THE EARLY ROMANTIC GUITAR
repertoire of the Classical/Romantic era
The period dominated by the early romantic guitar could be considered a "golden age" for the instrument - the era of the guitarist-composers - wherein we find the great compositions for the solo guitar at the height of virtuosity. From short waltzes and studies to full-length masterpieces - for the guitarist the composers names are familiar - some of the more popular figures are - Mauro Giuliani, Fernando Sor, Niccolo Paganini, Ferdinando Carulli, Giulio Regondi, Napolean Coste, Johann Kaspar Mertz and the list goes on. In fact within the immensity of the repertoire of this period new works are always being resurrected - seemingly without end, so was it a such a flowering of creativity.
DIONISIO AGUADO (1784-1849)
La Fandango Varié Op. 16
For more information about the Composer, Piece and Instrument, click here!
Zani de Ferranti (1801-1878)
Nocturne op. 9
Ferdinando Carulli (1770-1841)
GRANDE SONATE op. 333
Ferdinando Carulli is unanimously hailed as one of the most important figures in guitar history. His prodigious output extends into hundreds of opus numbers. Although most often renowned for his pedagogical works and methods he was a virtuoso of the guitar giving numerous tours across Europe eventually settling in Paris where he lived with the laurel of fame and renown as the finest guitarist in what was then touted as the “musical capital” of the world. Even until present the Ouevre of Carulli’s advanced and often lengthy masterpiece remain unexplored and underplayed. Also renowned as the great instructor of his age his methods and pedagogical works are of inestimable value and nearly all guitarists who seek a some level of ability in “classical” guitar technique will come into contact with his works. The Sonata performed here is taken from one of pedagogical methods consisting of a progressive series of works.
Grand recueil de morceaux progressifs, Op.333
Not only do the opus numbers of Carulli reach into the hundreds but many of those single opus numbers are books in themselved containing innumerable works and sometime even several volumes, as with this work op. 333 from which the Grande Sonate Op. 333 is taken. The full title of op. 333 is Grand recueil de morceaux progressifs and is a pedagogical series of works divided into 4 volumes of progressive works consisting of 48 Preludes and 24 Morceaux of which this Grande Sonate is the final work of the whole marked as the 6th Morceau of the 4th section.
The Guitar - A. Guiot circa 1830
This performance features a gorgeous historical guitar attributed to the renowned maker A. Guiot. Originally from France he relocated to England where he achieved great fame and whose workshop was located only a few doors down from the famous luthier Louis Panormo. Guiot’s instruments often featured extremely ornate inlay and elaborate carftsmanship and his guitars are sought after and coveted by collectors and performers alike.
Mauro Giuliani (1781-1829)
Rossiniana no. 1 op. 119
Mauro Giuliani is perhaps the most famous of all guitarist/composers of the classical romantic period and rightfully so. His works display brilliant skill in composition and performance combined with immense creativity and technical ability with a remarkable output with opus numbers into the hundreds.
The “Rossiniane” Opp. 119–124 are a set of 6 colossal virtuoso pieces for solo guitar composed on themes from the operas of Gioachino Rossini. Most remarkably it is said that these works were composed by Giuliani in alongside Paganini (who also mastered the guitar), and Rossini himself during extended stays at Rossini's villa. Here is the first of the set of 6 which I am performing on a beautiful original 19th century guitar.
Rossiniana no. 1 features these themes from the works of Rossini: Introduction (Andantino) “Assisa a piè d’un salice” (Otello) “Languir per una bella” Scene 3 atto 1, Andante grazioso (L’Italienne à Alger) “Ai capricci della sorte” Scene 5 atto 1, Maestoso (L’Italienne à Alger) ”Caro, caro ti parlo in petto”, Moderato (L’Italienne à Alger) “Cara, per te quest’anima”, Allegro Vivace (Armida)
The Guitar - Anonymous French - mid to late 19th century
Zani de ferranti (1801-1878)
GUITARIST TO THE KING OF BELGIUM
Fantasie VAriée Op. 7 - Sur la Romance d'Otello
"I heard you, sir, with such emotion that I have scarcely enough reason left to tell you that you are the most miraculous guitarist that I have ever met in my life." - Niccolò Paganini to Zani de Ferranti after having attending his recital
Though hardly known today, Zani de Ferranti was one of the most exquisite performers of all time on the guitar, and his compositions thrilled audiences across Europe, including the musical elite of his day. His compositions naturally reflect his own level of virtuosity; the extreme technical proficiency as well as interpretational acumen required leave them mostly untouched by contemporary guitarists.
"We have heard this artist many times and upon every occasion his playing was so brilliant and so varied, that he revealed to us some new wonder quite unexpected. What Paganini is on the violin, Thalberg on the piano, Servais on the violoncello, Ferranti is on the guitar. He is a discoverer. He has surpassed all his celebrated rivals in vanquishing the difficulties which this instrument in the hands of others offers. He has found new effects harmonious traits of extraordinary wealth and power. Add to all the secrets of his technique a clearness, a broadness and admirable equality of tone; add the rapidity, the vigour, the neatness of fingering and above all the inspiration, the rapture, the almost supernatural in the person, which evidences the true artist, and you will have but a faint idea of the talent of Ferranti. The pieces which he composes are charming, and if Ferranti was not a virtuoso of the first rank he would shine amongst composers." - Brussels Echo