“Music for guitar and string quartet comprises some of the best, yet least performed, music in print.” So begins Richard Provost’s article in the February 1987 issue of American String Teacher. While the former part of the statement remains true, the appositive phrase does not. The repository of works for this chamber ensemble, born in late 18th century Europe, holds a deep, rich tradition, as evidenced by the growing body of 300-plus works making their way into the repertoire of artists around the globe.
Several issues plaguing the guitar quintet, including balance with the quartet and the scarcity of concert-worthy literature, have diminished. Balance issues are resolved by today’s high-quality microphones and sound reinforcement systems, while repertoire for the guitar quintet boasts hundreds of concert-level compositions contributed by highly decorated composers, including Luigi Boccherini, Antoine de Lhoyer, Mario Castelnuovo-Tedesco, Leo Brouwer, Alan Hovhaness, David Diamond, Carlos Guastavino, Michael Daugherty, Sérgio Assad, Gerard Drozd, Miguel Bareilles, and Gabriela Lena Frank. Guitar quintets can be found on programs by international artists ranging from Andrés Segovia and Julian Bream to Manuel Barrueco, Berta Rojas, Pepe Romero, Nicholas Goluses, David Tanenbaum, Stanley Yates, Dusan Bogdanovic, Sérgio Assad, Lily Afshar, Jason Vieaux, and Xuefei Yang.
The first appearance of the guitar quintet is traceable to the late 18th century by composers from France, Spain, Italy, and Germany. These include a small collection of period arrangements and “concertos, ” which contributed to early efforts to usher the guitar out of the parlor and onto the concert stage. Much of our current understanding of early guitar quintets come from the writings of contemporary scholars Brian Jeffery, Erik Stenstadvold, and Stanley Yates.
Susani Giacomo Quintet For Guitar And String Quartet 650095
One issue regarding these early guitar quintets is that of instrumentation. “Late 18th century/early 19th century works titled ‘quatour’ or ‘concertante’ are chamber works, one player per part, ” says Yates. “Works titled ‘concerto’ imply—along with an exclusive focus on the instrument featured—at least more than one player for each string part.” Many early guitar works were labeled “concerto avec accompagnement, de deux violons, alto et basse, ” where the term basse did not necessarily imply the double bass. All extant concertos can be performed as quintets, though the original intention may have been a concerto setting. Of the early works available, such as those by B. Vidal (d. 1800), Antoine de Lhoyer (1768–1852), and Charles Doisy (d. 1807), most are known today as guitar quintets.
Vidal’s Concerto pour la Guitarre, the first known guitar “concerto, ” might surprise the modern listener with its integrity and beauty. This 1793 single-movement work retains elements of the Baroque concerto—such as having the soloist playing tutti sections, as well as solo sections—but it follows Classical period conventions with its long tutti introduction setting the stage for the entrance of the guitar and the “improvised” guitar cadenza. Guitar solo sections are lightly accompanied, allowing the guitar to penetrate; the guitar writing is virtuosic but idiomatic, with melodic figures shifting modes, rapid arpeggios, and scalar octaves.
The works of Luigi Boccherini (1743–1805), one of the major Italian composers of the late 18th century, contain a buoyant rococo appeal—shaped by the classical ideal of form and harmony—with Spanish folk inflections. Boccherini masterfully made use of the guitar, balancing the musical texture of the quartet and guitar to reveal the technical capacities of the guitar in this ensemble. Nine of his guitar quintets (G. 445–G. 453) survive, though in varying versions, and several have become staples of the guitar quintet literature, including the popular Quintet in D Major G. 448 (“Fandango”), the masterful Quintet No. 9 in C Major G. 453 (“La Ritirada de Madrid”), and the outstanding Quintet No. 1 in D minor, G. 445. All of Boccherini’s quintets are arrangements based on his earlier string or piano quintets dating from 1798–1799.
Roco Connections: Pulling At Strings
Charles Doisy wrote two concertos for guitar. The first, Grand Concerto pour la Guitare avec accompagnement de deux Violons Obliges, Alto et Violoncelle, was published in 1802; the second, Second Concerto, is in fact an 1804 adaptation of Concerto (No. 18) for violin by Italian composer G.B. Viotti (1755–1824). Yates comments that Doisy’s works are modeled after Viotti’s concerti for violin, which came to be known as the “Parisian” style.
Antoine de Lhoyer published his Concerto pour la guitare avec accompagnement de 2 violons, alto et basse in 1802 as a two-movement concerto, but it was released by Les Editions Buissonnieres in 2003 with a “reconstituted” second movement created by Philippe Spinosi based on Lhoyer’s adagio from his Guitar Duo Op. 31. As such, we now have a Classical-era guitar concerto with brilliant guitar solos and passage work, as well as part-writing for the strings that could pass for François-Joseph Gossec.
Mauro Giuliani (1781–1829) blended Viennese writing à la Mozart with the witty style of Italian opera buffa. His harmony, phrasing, characteristic figures, and rhythmic shapes follow Viennese style. We have four of his guitar quintets: opus numbers 65, 101, 102, and 103. Giuliani addressed the balance issue by using the alternating solo-tutti principle common in Baroque concerto grosso. Op. 65, a two-movement work including a set of variations on Giovanni Paisiello’s “Nel cor piu non mi sento” and a polonaise, was published
Win Tickets To Jeanfrançois Prins Guitar And String Concert At Le Baixu On 28 April
Ca. 1814 in Milan. Opus 65 reveals the guitar in a mature role as soloist and accompanist with brilliant virtuoso solo passages. Opus 30 reads more like a concerto, with grand string gestures and sensational guitar work. Opuses 101, 102, and 103, originally published between 1820 and 1826 in Vienna by Cappi & Diabelli, are arrangements for terz guitar and string quartet based on Giuliani’s earlier solo guitar works.
Added to the works cited by Yates in his introduction to Doisy’s quintet are Rondoletto, Op. 4 by Michel Giuliani (1801–1867); Concert Polonaise pour la Guitare avec Accompagnement de Deux Violons, Alto et Violoncello by Francois Bathioli (d. 1861); Quintett für zwei Violinen, Bratsche, Cello und Gitarre by Joseph Ignaz Schnabel (1767–1831); Premier concertino pour la Guitare avec accompanement de deux violons, alto et violoncelle by Ivan Padovec (1800–1873); Quintetto in do Maggiore per chitarra, due violini, viola e violoncello by Gaetano Donizetti (1797–1848); and Variations, Op. 7 by Siegfried Benzon (1793–1825). The literature also includes references to guitar quintets by Adolphe Steinfels, Friedrich Spina, and Louis Wolf, though their works are apparently lost.
There are no known guitar quintets produced between the 1820s and 1890s, but one of the more substantial chamber works of the late Romantic period comes from England. Ernest Shand’s First Concerto, Op. 48 for Guitar and Piano or String Quartet represents the first composition in this genre by a British composer. Presented in a traditional concerto format, the work evolves in the guitar-centric style traceable back to works by Fernando Sor (1778–1839) and Mauro Giuliani, focusing on new melodic themes rather than developing existing ideas. The scoring for strings is light, with guitar always in the fore. Yates provides significant historical and musical information on Shand (1868–1924), stating he was “less interested in rigorously held formal design than with expressive melody and dramatic character—pathos, nostalgia, sentimentality and, above all, melodrama.” The work was premiered in England by Shand in 1896 and performed by Julian Bream in the mid-20th century in both England and the United States.
Guitar Quintet No. 4 In D 'fandango' Von Luigi Boccherini » Noten Für Gitarre
If there was ever a golden age for the guitar quintet, the international array of works currently available from South America, North America, the Middle East, Southeast Asia, Africa, and Europe prove that we are living in it today.
The expansion of the repertoire for guitar quintet since 1950 is due to several factors: First, the introduction of two landmark compositions—Mario Castelnuovo-Tedesco’s 1950 Quintet pour guitare et quatuor a cordes and Leo Brouwer’s 1957 Quintetto per chitarra e quartetto d’archi. Second, the inclusion of the guitar in academia, which widened both the audience for guitar chamber works and the field of prospective composers. Third, composers seeking a broader timbral palette for chamber works in the years of waning orchestral opportunities. And fourth, the crumbling of music’s cultural boundaries in the 20th and 21st centuries reflected in the guitar’s entrance into the hallowed world of the prestigious string quartet.
The breadth of composers writing for guitar quintet today is impressive, as shown by the number of works contributed by both celebrated non-guitarist composers, as well as renowned guitarist-composers. Today’s guitar quintet oeuvre is a microcosm of contemporary concert music, and the works are representative of most contemporary styles. But if the styles are divided into just two very broad categories, then revivalist and syncretist strains are evident. Revivalism attempts to preserve past traditions and includes works shaped to varying degrees by the language of the common-practice period. The syncretist strain contains works representing the diversity of current trends ranging from polystylistic, post-tonal, serialistic, as well as pop- and jazz-influenced music. Of note, too, are the contemporary works by female composers from Britain, Canada, U.S., Czech Republic, France, Germany, Japan, and Mexico.
Calidore String Quartet Make Highly Anticipated Return To Europe
Italy possesses a rich vein of works for the modern guitar quintet, with two dominant currents represented by the neo-Romanticism of Castelnuovo-Tedesco (1895–1968) and the postmodern, polystylistic works of recent years by
Ca. 1814 in Milan. Opus 65 reveals the guitar in a mature role as soloist and accompanist with brilliant virtuoso solo passages. Opus 30 reads more like a concerto, with grand string gestures and sensational guitar work. Opuses 101, 102, and 103, originally published between 1820 and 1826 in Vienna by Cappi & Diabelli, are arrangements for terz guitar and string quartet based on Giuliani’s earlier solo guitar works.
Added to the works cited by Yates in his introduction to Doisy’s quintet are Rondoletto, Op. 4 by Michel Giuliani (1801–1867); Concert Polonaise pour la Guitare avec Accompagnement de Deux Violons, Alto et Violoncello by Francois Bathioli (d. 1861); Quintett für zwei Violinen, Bratsche, Cello und Gitarre by Joseph Ignaz Schnabel (1767–1831); Premier concertino pour la Guitare avec accompanement de deux violons, alto et violoncelle by Ivan Padovec (1800–1873); Quintetto in do Maggiore per chitarra, due violini, viola e violoncello by Gaetano Donizetti (1797–1848); and Variations, Op. 7 by Siegfried Benzon (1793–1825). The literature also includes references to guitar quintets by Adolphe Steinfels, Friedrich Spina, and Louis Wolf, though their works are apparently lost.
There are no known guitar quintets produced between the 1820s and 1890s, but one of the more substantial chamber works of the late Romantic period comes from England. Ernest Shand’s First Concerto, Op. 48 for Guitar and Piano or String Quartet represents the first composition in this genre by a British composer. Presented in a traditional concerto format, the work evolves in the guitar-centric style traceable back to works by Fernando Sor (1778–1839) and Mauro Giuliani, focusing on new melodic themes rather than developing existing ideas. The scoring for strings is light, with guitar always in the fore. Yates provides significant historical and musical information on Shand (1868–1924), stating he was “less interested in rigorously held formal design than with expressive melody and dramatic character—pathos, nostalgia, sentimentality and, above all, melodrama.” The work was premiered in England by Shand in 1896 and performed by Julian Bream in the mid-20th century in both England and the United States.
Guitar Quintet No. 4 In D 'fandango' Von Luigi Boccherini » Noten Für Gitarre
If there was ever a golden age for the guitar quintet, the international array of works currently available from South America, North America, the Middle East, Southeast Asia, Africa, and Europe prove that we are living in it today.
The expansion of the repertoire for guitar quintet since 1950 is due to several factors: First, the introduction of two landmark compositions—Mario Castelnuovo-Tedesco’s 1950 Quintet pour guitare et quatuor a cordes and Leo Brouwer’s 1957 Quintetto per chitarra e quartetto d’archi. Second, the inclusion of the guitar in academia, which widened both the audience for guitar chamber works and the field of prospective composers. Third, composers seeking a broader timbral palette for chamber works in the years of waning orchestral opportunities. And fourth, the crumbling of music’s cultural boundaries in the 20th and 21st centuries reflected in the guitar’s entrance into the hallowed world of the prestigious string quartet.
The breadth of composers writing for guitar quintet today is impressive, as shown by the number of works contributed by both celebrated non-guitarist composers, as well as renowned guitarist-composers. Today’s guitar quintet oeuvre is a microcosm of contemporary concert music, and the works are representative of most contemporary styles. But if the styles are divided into just two very broad categories, then revivalist and syncretist strains are evident. Revivalism attempts to preserve past traditions and includes works shaped to varying degrees by the language of the common-practice period. The syncretist strain contains works representing the diversity of current trends ranging from polystylistic, post-tonal, serialistic, as well as pop- and jazz-influenced music. Of note, too, are the contemporary works by female composers from Britain, Canada, U.S., Czech Republic, France, Germany, Japan, and Mexico.
Calidore String Quartet Make Highly Anticipated Return To Europe
Italy possesses a rich vein of works for the modern guitar quintet, with two dominant currents represented by the neo-Romanticism of Castelnuovo-Tedesco (1895–1968) and the postmodern, polystylistic works of recent years by
0 Response to "Guitar And String Quartet"
Posting Komentar