The Guitarists’ Repertoire and Evolution Through the Works of J.S. Bach, Piazzolla, and Bogdanović

Paul Kneller 3.19.18 The guitar as an academic and elevated concert instrument finds a repertoire filled with transcriptions, adaptations, and arrangements alongside works specifically, and relatively recently, composed for the guitar. While the guitarist has been creating a new and personal tradition since the nineteenth century, modern has attempted to connect itself with the traditions of the past by way of the music of early fretted instruments like the lute, vihuela, and . Sources of the guitarist’s repertoire are diverse and are collected from various backgrounds, cultures, and influences.

Composers for early fretted instruments published their works in tablature, which would show the placement of notes on the instrument. This was a very effective way for quick learning and recording. A few problems existed in this system, for different tablature styles existed. It was

a notation separate and of itself, and it

inevitably had a level of open-ended

interpretation involved. Sometimes the

tablature was in numbers, and other times it

read in letters. The rhythms were written

Wade, pg 28. above the tablature to indicate at least one line, but clarity on durations for each voice was low. Graham Wade identified tablature as “an obscure method because its language [applied] only to fretted instruments unlike normal

European notation which can be understood by any person who has learned to read music no matter what instrument they play.”1 In later years tablature was expelled due to academic attitudes of the opinion that tablature was not an intellectual practice.

1 Wade, Graham. Traditions of The Classical Guitar pg. 26. The lute was at its peak in the sixteenth and seventeenth centuries. During that era the instrument evolved from having eleven to fourteen courses. Each course had two strings. It was common that lutenists were also the composers due to their understanding of the instrumental complexities of the lute. Even though Bach did not play the lute himself, he was familiar with the instrument. J.S. Bach wrote five lute suites. Some of them he wrote on his (a lute harpsichord), and one he adapted from his fifth cello suite, likely with the intent that lutenists would in turn put it into tablature for their own instruments. His “works do show Bach imagining lute effects, even technical possibilities. The consensus among players now is that Bach made his staff-notation versions for lutenists to adapt to their instrument.”2 The instrumental possibilities of the lute made it popular for courts. Though the lute arguably competed with keyboards in that period of time, this popularity was short-lived. The lute “collapsed under the weight”3 of too many strings and too many technical demands. Moving out of the seventeenth century, the keyboard proved to be much more practical and overshadowed any further evolution of the lute, in part due to “the greater contrapuntal facility of the keyboard.”4 Nevertheless, many lute pieces have been adapted for the guitar. Adapting music of an instrument with fourteen courses to an instrument with six single strings obviously encountered many obstacles.

“To transcribe lute music was seen to be more difficult in many respects than performing the harpsichord sonatas of Scarlatti or even the violin music of Bach on the guitar.”5 That is why many considered it easier to transcribe music from keyboard pieces of that period to the guitar.

2 Ledbetter, David. Unaccompanied Bach pg. 56

3 Wade, Graham. Traditions of the Classical Guitar pg. 5

4 Ibid.

5 Wade, Graham. Traditions of the Classical Guitar. pg 21. The vihuela provided another early source from which guitarists would collect literature.

It was a guitar-like relative with six-courses, in which, again, each course consisted of two strings. The strings were tuned just as the modern guitar is, except, the third course was tuned a half step lower to f-sharp. This made the music of the vihuelist quite accessible for the guitar as the music would not need extensive, if any, edits in order to play it. Composers of the instrument wrote conveniently idiomatic pieces with lots of open strings in the first few positions. Well- respected composers of the vihuela include Luys Milan, Luys de Narvaez, and Alonso Mudarra.

The works of these vihuelists were primary sources from which guitarists transcribed pieces into standard notation.

The Baroque guitar was a five course instrument that was tuned exactly like the guitar but without a sixth course. Along with the lute and vihuela, the Baroque guitar laid the foundation for the development of the guitar. Composers for the Baroque guitar include Santiago de Murcia,

Robert de Visee, and Gaspar Sanz. The five course guitar was popular from the mid-sixteenth century to the mid-seventeenth century. Modern classical guitarists would often thicken the textures by adding bass or melody notes to strengthen the works for contemporary performance.

The works that have been transcribed from this tradition tend to be the most accessible for the guitar.

In the nineteenth century, guitarists joined the rest of the world in standard notation. For the most part they did away with the tablature system (not that it disappeared completely). Simon

Molitor revolutionized guitar notation by separating voices. Fernando Sor and Giuliani brought the guitar into the world of serious music and wrote competitive works for the instrument inspired by orchestral works and compositions by Beethoven. They were virtuosos of their time and enjoyed a lifetime of popularity. At this point, in the 1800s, the guitar was smaller, but it was no longer strung with courses; instead, the guitar was strung with six single strings. The music of this period was notated and needed no adaptation for the modern guitar.

In 1856, Berlioz, a big name composer, wrote in his Modern Instrumentation and

Orchestration, “It is almost impossible to write well for the guitar without being a player on the instrument. The majority of composers who employ it, are, however, far from knowing its powers; and therefore they frequently assign it things to play, of excessive difficulty, of little sonorousness, and little effect.”6 However, in the twentieth century when Andre Segovia brought attention to the guitar as a concert instrument, he attracted many composers who did not play the guitar, such as Ponce, Falla, Torroba, Turina, and Rodrigo, who wrote for the instrument and contributed to a growing repertoire of guitar music. The guitar emerged from obscurity and folk cultures into the contemporary, classical music world. This recognition fostered an increase in the number of proficient and virtuosic performers. The upsurge in skill level and musicianship encouraged other composers to write for the instrument. Transcriptions of Chopin and other piano works were being reworked for the guitar; reductions from orchestral works were being adapted, and the guitarist repertoire expanded exponentially.

The compositions of J.S. Bach, Astor Piazzolla, and Dušan Bogdanović represent three examples of the diversity of sources inherent in guitar repertoire. The first is Bach’s adaptation of solo instrumental music originally intended for cello but reimagined for lute and later the guitar. The second is a reduction from a quintet written by Piazzolla, and, finally, a suite written for guitar by composer and guitarist, Dušan Bogdanović.

6 Wade, Graham. Traditions of the Classical Guitar. pg. 127 J. S. Bach (1685-1750) Lute Suite no. 3, BWV 995

Born in Eisenach, Germany, descended from a generations-old family of musicians. Bach had a beautiful soprano voice which helped him gain admittance to a school in Lunenberg. Once his voice changed, he studied the violin and harpsichord. Thereafter, he held a variety of positions throughout Germany that allowed him to develop his musical abilities and talents. Today he is considered one of the foremost Western composers and well- known for the musical complexity in his works as much as for stylistic innovations inherent in his compositions. He had twenty children, some of whom continued his musical dynasty. In 1750

Bach had a stroke that ended his life; however, he left behind a wealth of musical compositions that still enriches music and culture today.

As mentioned before, the lute developed during the 17th and 18th centuries. It was traditionally associated with France, though many lutenists traveled throughout Germany spreading its influence there. This influence was so invasive that “well into the second half of the century, when German keyboard players wished to play French music they usually made arrangements of lute pieces rather than looking for original French harpsichord pieces.”7 The first lutes consisted of eleven courses, each course having two strings. There were many variants, but by the time Bach encountered and wrote for the instrument, the lute had evolved into having fourteen courses, two strings each.

Most lute players (like many guitarists in the past and present) relied on tablature for notation. Other than the great Silvius Leopold Weiss, who could read violin concertos on the

7 Ledbetter, David. Unaccompanied Bach. pgs 47-48. lute, players of the lute would not read solo works in notation other than tablature, and Bach would have been well aware of this. This idiomatic element was essential for the lutenist's ability to perform a piece of music.

J. S. Bach composed Lute Suite no. 3 between 1727-31. The work is an arrangement of his existing Cello Suite no. 5, BWV 1011. At least two tablature editions arranged by lutenists exist of BWV 995 alongside Bach’s original manuscript. The suite is typical of instrumental music of the Baroque period. Bach’s suite consists of a prelude, , , sarabande, gavotte I & II en rondo, and .

Lute Suite no. 3 commences with the prelude written in cut time and leads up to a brilliant tres vista fugue in 3/8. This two-part movement consists of a section with dotted rhythms contrasted by a light and quick second half, in the style of a French Overture. The allemande opens after the fugue and is filled with dotted rhythms and long ornamental lines. The contrasting second movement, the allemande, is followed by a lively courante in cut time. After the third movement, Bach inserts the sarabande, which creates a stunning and meditative atmosphere for the midpoint of this suite. Two gavottes form an interlude before proceeding to the lively, imitative, and motor-driven gigue at its conclusion.

Astor Piazzolla (1921-1990) Las Estaciones Porteñas (Transcribed by Sergio Assad)

Though born in Argentina, Astor Piazzolla grew up in New York and did not return to

Argentina until he was a teenager. Gifted a bandoneon, it became Piazzolla’s primary instrument. He was fortunate to study with Nadia Boulanger in Paris and also with Alberto

Ginastera. Piazzolla had intended to pursue a vocation in classical music; however, once Nadia Boulanger asked him to play her a tango, she could see his passion lay there. She encouraged him to develop his work in that style. Piazzolla credits his third teacher (Buenos Aires) with teaching him “the secrets of tango.”8

Piazzolla revolutionized the tango, which came to be known as tango nuevo, by incorporating elements of Western classical music, i.e., fugue, counterpoint, and jazz with new harmonic progressions. His group abandoned playing by ear, but not improvising. In order to be progressive, he had the group reading the music. Thus, Piazzolla brought tango to new heights.

Las Estaciones Porteñas was written over a period of five years from 1965-70. He premiered the four seasons with his quintet. Individual pieces contrasted slow romantic sentiment and longer melodies with ad-lib moments and exciting, sometimes noisy or dissonant, passionate passages.

The Quintet Tango Nuevo’s recording in 1984, The Vienna Concert, is the basis of the transcription by Sergio Assad.9 He was born 1952 in Brazil and is well-known for his contributions in arranging music for the guitar among many other musical accomplishments. He believed Piazzolla’s compositions had every element one would need for good music and arranged versions of his tangos to perform with his brother. When Piazzolla heard them play one of his arrangements, he quickly wrote a suite for the brothers.

In Assad’s transcription of Las Estaciones Porteñas, he gives careful attention to preserving elements of the original performance in Vienna by Piazzolla. Two of the most notable achievements in Assad’s transcription of the four seasons are the constant motion of the bass and

8 Piazzolla, Astor, et al. Astor Piazzolla: a memoir. Amadeus Press, 2001, pg 25.

9 Vincens, Guilherme Caldeira Loss. The Arrangements… Solo Classical Guitar pg. 41 the exciting cadenzas. His cadenzas make use of campanellas (which is a string crossing technique that makes use of idiomatic elements possible for the guitar) to lighten the load of quick passages. In Invierno Porteno, the piano cadenza is almost exactly transcribed.

Assad masterfully adapts the piano

cadenza to the guitar with campanellas

and convenient left and right hand

shapes. Assad was concerned with the

preservation of primary elements, and

his ability to transcribe these pieces so that they are accessible and not clumsy is an outstanding achievement.

Dušan Bogdanović (1955-) Little Café Suite

Dušan Bogdanović is a Yugoslavian born composer, performer, and teacher. He studied composition, guitar, and orchestration at Geneva Conservatory in Switzerland and began teaching there upon graduation. Since moving to the United States, he has taught at both the

University of Southern California as well as at the San Francisco Conservatory. His music brings a unique, fresh perspective to

Western classical music borrowing from jazz, the Renaissance, and ethnic music.

Bogdanović’s polyrhythmic/metric and odd-metered elements, modal usage, and chromatic harmony are staples in his compositions.

Bogdanović composed The Little Café Suite for guitar in 1992 and recorded it in 1999.

Unlike some of his other compositions, this collection has received less attention in the classical guitar community. It is written in four movements, each describing a different cafe beverage:

Cappuccino, Kwaffee, Decaf, and Espresso. The entire suite is rhythmically complex showcasing mixed meter, odd-meter, additive rhythm, and polyrhythms.

The first and third movements, Cappuccino and Decaf, share melodic content — a technique he explores in other compositions like the Balkan Miniatures. Decaf is a complex example of Dušan’s polyrhythmic content in which the melody is played in dotted rhythms above

an accompaniment of straight

eights in alternating mixed

meter of 5/8 and 6/8. This

third movement is notated

with two treble clefs. This is

uncommon for guitar music,

but it helps to clarify the

melody as separate from the accompaniment. Furthermore, Bogdanović subdivides polyrhythms so they do not complete their cycles and are not as easily recognizable. In other words, he implies polyrhythm/metrics but does not always complete their cycles.

Kwaffee is built around a notated swing. Occasionally, Bogdanović breaks from the swing into various tuplet groupings, sixteenths, and tied groupings which sound more rhythmically satisfying. Finally, Espresso explores additive rhythms/groupings and is the fastest movement of the four. The Little Café Suite captures Bogdanović’s unique musical style and detailed attention to counterpoint, rhythm, melody, and harmony.

These masters of the music world provide us with rich and complex musical works. Their contributions make them seem larger than life. They were thinkers outside the box and their musical works reflected that. In preparing this recital program, I selected works from these three composers. The pieces show compositional and contrapuntal strength. They are unique and accessible. At the same time they come from diverse places in musical repertoire. Bach is the staple. Piazzolla and Bogdanović are novelties in classical music but owe a lot to the influence of Bach. I began working on these pieces in late 2016. Each piece has challenged my abilities, enhanced my technique, and continuously provided new lessons and insights. Graham Wade said regarding the guitar, “Its history must move forward, to new adventures, new personalities and new horizons.”10

10 Wade, Graham. Traditions of the Classical Guitar. pg. 218. Annotated Bibiography

Bogdanovic, Dusan. “Three Balkan Miniatures.” Soundboard, XVIII, no. No. 3, 1991, pp. 56– 59. This article includes biographical information as well as analysis of Dusan Bogdanovic’s Three Balkan Miniatures. It highlights modes used and rhythmic techniques. It is useful both for understanding Bogdanovic’s background and compositional devices. It was written by the composer but has an introduction by David Grimes.

Bogdanovic, Dusan. “Playing Polymeter on the Guitar.” Soundboard, XXII, no. No. 1, 1995, pp. 15–20. This article is useful for understanding Bogdanovic’s compositional style and gives detailed examples of polymeter in his work. It also details his interest in non-Western music and rhythms. The article has comparisons to the Bach lute suites, Britten’s Nocturnal for the guitar, and folk styles.

Curry, Jane. “Balkan Ecumene and Synthesis in Selected Compositions for Classical Guitar by Dusan Bogdanovic, Nikos Mamangakis and Ian Krouse.” University of Arizona, 2010. This dissertation covers music of the Balkan regions and looks at six of Dusan Bogdanovic’s Balkan Miniatures. It addresses cultural influences on the composers as well as political and regional struggles. It also will be useful for biographical information and analysis on his miniatures.

Fojas, Ivar-Nicholas. “J.S. Bach's Suite in G Minor, BWV 995: A Comparison of Manuscripts for Violoncello, Lute and Lute Intabulation as a Model for a Guitar Arrangement of the Suite in D Major BWV 1012.” University of Arizona, 2017, pp. 27–41. This dissertation is useful for its study of the lute in Bach’s time and the “intended instrumentation” of BWV 995 with included examples and deeper analysis. This will be particularly useful for the background information on BWV 995.

“Las cuatro estaciones porteñas ... - New York Philharmonic.” New York Philharmonic, June 2016, https://nyphil.org/~/media/pdfs/program-notes/1516/Piazzolla-arr-Desyatnikov-Four- Seasons-of-Buenos-Aires.pdf This is the New York Philharmonic’s attached program notes for Piazzolla’s Four Seasons. It includes biographical information and background information on the compositions. It looks at the relation between Vivaldi’s Four Seasons and Piazzolla’s. It will be useful for its biographical information on Piazzolla and the concise discussion on the Nuevo Tango style.

Ledbetter, David. Unaccompanied Bach: performing the solo works. Yale University Press, 2009. This book is intended to help “deepen… understanding of [Bach’s unaccompanied] works” (Ledbetter, 1). It covers the Five Lute Suites of J.S. Bach and includes information on each movement in “varying amounts of detail” (Ledbetter, 2). This will be valuable for understanding the style of the 17th into 18th century music of Bach and the French Suite. It will broaden my knowledge on BWV 995 as well as the other four great lute suites.

Piazzolla, Astor, et al. Astor Piazzolla: a memoir. Amadeus Press, 2001. This book was originally Piazzolla telling his story to a journalist friend. When Piazzolla had a stroke, Gorin finished the memoir. It is useful for understanding the career and music of Astor Piazzolla. It has auto-biographical value and his response to the tango. Chapter three is of particular interest: Maestro, Why Don’t You Play a Tango? as he describes what it was like to revolutionize the tango.

Vincens, Guilherme Caldeira Loss. THE ARRANGEMENTS OF ROLAND DYENS AND SÉRGIO ASSAD ... University of Arizona , 2009, hdl.handle.net/10150/195065. This is an extremely valuable dissertation that compares Sergio Assad, Baltazar Benitez, and Agustin Carlevaro’s transcriptions of The Piazzolla’s Seasons. It looks at the choices made in reducing the music of Piazzolla’s quintet to solo instrumentation. It compares the pros and cons of each transcription.

Wade, Graham. Traditions of the classical guitar. Overture Publishing, 2012. This book outlines the evolution of the modern classical guitar from Vihuela to Baroque guitar and onward. It also includes chapters on the lute and guitar, which will be very useful for both the introduction of my paper as well as the analysis of Bach. As Graham Wade is an authority on the classical guitar, he will likely influence many aspects of my research.