The solo classical guitar concerto: A soloist’s preparatory guide to selected works by Josina Nina Fourie-Gouws © University of Pretoria The solo classical guitar concerto: A soloist’s preparatory guide to selected works by Josina Nina Fourie-Gouws A mini-dissertation submitted in partial fulfilment of the requirements for the degree Master of Music (Performing Art) Department of Music Faculty of Humanities University of Pretoria Supervisor: Professor Wessel van Wyk Co-supervisor: Abri Jordaan September 2017 © University of Pretoria ABSTRACT The study addresses the preparatory information needs of potential performers of solo classical guitar concerti. Identifying a range of specific decisions that play an important part in the pre-performance planning of an anticipated concerto performance provides performance considerations for each selected concerto. The content of six solo classical guitar concerti spanning almost 180 years by six composers from four countries was analysed for the purpose of this study. Two early guitar concerti by guitarist composers Mauro Giuliani (1781-1829) and Ferdinando Carulli (1770-1841), two modern concerti by non-guitarist composers Mario Castelnuovo-Tedesco (1895-1968) and Joaquín Rodrigo (1901-1999) and two modern concerti by guitarist composers Heitor Villa-Lobos (1887-1959) and Leo Brouwer (b.1939) were investigated. The study examines specific compositional and performance aspects of each concerto to serve as a guideline for professional performers, students and teachers. Each concerto was analysed according to similar themes: the historical significance of the investigated concerti, pre-performance considerations, the level of difficulty of selected concerti, technical observations, performance recommendations and observations regarding balance between the soloist and orchestra. As an addendum the study provides a comprehensive list of published concerti for solo classical guitar. © University of Pretoria KEYWORDS ● Classical guitar ● Composers ● Concerto ● Guitar repertoire ● Orchestra ● Performance recommendations ● Soloist © University of Pretoria TABLE OF CONTENTS INTRODUCTION 1 Introduction and background ............................................................................................. i 2 Problem statement and research questions ................................................................... vi 3 Aim of the study .............................................................................................................. vi 4 Scope and delimitation of the study ............................................................................... vii 5 Literature review ............................................................................................................ vii 5.1 The development and significance of the concerto as a genre of musical performance ................................................................................................. viii 5.2 Previous research on classical guitar concerti in general ...................................... ix 5.3 Solo classical guitar concerti manuscripts and sheet music ................................. xii 5.4 The history and development of the classical guitar and historically informed performance practice ................................................................................... xiii 5.5 Research concerning the music, personal history and importance of the composers of the featured solo classical guitar concerti ............................................. xv 6 Research design and methodology ............................................................................... xv 6.1 Description and justification of use of research approach, design and methods .. xvi 6.2 Data analysis and interpretation .......................................................................... xix CHAPTER 1: THE EARLY GUITAR CONCERTO 1.1 Introduction ................................................................................................................... 1 1.2 Mauro Giuliani, Concerto no. 1, Op. 30 1.2.1 Composer biography ........................................................................................... 2 1.2.2 Details and background to the work ..................................................................... 3 1.2.3 Observations regarding balance and audibility .................................................... 7 © University of Pretoria 1.2.4 Technical observations ...................................................................................... 10 1.2.5 Performance recommendations ......................................................................... 14 1.2.6 Level of difficulty ................................................................................................ 20 1.3 Ferdinando Carulli, Concerto no.1, Op. 8a 1.3.1 Composer biography .......................................................................................... 22 1.3.2 Details and background to the work ................................................................... 23 1.3.3 Observations regarding balance and audibility ................................................... 26 1.3.4 Technical observations ....................................................................................... 29 1.3.5 Performance recommendations ......................................................................... 32 1.3.6 Level of difficulty ................................................................................................ 36 CHAPTER 2: MODERN CONCERTI BY NON-GUITARIST COMPOSERS 2.1 Introduction ................................................................................................................. 38 2.2 Mario Castelnuovo-Tedesco, Concerto no. 1, Op. 99 2.2.1 Composer biography ......................................................................................... 39 2.2.2 Details and background to the work ................................................................... 40 2.2.3 Observations regarding balance and audibility .................................................. 42 2.2.4 Technical observations ....................................................................................... 46 2.2.5 Performance recommendations ......................................................................... 54 2.2.6 Level of difficulty ................................................................................................ 56 2.3 Joaquín Rodrigo, Concierto de Aranjuez 2.3.1 Composer biography ......................................................................................... 58 2.3.2 Details and background to the work ................................................................... 59 2.3.3 Observations regarding balance and audibility .................................................. 65 © University of Pretoria 2.3.4 Technical observations ....................................................................................... 72 2.3.5 Performance recommendations ......................................................................... 78 2.3.6 Level of difficulty ................................................................................................ 80 CHAPTER 3: MODERN CONCERTI BY GUITARIST COMPOSERS 3.1 Introduction ................................................................................................................. 84 3.2 Heitor Villa-Lobos, Concerto pour guitare et petit orchestre 3.2.1 Composer biography ....................................................................................... 85 3.2.2 Details and background to the work ................................................................ 86 3.2.3 Observations regarding balance and audibility ................................................ 92 3.2.4 Technical observations .................................................................................... 97 3.2.5 Performance recommendations .................................................................... 105 3.2.6 Level of difficulty............................................................................................. 106 3.3 Leo Brouwer, Concerto No. 3 Elegiaco 3.3.1 Composer biography ..................................................................................... 108 3.3.2 Details and background to the work .............................................................. 109 3.3.3 Observations regarding balance and audibility .............................................. 116 3.3.4 Technical observations .................................................................................. 121 3.3.5 Performance recommendations .................................................................... 126 3.3.6 Level of difficulty............................................................................................. 133 CONCLUSION ................................................................................................................ 135 SOURCES ...................................................................................................................... 137 ADDENDUM: Comprehensive list of published solo classical guitar concerti ......... 154 © University of Pretoria LIST OF MUSIC EXAMPLES 1.2.1: Giuliani, Concerto no. 1, Op. 30, 3rd mov, bars 245-247 .......................................................................... 9 1.2.2: Giuliani, Concerto no. 1, Op. 30, 3rd mov, bars 17-18 ........................................................................... 10 1.2.3: Giuliani, Concerto no. 1, Op. 30, 1st