation of the original manuscripts of Le Rossiniane No. 3, Op. 121, and No. 5, Op. 123, I consider that Giuliani, apparently in order to be fully understood by both performers and audiences, wanted to overtly reference these musical quotations; and that he left various paratextual clues which in turn support the validity of my observations. Utilizing both music and literary theory my analysis investigates and categorizes three types of peritextual elements adopted by Giuliani in order to classify and reference the quoted musical themes in Le Rossiniane for both performers and the public: title, intertitle, and literal note. Further investigation of these works also leads to the hypothesis that each of Giuliani’s musical quotations, called in this paper artificial fragments, can be considered as a further, and essential referential element within the works. At the beginning of the nineteenth century the making of potpourris was the quickest way to compose ‘new’ and successful music. Carl Czerny (1791–1857) stated that the public of that time “experience[d] great delight on finding in a composition some pleasing melody […] which it has previously heard at the Opera […] [and] when […] introduced in a spirited and brilliant manner […] both the composer and the practiced player can ensure great success” (1848 online: 86). -
Daniele Lazzari Expresses Himself Through Music
DDANIELEANIELE LLAZZARIAZZARI Classical Guitarist Composer I Biography “Sweetness and elegance that get to the heart”. These words perfectly describe the way the Italian guitarist and composer Daniele Lazzari expresses himself through music. His talent was recognized first when he won international music competitions at the beginning of his career, as in Padua, Salerno, Lecce and Ancona. In fact, Mr. Lazzari is valued for the freshness of his interpretations which are always meditated and enriched by a brilliant instrumental technique. Mr. Lazzari has appeared in many prestigius concert venues through Europe and Asia. For instance, he gave concerts at the Festetics Castle in Keszthely, the Pisani Palace in Venice, the Ceramic Palace Concert Hall in Seoul. In 2016 he made his memorable debut at the famous Ferenc Liszt Music Academy in Budapest. His first solo CD, titled “Classical Guitar Jewels” has been acclaimed for the freshness and expressiveness which he has brought in the guitar masterpieces of the 20th century. VIRTUOSO GUITAR MUSIC OF SPAIN AND LATIN AMERICA is his new solo CD published by the Japanese label DA VINCI CLASSICS in 2018. Daniele Lazzari has devoted himself to chamber music with numerous projects. Stably he has performed with Italian violinist Varina Fortin, Hungarian flutist Emőke Geszti, Japanese soprano Noriko Ogawa, Korean soprano Eun Kyoung Suh, Italian tenor Giuseppe Coluzzi, Italian guitarist Luca Fabrizio and Hungarian guitarist Annamária Fábián. He has collaborated with the Extol Trio and the Estampas Quartet. Currently he is engaged in a new chamber music project with Italian flutist Claudio Marinone. The album “Sambossa”, recorded with flautist Mrs. -
Simon Powis, Guitar (Australia) New Opportunities for a Twenty-First Century Guitarist 6:00 - 7:15 P.M
The 16th Annual Cleveland International Classical Guitar Festival June 3 - 5, 2016 Vieaux, USA SoloDuo, Italy Poláčková, Czech Republic Gallén, Spain De Jonge, Canada North, England Powis, Australia Davin, USA Beattie, Canada Presented by UITARS NTERNATIONAL G I in cooperation with the GUITARSINT.COM CLEVELAND, OHIO USA 216-752-7502 Grey Fannel HAUTE COUTURE Fait Main en France • Hand Made in France www.bamcases.com Welcome Welcome to the sixteenth annual Cleveland International Classical Guitar Festival. In pre- senting this event it has been my honor to work closely with Jason Vieaux, 2015 Grammy Award Winner and Cleveland Institute of Music Guitar Department Head; Colin Davin, recently appointed to the Cleveland Institute of Music’s Conservatory Guitar Faculty; and Tom Poore, a highly devoted guitar teacher and superb writer. Our reasons for presenting this Festival are fivefold: (1) to help increase the awareness and respect due artists whose exemplary work has enhanced our lives and the lives of others; (2) to entertain; (3) to educate; (4) to encourage deeper thought and discussion about how we listen to, perform, and evaluate fine music; and, most important, (5) to help facilitate heightened moments of human awareness. In our experience participation in the live performance of fine music is potentially one of the highest social ends towards which we can aspire as performers, music students, and audience members. For it is in live, heightened moments of musical magic—when time stops and egos dissolve—that often we are made most conscious of our shared humanity. Armin Kelly, Founder and Artistic Director Cleveland International Classical Guitar Festival Acknowledgements We wish to thank the following for their generous support of this event: The Cleveland Institute of Music: Gary Hanson, Interim President; Lori Wright, Director, Concerts and Events; Marjorie Gold, Concert Production Manager; Gina Rendall, Concert Facilities Coordinator; Susan Iler, Director of Marketing and Communications; Lynn M. -
Howard Lutwak Collection
http://oac.cdlib.org/findaid/ark:/13030/c8nc62f4 No online items Guide to the Howard Lutwak Collection Special Collections & Archives University Library California State University, Northridge 18111 Nordhoff Street Northridge, CA 91330-8326 URL: https://library.csun.edu/SCA Contact: https://library.csun.edu/SCA/Contact © Copyright 2020 Special Collections & Archives. All rights reserved. Guide to the Howard Lutwak IGRA.HL 1 Collection Contributing Institution: Special Collections & Archives Title: Howard Lutwak Collection Creator: Lutwak, Howard, 1956- Identifier/Call Number: IGRA.HL Extent: 0.42 linear feet Date (inclusive): 1926-1997 Abstract: Howard Lutwak is a classical guitarist who studied under Professor Ronald Purcell at California State University, Northridge. This collection consists of 32 musical scores for classical guitar. Language of Material: English,Spanish; Castilian,Italian,French,German Biographical Information: Howard Lutwak, a classical guitarist born in Hollywood, California in 1956, began playing guitar when he was eight, and has performed both as a soloist and in ensembles. He studied guitar under Ronald Purcell at California State University, Northridge, Frederick Noad at the Idyllwild School of Music and the Arts, John Duarte at the Cannington International Guitar Summer School, and in master classes with Carlos Barbosa-Lima and Manuel Barrueco. Lutwak has recorded professionally, appearing on recordings including Songs of Angels, Caro Mio Ben, and Generation to Generation, the last of which includes arrangements of traditional, folk, and modern Jewish, Yiddish, and Israeli songs, reflecting Lutwak's interest in bringing music of the Jewish tradition to a broader audience. Scope and Contents The Howard Lutwak Collection consists of 32 musical scores for classical guitar, the majority of which are for solo guitar. -
The Duality of the Composer-Performer
The Duality of the Composer-Performer by Marek Pasieczny Submitted for the Degree of Doctor of Philosophy School of Arts Faculty of Arts and Social Sciences Supervisors: Prof. Stephen Goss ©Marek Pasieczny 2015 The duality of the composer-performer A portfolio of original compositions, with a supplementary dissertation ‘Interviews Project: Thirteen Composers on Writing for the Guitar’. Abstract The main focus of this submission is the composition portfolio which consists of four pieces, each composed several times over for different combinations of instruments. The purpose of this PhD composition portfolio is threefold. Firstly, it is to contribute to the expansion of the classical guitar repertoire. Secondly, it is to defy the limits imposed by the technical facilities of the physical instrument and bring novelty to its playability. Third and most importantly, it is to overcome the challenges of being a guitarist-composer. Due to a high degree of familiarity with the traditional guitar repertoire, and possessing intimate knowledge of the instrument, it is often difficult for me as a guitarist-composer to depart from habitual tendencies to compose truly innovative works for the instrument. I have thus created a compositional approach whereby I separated my role as a composer from my role as a guitarist in an attempt to overcome this challenge. I called it the ‘dual-role’ approach, comprising four key strategies that I devised which involves (1) borrowing ‘New Music’ practices to defy traditionalist guitar tendencies which are often conservative and insular; (2) adapting compositional materials to different instrumentations; and expanding on (3) the guitar technique as well as; (4) the guitar’s inventory of extended techniques. -
LEGNANI Rossini Variations
Luigi LEGNANI Rossini Variations L’Italiana in Algeri Guillaume Tell Armida • Zelmira La Cenerentola La donna del lago Marcello Fantoni, Guitar Luigi Legnani (1790–1877): Rossini Variations Luigi Legnani, guitarist and composer, born in Ferrara, Italy, 1813. Stendhal commented ‘When Rossini wrote studied in his early years to be an orchestral string player. ‘L’Italiana his youthful genius was bursting into flower’. The Rossini – L’Italiana in Algeri (The Italian Girl in ™ Variation 1: Più mosso 1:06 But he branched off into singing and appeared in operas Overture begins with a dramatic Largo section. This is £ Algiers): “Gran Sinfonia”, Op. 2 8:33 Variation 2: Più lento 0:51 by Rossini, Pacini and Donizetti as a tenor following his followed by a lively Allegro spiritoso. 1 Largo 1:42 ¢ Variation 3: Tempo primo 0:53 debut in Ravenna in 1807. He began his concert career as The setting for the opera is the palace of the Bey of 2 Allegro spiritoso 6:51 ∞ Variation 4 1:01 a guitarist in Milan in 1819, and performed in Vienna in Algiers. The first scene introduces a chorus of the eunuchs § Variation 5: Minore, Un poco più moderato 2:27 Rossini – Guillaume Tell: Overture, Op. 202 1822, later touring Italy, Germany, and Switzerland, of the harem. Elvira, the Bey’s wife, complains that her (excerpts) 7:40 ¶ Variation 6: Allegro brillante 1:22 His friendship with Paganini who described him as ‘the husband no longer loves her. Haly, the captain of the Bey’s 3 Andante 3:15 • Coda 1:24 leading player of the guitar’ has often been written about corsairs, is told to go and find an Italian wife for the Bey. -
Mauro GIULIANI Le Rossiniane Goran Krivokapić, Guitar Mauro Giuliani (1781–1829) Giuliani’S Six Rossiniane for Solo Guitar Are Fantasias Rossiniana No
Mauro GIULIANI Le Rossiniane Goran Krivokapić, Guitar Mauro Giuliani (1781–1829) Giuliani’s six Rossiniane for solo guitar are fantasias Rossiniana No. 1, Op. 119 (c. 1820 –23) Le Rossiniane or potpourris (i.e. medleys) on themes taken from (Le Rossiniane, Part 1, Op. 119) Rossini’s operas. The first five are dated around 1820–23 Introduction (Andantino) – Otello , Act III. Scene e Mauro Giuliani, one of the great masters of the early 19th Seville , was written within three weeks. Nearly 40 stage during Giuliani’s time in Rome, and the last was published Romanza: Assisa a piè d’un salice (Desdemona) century, wrote a vast quantity of guitar music including works constitute his ultimate output, as well as sacred in 1827/28. At the time of composition the public would Andante grazioso – L’Italiana in Algeri , Act I, Scene 3. variations, sonatas, concertos, duets and studies. An music, cantatas, incidental music, hymns, choruses, have been well aware of the themes of Rossini’s music Cavatina: Languir per una bella (Lindoro) important part of his career was spent in Vienna where he miscellaneous vocal pieces and instrumental works, but nowadays only the more popular may be immediately Maestoso – L’Italiana in Algeri , Act I, Scene 5. Duetto: was well acquainted with Beethoven, Moscheles, among others. recognisable to an audience. However, the tunes are so Ai capricci della sorte (Isabella, Taddeo) Hummel, Mayseder, Spohr and other leading musicians Giuliani’s music was largely neglected by the leading strong and vivid that a first acquaintance with such Moderato – L’Italiana in Algeri , Act II. -
Guitar and Lute Music
SOLITARY REFINEMENT Music for Lute, Vihuela and Guitar Welcome to the intimate, colourful and versatile world of music for lute and guitar, instruments with an ancestry tracing back thousands of years and a fascinating repertoire reflecting the physical and social development of the instrument over the past five centuries. The music represented in the following pages traces the instrument’s journey from the refinements of the early sixteenth century to the more cutting-edge characteristics it has inspired from 20th-century composers. Collectors wishing to assemble recordings by composer will find noted representatives of successive historical periods, including the English Renaissance composer John Dowland, German baroque master Silvius Leopold Weiss, the Italian classical style of Mauro Giuliani, 19th-century Spanish greats Fernando Sor and Francisco Tárrega, plus a modern international spread of names including Joaquín Rodrigo and Leo Brouwer. There are also regional collections representative of guitar music not only from the instrument’s native Spain, but also from South American countries closely associated with the development of the instrument’s profile in the 20th century – Brazil, Argentina and Chile, for example – plus gems from Australia and Britain. Alternatively, the instrument’s range of technical and expressive capabilities can be sampled by choosing from an extensive set of solo recitals by an international roster of distinguished performers, not least in our highly successful and ever-expanding Guitar Laureate Series. Complementing the instrument’s image as a solitary instrument are recordings of ensemble works for two and three guitars, for guitar and piano, and Boccherini’s quintets for guitar and string quartet. -
G Giuliani, Les Opéras Et Les Ballets
CATALOGUE DES ŒUVRES DE MAURO GIULIANI ( 27 juillet 1781 - 8 mai 1829 ) G. 2 Thèmes extraits d'opéras et de ballets Etabli par Eddy Favre, Genève (Suisse) Compositeur Opéra Extrait Titre Opus Giuliani Instruments BELLINI Vincenzo Il Pirata Ouverture WoO 2 G-4 2 guitares Cavatine Nell furor delle tempeste WoO G-14 Guitare Aria Tu vedrai la sventurata WoO G-10 Guitare idem WoO G-15 Guitare BOIELDIEU François Adrien Charles de France 1) Romance ? 105 Guitare CHERUBINI Luigi Les Deux Journées 2) Marche (Chœur de soldats, final 2e acte) 110 Guitare DONIZETTI Gaetano L'Esule di Roma Cavatine Tacqui allor … l'abbandonai WoO G-12 Guitare Duo Se a me fido ognor sarai WoO G-13 Guitare Alfredo il Grande ? ? 126 Fl (V) et guitare GENERALI Pietro Baccanali di Roma Cavatine Nume perdonamisi in tale istante 102 Guitare idem 102 [bis]Guit.et quat.à c. GIULIANI Nicolas Armiro e Daura Marcia [G]vocal-2 Guitare GYROWETZ Adalbert Der Augenarzt 2 duos, 1 cavatine, 2 romances, 1 quintette ? WoO G acc.E94-4 Guitare HIMMEL Friedrich Heinrich Fanchon 3) Romance ? 88 Guitare ISOUARD Nicolas (Nicolo) Jeannot et Colin Duo ? 72 Guitare MOZART Wolfgang-Amadeus La Clemence de Titus Ouverture WoO 2G-2 2 guitares Don Giovanni Ouverture (début) 53 Fl (V) et guitare Air (dit "du champagne")) 53 Fl (V) et guitare La Flûte enchantée Chœur 4) Das klinget so Herrlich, / so schön WoO G-3 [N°1] Gui tare idem 86 N°17 Fl (V) et guitare Trio Trio des enfants 5) 42 Guitare Les Noces de Figaro Air du comte Non più andrai farfalone 28 Guitare ../. -
Giuliani Music for Violin and Guitar
95735 Giuliani Music for Violin and Guitar Piercarlo Sacco violin Andrea Dieci guitar Mauro Giuliani (1781-1829) Playing and composing scores for the guitar. Music for Violin and Guitar The creative brilliance of Mauro Giuliani ‘ Eminent teachers have made a name for themselves with this instrument, and Carulli has made his fortune in France by composing and playing scores for Grand Duo Concertant for Flute Duo Concertant for Violin the guitar. Moretti, Nava, Lagnani, Sor and above all Giuliani, who was the or Violin and Guitar Op.85 and Guitar Op.25 best of them all, have given us beautiful original works and arrangements.’ 1. Allegro maestoso 7’38 12. Maestoso 6’55 (Cenni storici intorno alle lettere, invenzioni, arti, al commercio ad agli 2. Andante molto sostenuto 5’19 Thême avec variations spettacoli teatrali per l’anno 1834-35, Volume 22, Bologna 1834). 3. Scherzo. Vivace – Trio 4’16 13. Theme. Andante grazioso 1’57 4. Allegretto espressivo 5’58 14. Variation I 1’42 Obstacles and opportunities 15. Variation II 2’00 With hindsight Mauro Giuliani’s musical career somewhat resembles an obstacle Serenade for Flute or Violin 16. Variation III 1’09 race in which the hurdles that would normally slow the athlete down are tenaciously and Guitar Op.127 17. Variation IV. tamed and turned into good opportunities. 5. Maestoso 3’08 Un poco Adagio 2’32 The first challenge was evident right at the outset. The little town of Bisceglie in 6. Minuetto. Allegretto – Trio 3’59 18. Variation V 1’36 southern Italy where Giuliani was born, and the slightly larger town of neighbouring Tema con variazioni 19. -
Mauro Giuliani (1781-1829): Instrumental and Vocal Style in Le
COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Director of Copyright Services sydney.edu.au/copyright Mauro Giuliani (1781–1829): Instrumental and Vocal Style in Le Sei Rossiniane Giuseppe Zangari A thesis submitted in partial fulfilment of requirements for the degree of Master of Music (Performance) Sydney Conservatorium of Music University of Sydney 2013 Statement of originality I declare that the research presented here is my own original work and has not been submitted to any other institution for the award of a degree. -
Counterpoint and Performance of Guitar Music – Historical and Contemporary Case Studies
Counterpoint and Performance of Guitar Music – Historical and Contemporary Case Studies Paul Ballam–Cross B.Mus (Performance), M.L.I.S A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2019 School of Music Abstract This thesis examines how contemporary composers approach the guitar and counterpoint. An historical overview of the guitar is provided at the outset of the thesis, leading to detailed examination of contrapuntal technique in an extended twentieth-century work by Miklós Rózsa, and addresses effective guitar performance techniques in relation to different kinds of contrapuntal textures. These historical, technical and performance considerations then inform a series of interviews with six contemporary composers (Stephen Hough, Angelo Gilardino, Stephen Goss, Tilmann Hoppstock, Ross Edwards, and Richard Charlton). These interviews aim to provide insight into how 21st century composers approach contrapuntal writing for the guitar. The interviews are paired with detailed discussions of representative works for guitar by each composer. These discussions deal particularly with difficulties in practical performance and with how the composer has achieved their compositional goals. This thesis therefore seeks to discover how approaches to the guitar and counterpoint (including challenges, limitations and strategies) have changed and evolved throughout the instrument’s existence, up to some of the most recent works composed for it. i Declaration by author This thesis is composed of my original work, and contains no material previously published or written by another person except where due reference has been made in the text. I have clearly stated the contribution by others to jointly–authored works that I have included in my thesis.