1.

FERNANDO SOR- Les Folies dEspagne

2.1. FERNANDO SOR - Biografie, creaie

coala Spaniol

Marile progrese pe care le cunoate chitara att pe plan tehnic ct i pe plan expresiv se datoreaz compozitorilor spanioli din secolul XIX. Ei vor fundamenta o coal chitaristic ce va sintetiza toate cuceririle n acest domeniu. Momentul de vrf al perioadei clasice este marcat de chitaristul Jose-Macario Fernando Sor, autorul a numeroase lucrri de mare valoare pentru chitar. Contemporan cu Sor a fost i Dionisio Aguado a crui oper este plin de fantezie i se caracterizeaz printr-o mare varietate. Din aceeai perioad trebuie menionat i Trinidad Huerla care compune lucrri spectaculoase. Printre elevii si pot fi menionai Jose Pargas i Julian Arcas al cror merit este acela de a fi contribuit la edificarea colii naionale de muzic din Spania. Fernando Sor (Barcelona, 1778 - Paris, 1893), cel mai important compozitor i chitarist spaniol din perioada clasic, fiind fondatorul colii naionale spanoile de chitar, dar n acelai timp i unul dintre promotorii chitarei ca instrument de concert n ultimii 200 de ani. S-a nscut ntr-o familie respectabil n 1778 la Barcelona, numele su fiind Jose Fernando Macario Sors. Tatl su a fost cel care l-a iniiat la chitar. Pe cnd avea 8 ani se putea spune c deja era un chitarist i un muzician realizat. Talentul su era att de mare nct a fost acceptat s studieze muzic i cursuri militare la mnstirea Montserrat. Dup moartea tatlui su la aproape 18 ani, mama sa nu i-a permis s-l mai ntrein la studii, aa c l-a retras. ntors la Barcelona, Sor a obinut un post n armat, post care i-a permis datorit timpului su liber s scrie o oper i nite piese de chitar. Dup 4 ani de coal militar, Sor a plecat la Madrid unde a fost gzduit de ducesa de Alba care l-a lsat s studieze n casa ei. n

timpul domniei lui Napoleon, n 1808, francezii au invadat Spania; a fost perioada n care Sor a scris mai mult muzic pentru chitar. n 1813 prsete Spania i se stabilete la Paris care urma s devin casa lui pn la sfritul vieii. Parisul a fost oraul n care el a compus majoritatea lucrrilor pentru chitar, peste o sut cte se tiu rmase. Pe lng faptul c a fost un compozitor excelent, a fost i un muzician desvrit cu abiliti tehnice deosebite. Talentul su a devenit att de cunoscut, nct a fost iniiat n marile orae din Europa i Asia, pentru a cnta nobilimii de rang nalt a acelor vremuri. A traversat Rusia i rile nvecinate cntnd la Sankt Petersburg, Moscova, Berlin i Varovia1. La Moscova s-a inut premiera baletului su Cendrillion, care s-a dovedit a fi un mare succes. A cltorit la Londra unde a trit i compus din 1815 pn n 1823. Pe lng compoziiile de pian i opere, el a creat i patru dintre baletele sale aici. n aceast perioad Sor era considerat cel mai celebru chitarist. Sor a cltorit prin toat Europa i peste tot unde s-a dus, popularitatea interpretrii sale la chitar se rspndea uimitor de repede. Dei a compus diferite titluri de lucrri pentru multe categorii muzicale, pian, oper, balet, el a rmas nemuritor prin studiile sale i alte lucrri pentru chitar. De-a lungul vieii a primit numeroase elogii fiind adesea consideratPaganini al chitarei. n anul 1827 a hotrt s renune la turnee, petrecndu-i restul vieii la Paris. n aceast perioad el a scris cele 97 de studii i Variaiuni pe o tem din opera Flautul Fermecat de Mozart op.9. Tot n aceast perioad, mai precis n 1830, Sor a publicat Metoda pentru chitar, pe care Grunfield a numit-o cea mai remarcabil carte pentru tehnic de chitar scris vreodat. Cnd Sor a ajuns la Paris, prin recitalurile sale , a fcut ca chitata s se bucure de o mare popularitate n rndul populaiei, care a devenit mult mai interesat de ea. La Paris Sor a avut multe cereri pentru a fi profesor. Dei se pare c a avut muli elevi, notiele sale s-au pierdut. La vrsta de 60 de ani n 1839, Sor moare lsnd n urma sa o motenire care s-a transmis de aproape 200 de ani. Lumea chitarei clasice i datoreay nespus de mult lui Sor, pentru c a smuls chitara din abisul obscuritii i ignoranei i a dus-o pe noi culmi neatinse de alii. Motenirea pe care ne-a lsat-o Sor ca muzic de chitar cuprinde un numr de 63 de opus-uri. Acestea cuprind din punct de vedere al stilului i formelor, lucrri ca divertismente, teme
1

Jzef Powroniak, GITARREN-LEXICON, 1979,1980, Verlag Neue Musik, Berlin, pg.157

cu variriuni, variaiuni, sonate, studii i duete. Recent a fost descoperit un numr de piese pierdute, de exemplu Fantasie pour guitar seule n D care nu este numerotat n opus. Studiile, scrise periodic de-a lungul vieii sale, aproximativ 100 la numr, dezvolt tehnici de interpretare prin studii cu diferite intervale, arpegii, note rapide (tremolo), acorduri staccato, game, legato-uri, astfel fiind acoperite toate aspectele de interpretare la chitar. n lucrrile lui Sor digitaia i ornamentele n general au fost scrise tot de el. Toate ediiile care au publicat lucrrile lui au folosit digitaia i ornamentele scrise de el cu o uoar mbuntire, n special la folosirea ornamentelor de forme diferite. Sor a fost primul care a folosit tehnica rasgueado n Trei piese de societate op.36, n ultima pagin i n Serenade op.37, n fiecare din cele allegretto. Aceast tehnic se realizeaz lovind n acelai timp mai multe coarde cu exteriorul sau interiorul degetelor minii drepte i se folosete de obicei n executarea acordurilor. Creaia lui Sor constituie o parte esenial a literaturii instrumentului, att datorit dimensiunilor ei de 63 numere de opus pentru chitar, ct i prin faptul c aici pot fi remarcate primele ncercri reuite ale unei scriituri la mai multe voci, ca i a unei apropieri de marile forme (sonate, teme cu variaiuni etc.) pn atunci rezervate altor instrumente. A fost printre puinii compozitori de chitar care a scris pentru un alt instrument al vremii, i anume Harpolyre, pentru care a scris : Mar funebru i Trois pices. n afara creaiei lui pentru chitar, Sor a scris i muzic pentru pian, muzic de camer, balet i mai multe opere.

2.2 Les Folies d`Espagne Analiz

Publicat la Paris, la

nceputul

anilor 1820, versiunea de

Folia

al

lui

Sor prezint

o abordare clasic a formei de tem i variaiuni, cu fiecare variaie servind ca entitate proprie, de multe orin contrast puternic ca stare de spirit unul fa de cellalt. Les Folies dEspagne de

Fernando Sor are o tem i patru variaiuni, care se pot ncadra n categoria variaiunilor cu caracter de ostinato. Aceast pies, potrivit caracterului folia, este n tonalitate minor, mi minor. Tema se compune din dou perioade simetrice ptrat ( 4+4 ) fiecare cu opt msuri. Cea de a doua perioad este repetarea aproape perfec a primei perioade cu excepia cadenelor i micilor modificri la nivelul armoniei (n ms.11: tr. IV schimbat cu tr. VI micorat cu septim; n ms.12: tr. VII. 6/5 fa de tr. VII. cu septim ). Melodia tematic evolueaz printr-o gradaie motivic de cte doua msuri, motivele ncepnd cu note repetate. n frazele concluzive, n mersul de ptrimi se intercaleaz o micare de optimi cu note de pasaj, susinut i de acordul micorat cu ntrziere (6-5, 4-3) pe trapta VII. Prima perioad rmne deschis printr-o succesiune de acorduri I-VI-II6-V4-3, iar perioada a doua se ncheie cu o caden autentic avnd succesiunea acordic I-II 65

-V7-I unde ultima msur este trunchiat.

Prima variaiune intr cu un contrast deosebit fa de tem, cu ritmica sltat obinut prin formula ritmic de optime i dou aisprezecimi. Variaiunea urmrete cu rigurozitate planul de form i al stratului armonic prezentat n tem. Melodia temei aici este ascuns n vocea inferioar a terelor paralele, care alctuiesc progresul melodic. Variaiunea ncepe cu un auftact de ptrime pe treapta a V. (Si ) i se cnt n tempoul retras al cadenei din tem. Vocea de bas marcheaz numai prima i ultima optime din msuri, astfel dnd un auftact pentru msura urmtoare. Aceste sunete scurte ale basului creeaz baza armonic pentu melodia ornamentat i au un efect ritmic deosebit fiind cntat cu accent.

A doua variaiune contrasteaz ca i caracter cu ceea din prima variaiune. Formula ritmic optime cu aisprezecimi este nlocuit de optimi, care d o linite frazelor muzicale i se aseamn

mai mult caracterului din tem. Micarea n tere paralele i este caracteristic i acestei variaiuni, dar aici mai gsim n vocile din mijloc valori de optimi cu rol de acompaniament. Melodia temei este schiat n vocea superioar.

n a treia variaiune gsim elementele muzicale din cele dou variaiuni anterioare. Aici revine caracterul sltat al melodiei din prima variaiune, totodat terele paralele repetate n optimi subiniaz melodia. Vocea basului aici apare cu note inute pe ntreaga msur i constituie fundamentala armonic.

Variaiunea a patra este partea de ncheiere a piesei, care este una diferit fa de variaiunile de dinainte. Prima observaie privind sau ascultnd aceast variaiune este legat de micrile de triolei care alterneaz ori n vocea de jos ori n vocea superoar. Aceti triolei sunt arpegiile acordurilor de acompaniament umplute cu note de schimb sau de pasaj. n triolei sunt inserate i notele melodice ale temei.

2.3 Procedee tehnice i expresive

Prin faptul c aceast pies este compus din variaiuni cu caractere diferite asta se reflect i din interpretarea mea. Principiul de interpretare, care se refer la toate variaiunile inclusiv tema,

este ca cele dou perioade s se cnt cu timbre diferite. Prima perioad o cnt deasupra rozetei, iar cea de de-a doua perioad ntre rozet i cordar, astfel reuesc s creez un timbru mai strident. Tema vatiaiunii nti o voi cnta ntr-o nuan de forte, urmnd ca n a doua perioad se schimbe numai timbrul. Pe parcursul interpretrii temei ncerc voi cnta cu legato care va lega melodia i acordurile la niveleul motivic i frazic. Este necesar o ciupire evideniat a degetului a(inelar) pentru a crea o sonoritate distins a melodiei tematice fa de vocile de mijloc i de bas. La sfritul prezentrii tematice, fac un rallentando, prin care trec la prima variaiune. n prima variaiune interpretarea se focuseaz pe cntul curat al terelor paralele, ceea ce se execut prin inermediul degetelor i,m. Sunetele din bas le voi cnta scurt cu un accent mai mare pe primii timpi. Variaiunea doua o cnt cu legato, cu o agogic asemntoare la atmosfera tematic. Nuana este mai retras dect n prima variaiune, avnd o dinamic de mezzoforte. Aici este mare nevoie de evidenierea notelor din vocea superioar cu degetul adar i a cntatului n legato a terelor care se mic permanent sub notele melodice. A treia variaiune readuce atmosfera creat n prima variaiune, prin formulele ritmice de optimi i dou aisprezecimi, formule care le voi cnta staccato precum i terele paralele acompaniatoare cu degetele m,i. n aceast variaiune, nuana dinamic este forte cu diminuendo ntre perioade. n unele partituri, aisprezecimile din linia melodic sunt scrise cu legato, adic prin atacul corzii de ctre mna stng, dar eu le cnt pe toate nonlegato pentru atingerea scopului sonor. n a patra variaiune conduc mai departe caracterul amplu al sonoritii, fiind vorba de ultima variaiune. Aici important este execuia egal a troleilor att n registrul basului, ct i cel din linia melodic superioar.

Mario Castelnuovo Tedesco Concertul pentru Chitar i Orchestr nr.1 n Re Major op.99

S-a nscut pe 3 aprilie 1895 la Florena, descendent al unei familii de evrei, de la o vrst fraged a dat dovada de o bogat zestre muzical, motenit probabil de la mama sa, Noemi Senigaglia. La vrsta de 10 ani a compus dou piese pentru pian, Nocturne i Berceuse. n ciuda mpotrivirii tatlui su, Mario i-a continuat studiile de pian la conservatorul Cherubini din Florena cu Edgardo del Valle, obinnd diploma de absolvire n 1914. A nceput s studieze compoziia cu Ildebrando Pizzetti la Conservatorul din Florena, dar a terminat la Bologna n 1918. L-a cunoscut pe Giacomo Puccini ( care i-a artat o parte din opera Turandot) i a fost prieten apropiat cu Arturo Toscanini. Pe Andres Segovia l-a ntlnit n cadrul festivalului de la Veneia din 1932 i de atunci a nceput s scrie pentru chitar. Astfel, a adus la lumin un material bogat pentru chitar, creat ntr-o strns legtur cu Segovia: mai mult de 350 de lucrri din faimosul Variations trough the centuries op.71 i Caiete, preludii i studii. n 1936 la Castiglioncello (Toscana) a intrat n contact cu Luigi Pirandello care completa scena din piesa Uriaii munilor; piesa a fost pus pe muzic de ctre Tedesco dup moartea neateptat a autorului, n semn de omagiu adus acestuia. Datorit situaiei politice a vremii (promulgarea rasismului de ctre guvern), ntreaga familie Castelnuovo-Tedesco se stabilete la New York n timpul anului 1940, aici Tedesco semneaz un contract cu studiourile Metro Goldwin Mayer, pentru a compune muzic de film, asigurndu-i o situaie material decent. Odat cu dobndirea ceteniei americane, n 1946, are loc i debutul su didactic ca profesor de armonie i compoziie. A obinut un mare succes cu lucrarea The merchant from Venice ( dup un text din drama lui Shakespeare), care a ctigat locul nti la concursul de la Campari. Moare la Los Angeles (California) pe 17 martie 1968. Creaia sa cuprinde lucrri pentru cor, orchestr, instrumente solo cu orchestr i oper. Contribuia sa fundamental la mbogirea repertoriului pentru chitar const i n cele patru concerte pentru chitar i orchestr:

- Concert n re major pentru chitar i orchestr nr.1 op.99 - Concert n do major pentru chitar i orchest op.160 - Concert pentru dou chitare i orchestr op. 201 - Serenada op.118 este, din pcate disponibil doar n forma redus pentru pian i chitar, dar n catalogul editurii este prezent versiunea complet pentru orchestr. Pentru chitar i orchestr mai exist un concert de-al lui Castelnuovo-Tedesco care nu a fost publicat nici pn astzi, din cte tim: Capriccio diabolico op.85b, care este transcrierea lucrrii Capriccio diabolico op.60 pentru chitar solo. n afar de piesele pentru chitar solo, a mai scris i duete pentru voce i chitar sau pian i cteva transcripii - multe nc nepublicate. Astzi, figura lui Tedesco apare din ce n ce mai actual. Artist versatil, iubitor de literatur ( mai ales poezie i teatru) aa cum atest multe din lucrrile sale ( de exemplu Platero y yo op.190 pentru voce recitativ i chitar, compus dup cele 28 de poeme ale lui Juan Ramon Jimenez, care a luat premiul Nobel pentru literatur n 1956). A iubit folclorul i pictura, a scris 24 Caprichos de Goya op 195 pentru chitar, fiind inspirat de culorile pictorului Francisco Goya. Stilul compoziional al lui Castelnuovo-Tedesco a fost diferit att de cel al profesorului su Pizzetti ct i de cel al altor contemporani. n cteva ocazii, Tedesco i-a manifestat rezerva fa de dodecafonie pe care o considera inadecvat ideologiei i limbajului su muzical. Lucrrile sale pentru chitar pot fi divizate n trei perioade: - 1932 1939: prima perioad neoclasic, caracterizat prin lucrri precum Primul concert pentru chitar i orchestr op.99, Sonata op.77 (1934), Capriccio diabolico op.85 (1935), Tarantella (1936). - 1940 1953: perioada Statelor Unite, a compus Romancero Gitano pentru cor pe patru voci i chitar, extraordinarul Quintet for string quartet and guitar op.143, cerut de Segovia pentru Cvartetul Siena din Chicago (1950), Al doilea concert pentru chitar i orchestr op.160 (1953) i Rondo pentru chitar solo op.129. - a treia perioad ncepe dup 1954, n care muzica sa ncepe s fie legat de elemente din afara muzicii, desen i literatur, poezie i pictur, ntr-o manier romantic. Stilul su ncepe s fie reprezentat de capodoperele din ciclul 24 de piese, Platero y yo op.190 (1960) pentru voce recitativ i chitar i 24 Caprichos de Goya op.195 (1961).

Concertul pentru Chitar i Orchestr nr.1 n Re Major op.99

n jurul anului 1939 campania rasist l plasa pe Castelnuovo-Tedesco, care era evreu, ntr-o situaie att de stresant nct pentru o perioad nu a mai putut compune. Sosirea lui Segovia la Florena pentru a petrece vacana de Crciun mpreun, i-a dat un sprijin binevenit n acea perioad n care muli dintre colegii lui i-au ntors spatele. Motivat i susinut de Segovia, Tedesco a nceput s compun din nou i n ianuarie 1939 Concertul n Re major op.99 a fost interpretat n premier de Segovia n Montevideo sub bagheta lui Paolo Baldi. Considerat de muli ca fiind primul concert de chitar din secolul XX, acest concert a fost scris n acelai an n care Joaquin Rodrigo a scris Concierto de Aranjuez. Acest somptuos

concert de chitar, scris de Tedesco n zorii celui de-al doilea rzboi mondial, a intrat n patrimoniul repertoriului clasic pentru chitar, aproape egalnd ca popularitate concertul lui Rodrigo. Tedesco povestete despre acest concert ca fiind o mare provocare pe care i-o fcuse Segovia: asocierea chitarei cu celelalte instrumente ale orchestrei era o problem att de cantitate ct i de calitate a sunetului care l nspimnta i pe cel care a ncercat s o nfrunte. Compozitorul se abandoneaz unui suflu mediteranean care i inspir graia i elegana primului tempo, lirismul delicat i pasionat al celui de-al doilea tempo i ritmul epic al celui de-al treilea. Chitara convieuiete natural cu orchestra din al crui timbru transparent rezult dialogul cu instrumentul solist. Prima parte este scris ntr-o form ndrgit i anume de sonat bitematic i tristrofic. Dup expoziia primei teme interpretat de orchestr, intervine chitara cu o caden solistic ce constituie rspunsul la tem, solistul fiind acompaniat de arcuuri n pizzicato i de sunetul volatil al flautului. A dou tem, cu un caracter interogativ i modulant se gsete la sfritul unei alte cadene a chitarei; de aceast dat, rolurile se inverseaz, prezentarea fcut de chitar este reluat succesiv de ctre orchestr. Cnd prima tem este reluat n bas, asistm la repriza, aici, ideea tematic revine ca rspuns ntr-o form simplificat i o nou caden a chitarei poart prima micare ctre concluzie. Partea a doua, Andantino alla romanza, este o micare elegiac i pastoral, n care nostalgia peisajului toscan se simte ntr-o manier particular evident. Frumuseea sugestiv a materialului tematic se bazeaz n principal pe trei idei. Prima este expus iniial de chitar i este preluat de alte instrumente ( n particular de clarinet i flaut care nsoesc chitara n canon). A doua idee este construit printr-o intervenie ntr-un tempo mai micat (piu mosso) i cu un caracter ritmic mai marcat. Urmeaz a doua tem expus iniial de orchestr i reluat succesiv de chitar ntr-o lung caden solistic de o execuie foarte dificil datorat tempo-ului destul de rapid i scriiturii cu numeroase acorduri n poziii nechitaristice, pe care Segovia a ncercat s o adapteze ct mai bine n revizuirea sa. Ultima micare ( a treia), are ca scop ncheierea concertului n manier virtuozic; caracterul ritmic i cavaleresc indicat de autor este expresia a dou teme principale, prima scris ntr-un tempo rapid de 3/8 i a doua n 4/4. Extraordinara capacitate a autorului de a combina cele dou teme face astfel nct spre final, dup o lung i dificil caden a chitarei i reluarea temei principale, intervine a doua idee: n timp ce orchestra ncepe a doua tem, chitara reia prima tem. Limpezimea structurii concertului i a construciei frazelor muzicale - trei micri din care prima este bitematic i tristrofic - permite ncadrarea operei n neoclasicismul italian. Orchestraia fin i transparent nu acoper solistul, instrumentele orchestrei dialogheaz ntr-o manier concertant cu chitara. Este interesant de observat c evenimentele dramatice care se desfurau n viaa compozitorului n anii 1938 1939 nu iau influenat creaia, muzica acestui concert rmne etern i impresionant. Conf.univ.dr. Constantin Andrei

Agustin Barrios Mangor Poetul Romantic al Chitarei

Agustin Pio Barrios (1885-1944) s-a nscut ntr-o familie numeroas rural a Paraguay-ului n stucul San Juan de la Missiones, al cincilea din cei apte copii. Amndoi prinii erau educatori i apreciau mult cultura i arta. Inspirat de mama lui care cnta la chitar, Barrios a nceput s cnte de la o vrst fraged. Talentul su muzical a fost recunoscut n timpul educaiei primare pe care a primito la coala Iezuit local. n 1898, Barrios a fost introdus oficial n repertoriul lucrrilor pentru chitar de ctre Gustavo Sosa Escalada. n acea perioad, tnrul Barrios compu sese deja lucrri pentru chitar i interpretase piese ale fostului su profesor, Alias, precum: La chinita, La Prerezosa. Influenat de noul su profesor, Barrios a nceput s studieze i s interpreteze lucrrile lui Tarrega, Vias, Sor i Aguado. Sosa Escalada a fost att de impresionat de noul su elev, nct i -a convins pe prinii lui Barrios s-l lase s se mute n Asuncion pentru a-i continua educaia. ntrecnd deja abilitile tehnice i de interpretare ale celor mai muli chitariti, Barrios a nceput s compun serios n jurul anului 1905. i-a nceput careiera concertistic n anul 1910, performmd n orae din America de Sud i Central. n aceast perioad a nceput s asimileze muzica acestor regiuni i a nceput s compun ceea ce va deveni cea mai mare colecie de lucrri originale pentru chitar bazat pe muzica popular tradiional. Pregtirea muzical pe care a primit-o l-a introdus n repertoriul marilor maetrii: Bach, Beethoven, Mozart etc. n urma influenei lor, a fcut transcripii ale lucrrilor acestora i a compus lucrri originale. Pentru a obine mai mult atenie asupra concertelor sale, Barrios s -a descris (n capul afielor) n 1932 ca Nitsuga Mangor, un Paganini al chitarei din jungla Paraguay-ului. Panourile publicitare au expus poza lui mbrcat ntr -un costum indian Guarani. Numele Nitsuga (Agustin scris invers) i Mangore (un legendar ef Guaranicare ce a rezistat cuceririi spaniole) au fost folosite pentru mai muli ani. A vizitat Europa ntre anii 1934-1936 i a avut concerte n Belgia, Germania, Spania i Anglia. n cele din urm a renunat la pseudonim i a folosit doar Mangor la sfritul numelui. Barrios a compus peste trei sute de lucrri pentru chitar (puin peste o sut au supravieuit), iar multe din acestea sunt bazate pe formele cntecelor i dansurilor gsite n America Iberic, precum cueca, choro, estilo, maxixe, pericn, tango, zamba, i zapateado. A avut un extraordinar control asupra scrisului n diferite

5. ADRIAN ANDREIPreludiu Nocturn No.3

5.1. Adrian Andrei -Biografie, creaie

Adrian Andrei s-a nscut in 1977 in Bucureti i a primit primele noiuni muzicale de la fraii si, practicani ai chitarei. ntre anii 1991-1995 este elev la liceul "Dinu Lipatti" din Bucureti, unde are primele apariii scenice i semneaz primele compoziii pentru chitar. n perioada 1996-2001 efectueaz studiile universitare la Academia de Muzica "Gheorghe Dima" din Cluj-Napoca, sub ndrumarea profesorului Constantin Andrei. ntlnirea cu compozitorul Dan Voiculescu a fost determinant pentru parcursul su ulterior. mpreuna cu fraii si, Constantin i Aurelian nfiineaz un trio de chitare n 2000, sub titulatura de "Trio Andrei". Pn n prezent au editat trei CD-uri care sunt conisderate reper pentru formatiile camerale de acest gen de la noi din ar i nu numai. n timpul examenului de absolvire i s-a permis s-i interpreteze prima sa sonat pentru chitar, la seciunea compozitori romni. Anul 2002 marcheaza debutul su pe plan editorial, publicnd la editura MPC din Cluj volumul "apte lucrri pentru chitar". ntre 2001-2002 activeaz ca profesor la Liceul de Muzic "Sigismund Todu" din Cluj, apoi devine profesor titular la catedra de chitar de la Liceul de Art din Oradea pentru urmatorii patru ani. n 2006 emigreaza n Canada i lucreaz ca profesor de chitar n Quebec, la Ecole de Musique de Temiscouata. Acolo are ansa s-l ntlneasc pe editorul su canadian, care i cere s creeze lucrri cu scop didactic. Vreme de 10 luni (2007-2008) este profesor de chitar i teorie la House of Arts, n Emiratele Arabe Unite. Aranjeaz piese pentru orchestra acestei coli i lanseaz un program educaional care d ansa debutanilor s se formeze n grup.

Rentors n ar, din 2008 devine profesor titular la coala de Muzic nr.3 din Bucureti, iar n anul urmator public pentru chitaritii romni o metod de chitar centrat pe tradiia romneasc. A publicat mai bine de 20 de volume n ar, n Canada, Marea Britanie i Suedia, iar numrul compoziiilor sale este n continu cretere. De remarcat este faptul c miestriei lui interpretative i se altur i cea de
compozitor i aranjor al majoritii lucrrilor abordate de Trio ANDREI.

CATALOG - ADRIAN ANDREI

apte lucrri pentru chitar -MPC (2002), Suite Meridionale - STARBORN MUSIC (2003), 10 studii pentru chitar - Arpeggione (2004), Concert pentru 3 chitare i orchestr de camer (2004),Voices of my guitar - Arpeggione (2005), Suite des Maramures - d'Oz (2006), 15 Microetudes - d'Oz (2006), Fresques d'ame - d'Oz (2006), Quatre miniatures roumains - d'Oz (2006), 20 regards sur six cordes - d'Oz (2007), Piese pentru 2-3-4 chitare - Arpeggione (vol.1) (2007), Piese pentru 3 chitare - Arpeggione (vol.2) (2007), Sept poemes poliphoniques - d'Oz (2008), Micropreludes - d'Oz (2009), Colours of life - Guitarissimo (2009), Quatre memoires Guitarissimo (2009), Primavera ricercata - Guitarissimo (2009), Treptele Chitarei (Metoda de chitara) - Arpeggione (2009)

5.1.

Preludiu nocturn No.3 Analiz

Genul preludiului la origine (sec.XV) avea o funcie introductiv, de creare a atmosferei, la o pies principal. Luta va face apel la preludiu pe tot parcursul renaterii, mai trziu l vor adopta orga i clavecinul. Odat cu dezvoltarea genurilor nepoca romantic, n special cu Chopin, preludiul se desparte de piesa principal, devine autonom, ceea ce este perfectat de Debussy nsec.XX. Trebuie s rmnem tot n epoca romantic i a sec.XX dac ne uitm la cellalt cuvnt

al titlului adic nocturn. Nocturna rmne asociat tot numelui lui Chopin, chiar dac la originea sa st pianistul irlandez John Field. Apoi cum era i la preludiu, acest gen romantic era preluat i dezvoltat mai departe de Faur i Debussy n impresionism. i n cazul nostru, preludiul tnrului compozitor este o pies autonom cu caracter, care a fost scris mpreun cu alte dou preludii n anul 1996 i aprut n anul 2002 n volumul aptelucrripentruchitar. Dup cum reiesei din titlulacesteipiese, este vorba despre o pies elegiac, cu o atmosfer interiorizat n tonalitatea mi minor. Acest preludiu are trei articulaii, unde prima i ultima articulaie sunt identice, iar articulaia din mijloc conine discursul muzical central. Piesa pornete cu apte msuri introductive cu pulsaie ternar fiind n 6/8, unde fiecare timp tare poart sunetul mi de pe coarda asea. Peste punctul de org creat de sunetul mi din bas se poate auzi motivele izoritmice, al cror melodie arpegiat este compus prin note de schimb i de pasaj.

Ex. 1

Melodia tematic din articulaia central vine abia dup trei msuri care au un rol de tranziie, finalizat cu un mers cromatic.

Ex. 2

n ms. 11 ncepe melodia tematic, care are un caracter izoritmic, avnd la baz ptrime i dou aisprezecimi (Ex.3). n primele patru msuri tematice melodia este condus mai mult prin mers treptat iar ncepnd din msura 15, melodia devine intensiv cu salturi de cvint n registrul acut, dup care intensitatea melodic scade pn la sfritul acestei articulaii. Acompaniamentul armonic se desfoar prin arpegii susinute prin vocea basului cu note inute pe timpii unu i patru.

Ex. 3

Compozitorul folosete armonii disonante cu non, septim mare, septim mic, cvart sau cvarta mrit. La finalul piesei revine articulaia introductiv.

5.2.

Procedee tehnice i expresive

Prima articulaie, adic partea introductiv, se cnt agitat cu crescendo dintr-o nuan de piano pn la forte. Articulaia meno mosso ncepe n mezzoforte cu mic crescendo pn la intrarea melodiei tematice. n msura care precede aceast intrare, utilizez un rallentando, pentru a pregti segmentul urmtor. Ideea muzical principal se cnt cu un timbru mai cald cu o execuie a minii drepte spre griful instrumentului. Schimbarea nuanelor dinamice se face simultan cu intensitatea melodic. Aadar segmentul melodic cu salturi mari, care este i punctul culminant al acestei piese se cnt n forte dup care n ultimele patru msuri treptat scade intensitatea dinamic. Ultima msur al articulaiei se cnt cu rallentando i cu dou note lungi cu coroan la sfrit, care npinge spre articulaia introductiv care apare i la final. Fiecare articulaie se repet, de aceea la repetiii cnt cu mici modificri interpretative n ceea ce privete tempoul i dinamica, care capt un plus de dinamicfa de varianta precedent. Cel mai des procedeu tehnic folosit este legato-ul de mna stng,iar la salturile melodice mari pe coarda ntia este nevoie de o micare rapid a antebraului pentru a putea atinge notele dorite. La mna dreapt degetul a( inelar )este n mare msur responsabil pentru sonorizarea clar i distinct a melodiei. Din acest scop dau o atenie mai mare ciupirii cu acest deget, care n totdeauna trebuie s fie mai accentuat dect celelalte degete care au rolul acompaniamentului. Acompaniamentul se cnt cu degetele (i, m,), vocea de bas cu degetul mare (p).

Preludiul lacrimilor (analiz)

Conceput n tonalitatea mi minor, aceast pies ne relev un limbaj tonal evoluat, mbogait n permanen cu elemente de scriitur modal, foarte caracteristice pentru compozitor. Articulat pe cinci perioade evolutive, corpusul sonor al lucrrii este marcat de schimbri neateptate ale centrilor tonali, dar i de revenirea lapidar a unor motive melodice pe care autorul le reintroduce cu insisten. Prima strof muzical se deschide pe funciunea tonicii prin intermediul primelor cinci note ale profilului melodic, continu cu un acord de dou straturi (T-D) ce rmne n sfera tonicii i scoate n eviden o pivotare ntre tonul ce baz (mi minor) i relativa sa, Sol. Finalul primei perioade aduce o caden deschis conturat pe blocul armonic al dominantei minore (si). Scriitura pe trei voci pe care o putem observa n prima perioad se va menine pe toat durata piesei, ea creionnd un plan extrem de dinamic la nivelul primelor dou voci. A doua perioad este atacat pe arpegiul tonicii pe care l conecteaz la dou pasaje cromatice de tip secvenial. Are loc aici o desfurare de dominante secundare cu caracter trazitiv, care face posibil atingerea tonalitilor Fa

major, re minor i Do major. Tot n cadrul acestei strofe muzicale sesizm folosirea unui motiv melodic ornamental de patru note ce va fi reluat de trei ori prin secvenare pe parcursul travaliului tematic. Schimbarea de mur ce are loc n aceast perioad instaureaz un profil ritmic hemiolic al crui rol este de a conferi fluen arcului melodic mutat aici n vocea intern. Dac procveniena blocurilor armonice poate fi uor de detrminat, nu la fel se poate spune despre mmaniera de construcie a vocii interne. Ea este supus ntre msurile 22 27 la un fenomen de modelare a liniei melodice care poate fi numit polisecvenare, ncheiat de o modulaie la subdominant. Pilonii armonici ai lui la minor se fac simii de la prima msur a celei de-a treia perioade (ms.30), fiind urmai de un nou lan de dominante secundare ce menin funciunea subdominantei. Reapariia acordului lui la minor comport apariia motivului melodic ornamental de care am amintit mai devreme, acesta fiind dezvoltat ca n primul moment: prin secvenare. Dei materialul sonor este strbtut de o oarecare instabilitate tonal, atingerea anumitor trepte (medianta inferioar Do i dominanta minor re) este operat cu scopul clar de a produce o revenire la tonica mi. Finalul acestei perioade aduce o caden deschis i ofer o rentoarcere la prima perioad pe care autorul o repet n mod identic, pentru a reafirma culoarea tonului central. Printre procedeele componistice folosite aici vom meniona de asemeni o scordatur armonic ce are loc ntre msurile 18 20 i 43 45, inserarea acesteia fiind facut pentru

obinerea de noi nuane timbrale i funcionale. Consecvena cu care autorul a folosit blocuri armonice cu ajoute este pstrat pn la acordul final al tonicii, n cadrul cruia detectm o sixte ajoute ce aduce elegan i rafinament ntregului edificiu sonor. Adrian Andrei a evitat cu desvrire orice artificiu sonor n construcia acestei piese, concentrnd ntreaga structur a materialului tematic pentru obinerea unor surprize armonice, strbtute nencetat de un profil melodic curgtor.

S.L.Weiss
Biography

1687-1710

1687-1710

Silvius Leopold Weiss was born in 1687 in Grottkau near Breslau (today Wroclaw in Poland), capital of Silesia1, whence came several German lute-players of the Baroque period: Reusner father and son, Le Sage de Riche (?), Meusel, Baron, Kropfgans, Straube... His father, Johann Jacob( ?1662-1764), said by Baron2 to be a profound musician, lute and theorbo-player, taught the lute to Silvius Leopold, his younger brother Johann Sigismund and their young sister Juliana Margaretha.

In 1706, Count Karl Philipp of Palatinat-Neuburg, then residing in Breslau and Brieg, took Weiss into his service. In the beginning of that year Weiss accompanied hereditary prince Friedrich of Hessen-Kassel to Kassel, where he performed at the court of the Palatine Elector Johann Wilhelm3, who was a fervent patron of the arts and a keen and passionate music-lover - so much so that Corelli dedicated his Opus VI. to him. The young Silvius Leopold stayed for over a month and returned afterwards to Breslau4. There is evidence that from 1709 on his father and his brother were employed in Dusseldorf as lutenists. Possibly their employment was procured by Silvius Leopold. In the year 1707 Karl Philipp moved with his court from Breslau to Innsbruck. Probably Weiss accompanied him there, but that couldn't be proved yet.

1710-1714

Probably from 1710 on Weiss was in service of the Polish Prince Alexander Sobieski, who lived in exile in Rome5. Prince Alexandres court, residing in the Zuccari palazzo, was the opportunity for him to meet the Scarlatti, father and son, as well as organ-player Bernardo Pasquini and compatriots Handel and Heinichen. Weiss would accompany the Prince in his visits to other courts. His virtuous performances were universally admired. When his protector died in 1714, Weiss looked for a situation worthy of his talent. Even if he left Italy, the countrys influence was to be strong ; these years would leave their mark, even in his last works.

1714-1718

Until Silvius Leopold Weiss had been employed at the court of Dresden in 1718, supposedly Weiss had been in service of his former employee Karl Philipp6. In 1717 he had been two times in Dresden, where he performed so succesful, that he was given 100 ducats as a reward. At least once he had been in Prague that year, where he met the famous Bohemian lute-player, Count Johann Anton Losy von Losimthal (ca. 1650-1721), better known nowadays as Count Logy. It seems that Weiss was influenced in his compositions by this lute-player. As a matter of fact, he composed a tombeau in his memory (he did the same with Baron Cajetan von Hartig).

1718-1750

On August 23rd of 1718, he was appointed chamber musician for the Prince Elector of Saxony August the Strong, who had been King of Poland since 1697. This highly prized position was based in Dresden, overlooking the Elbe. A cosmopolitan center for arts and sciences, Dresden could boast the possession of one of the finest opera houses and musical chapels in the Empire.

At the time, the court at Dresden had in its midst some great names, beside Silvius Leopold Weiss the flute-players Buffardin and Quantz (his pupil) and the violin-players Francesco Veracini and Pisendel (who studied with Vivaldi). Weiss' annual salary was of 1000 Imperial Thalers - which was regarded as high. Yet, when Frederic August II succeeded his father in 1733, he raised the amount - without any intervention of the musician - to 1200 Thalers and again in 1744 to 1400. The lute-player was thus the best paid musician of the orchestra at the court of Dresden. This situation clearly denotes the admiration and respect he was held in. So much so that his protector the king often sent him travelling as his musical emissary. From end of 1718 to the beginning of 1719 he went, together with eleven other musicians of the court, to Vienna for the wedding of the Elector of Saxony. The newly-wedded couple were celebrated for four weeks in the fall of 1719. In 1722 the violinist Petit, a pupil of Tartini, supposedly as an act of vengeance, had almost bitten off a part of his thumb. After his recovery, during the fall of that year, he left for Munich with Buffardin to attend the Prince Elector of Bavaria's wedding. He was handsomely rewarded there. In 1723, he returned to Prague for the third time (before in 1717 and 1719), accompanied this time by the illustrious flute-player Johann Joachim Quantz and singer and composer Carl Heinrich Graun. The three musicians went to the crowning of Emperor Charles VI as King of Bohemia. In May 1728, he accompanied his lord and three of the greatest musicians of the court - violinplayer Pisendel and flute-players Buffardin and Quantz - to the court at Berlin. They stayed there for three months, probably upon the invitation of future Margrave Wilhelmine of Bayreuth, Frederic II's sister. Her testimony is one of the most pleasant. Weiss must have enjoyed the court of Dresden, as proves his refusal to join the Imperial court in Vienna - who had offered him, in 1736, the positively indecent amount of 2000 Thalers. It is true that the Dresden musicians and audience alike were known for their quality. Weiss can count among his protectors Imperial Count Hermann von Keyserlingk, known in the world of music to have ordered JS Bach to write the famous Goldberg Variations . He had the reputation of a great amateur and connoisseur of music. He intervened in favor of Weiss when the latter was emprisoned in Dresden for an alleged crime (Weiss would have offended the Master of Revels of Breitenbach). Kayserling wrote the Minister of the State to praise the lute-player and to ask for his release. In 1738, in Dresden, Weiss met violin-player Franz Benda, from Berlin. Their took turns at playing, throughout a whole afternoon and until midnight, 24 violin solos and 8 or 10 suites for the lute (see Hiller, F Benda's biographer). In August 1739, Weiss met JS Bach. WF Bach, the organ-player at Sainte Sophie in Dresden, was in Leipzig. Weiss had been there with his fellow countryman and pupil Kropfgans - who played the

lute for Count Brhl in Dresden. Several meetings with the master of Leipzig sealed their friendship, as reports Johann Elias Bach, then JS Bachs private secretary. We have seen that Weiss was Imperial Count Hermann von Kayserlinks protg. Such was also the case for JS Bach. D.Charlton tells us that actually the two men had many occasions to meet in Dresden and that JS Bach is said to have written some lute pieces for Weiss. Furthermore, JS Bach occasionally went to the court of Dresden - from 1717 and especially from 1733 when his son WF Bach became the organ-player at Sainte Sophie - which allows us to imagine that the two men had many ocasions to meet. Another interesting element is to be found in JF Reichardts 1805 account of the competition between the two musicians in Dresden : Anyone who knows how difficult it is to play harmonic modulations and good counterpoints on the lute will be surprised and full of disbelief to hear from eyes-witnesses that Weiss, the great luteplayer, challenged JS Bach, the great harpsichord and organ-player, by playing fantasies and fugues. Weiss didn't seem to be interested by the publication of his works. Of the 650- odd known works of his, only one small piece was published when he was alive ; it was done so by GF Telemann in 1728 to serve as a tablature example in the volume Loyal Music Master. His works showed his virtuosity and it is possible that, like Paganini or Mozrt later, he wanted to keep them to himself. Weiss final days are those of a man who is at the peak of his notoriety. He lived in Dresden, received pupils from various countries coming to him to study his music and to receive his advice. On October 16th 1750, Weiss died, leaving his widow, Marie-Elizabeth, and 7 children ; Johann Adolf Faustinus (1741-1814) was the only one of them to follow his steps as a lute-player at the court of Dresden. Despite his exhorbitant (for a musician at the time) earnings, Weiss left nothing to his family, having probably spent all his money in keeping the appearances going with his status.

The Harrach Manuscripts Unknown lute music by S.L. Weiss discovered in an Austrian castle by Michael Freimuth and Tim Crawford
The residence of the Harrach family at Schloss Rohrau, 40 km from Vienna, although seriously vandalised at the end of World War II, was lovingly restored some years ago and is now the home

of the familys sumptuous and world-renowned collection of art treasures, one of the best in private hands in the world. Rohrau has long been a place of pilgrimages for scholars and music-lovers interested in the life of the great composer Josef Haydn, who was born in the village in 1732; his mother served the Harrachs as cook, his father was master wainwright and later mayor. The Harrach family took great delight in music, and assembled an important music library, including many manuscripts, over several generations, from the 17th to the 19th centuries. Almost all of this music was dispersed privately or at auction in the 1950s, including the four bundles of 18th-century lute works which are among a large collection of ex-Harrach music manuscripts acquired by the New York Public Library (MSS Harrach 11-14). A single lute manuscript also survives among the Harrach family papers deposited in the Vienna state archives (Wien, Allgemeinen Verwaltungsarchiv, Archiv Harrach, H. 120); a few more musical items, including chamber music by Telemann, Albinoni and very early works by Haydn, can be found in the same archive. Some time during 2004, the administrator of the Harrach art collection at Schloss Rohrau, Count Ulrich Arco-Zinneberg, found seven books of 18th-century manuscript music among the books in the Harrach library, which had been preserved together with the art collection. He alerted the director of the baroque music ensemble, Concilium Musicum Wien, Paul Angerer, who immediately understood the significance of the discovery, which included important unknown chamber works by musicians such as Antonio Vivaldi, Gottfried Finger, Angelo Ragazzi and Francesco Alborea, as well as two large books of lute tablature. Plans were immediately made to perform some of these works at a concert and on a CD, for which funding was sought from the government of Lower Austria. For an immediate evaluation of the lute books Herr Angerer contacted the lutenist of his ensemble, Michael Freimuth, who realised that this was a very significant new S.L. Weiss source, and wrote the following text in support of a grant proposal: Amongst the music recently discovered in Schloss Rohrau are also two volumes written in tablature. The tablatures, which with the exception of a few pages with numbers, are written throughout in French tablature notation, contain music for eleven- and thirteen-course lute, the socalled Baroque lute, and most of the works are by Silvius Leopold Weiss. They apparently belonged with the holdings of the Harrach family that are today preserved in the New York Public Library. This can be seen from the matching hand writings as well as from the similar title pages and numberings. Already at first glance it becomes clear that these very large volumes, a total of over 200 pages, are of great importance for musical research, on the one hand, and for lute players, on the other. In the future, these tablatures will represent a third main source of Weisss lute music, beside the two Weiss manuscripts in London and Dresden known up to now. Since they contain pieces from the early creative period, they close a gap, as it were, in our knowledge of Weisss oeuvre. The first volume carries the title Weiss Sylvio-Lautenmusik, and is certainly the younger of the two. Many of the pages display Weisss name. In this volume alone there are eleven multi-movement suites that were hitherto entirely, or at least partially, unknown. Three things are especially noteworthy:

A complete 4-movement Duet for two lutes, found here for the first time. The suite in A, that is passed down in various other sources as a lute solo, is included here with a violin and bass part as a Trio. One Caprice within a suite is ascribed to Mr. Schaffniz. He was a lutenist and contemporary of Weiss and is mentioned in literature by Walther (lexicon) and also by Baron. No compositions by him were known before this. The second volume carries the title Lautenmusik von unbekannten Componisten (Lute music by unknown composers). This shows that the librarian or bookbinder was not familiar with music written in tablature. Although no composers names are given explicitly, on the basis of certain concordances one can also ascribe works to S.L. Weiss in this volume. In fact the binding seems to be faulty regarding the order. Incomplete endings of movements are bound before the respective suite. So there can be found in the second volume a movement Presto that belongs (as we known from a concordance in the Warsaw source) to the C major suite of Weiss in the first volume. On the basis of this and similar concordances it is possible to attribute also four whole suites in the second volume to S. Weiss. This number will presumably grow upon further research. To be mentioned are also two interesting scordaturas. The first is not unusual (f d a f d B-flat); the other, for a suite in B flat minor, is certainly exceptional (f d-flat a f d-flat A/ D F E-flat D-flat C). So we can say that on the whole the second volume also contains music of outstanding quality. (English translation: Howard Weiner and Markus Lutz) The resulting CD was released in July 2005, and features Michael Freimuths performances (on an original instrument by Anthony Posch, Vienna, dated 1740) of five Weiss items (two preludes, two fantasias and an allemande) from the newly-discovered sources along with some of the chamber music items played by Concilium Musicum Wien. It is issued by Cavalli Records and is entitled Klingende Schtze aus Schloss Rohrau (CCD 446). This is not the place for a complete description and analysis of the new Harrach lute MSS, but a few words in addition to Michael Freimuths initial report might be in order. Close inspection of the music reveals that neither of the two main copyists is absolutely reliable, leaving a certain amount of editorial work to be done on many of the unique Weiss pieces before they can be performed. The repertory seems mostly to be early, including some suites which are found in several other copies. Weisss later music (after about 1725) tends to survive only in single copies, and it is known that his music was hard to find even shortly after his death. Most of the pieces are for 11-course lute, and some of those for 13-course show signs that the numbers 5 and 6 were added later. As Michael Freimuth points out, the most exciting discovery is the pair of items of complete chamber music by S.L. Weiss: the C major duet for two lutes and the A major trio for violin, lute and basso. The duet is explicitly labelled Concerto in both parts (of which, strangely, there are two complete copies), but this does not imply the participation of other instruments; rather, it refers to the musical form or genre, being loosely based on the Venetian concerto. The trio presents the tablature of Weisss most widely-distributed sonata, No. 44 in A major,1 to which violin and

unfigured bass parts have been added which double the outer melodic lines in the manner of the Lautenkonzerte of Hinterleithner, Weichenberger and others, rather than providing new, independent strands of music. As in the five other complete, and four partial, copies of the sonata that survive,2 this chamber-music version lacks the opening prelude and final second gigue that seem to be additions unique to the best-known source, the Dresden Weiss MS. The two Rohrau manuscripts between them preserve a total of 167 movements of lute music, arranged in 26 suite-like groupings on 233 pages. As well as new sources for around 50 known Weiss items, there are around 44 movements by Weiss that are otherwise unknown; this number excludes a suite attributed to Silvius Weiss that is more likely to be by his brother, Johann Sigismund. In the second volume, music by unknown composers, there are a few suites in a style close to that of Weiss, one of which is probably by Lauffensteiner, as well as a complete suite in D minor which seems more convincingly to be in his early style. Interestingly, three of the Weiss suites unattributed here appear in concordant versions but with different sarabandes which also seem to be from Weisss hand. A new Weiss suite in A minor appears to be based very closely on Jacques Gallots beautiful allemande in that key, LAmant malheureux, of which Weiss made at least two other arrangements; one, for 13-course lute, is in the London manuscript (ff. 66v-7), and the other, in G minor (in Paris BN Rs.Vmc.ms.61, f. 23v), while not attributed to him in the MS, is clearly his work, too. The Harrach suite opens with a Capricio in which motives from the allemande are fleetingly touched upon, then comes the Allemande en double which is a varied setting of Gallots piece, followed by a courante which alludes to the allemande as much the same way as does the courante (Mons. Weis Courante) which follows the G minor LAmant malheureux setting in the Paris MS. Then comes a Fantasia (recorded on the CD), whose relationship with the Gallot piece is less obvious; but the final gigue is an ingenious and strict reworking of Gallots allemande in triple time. This is a fascinating reminder both of Weisss interest in the earlier French lute tradition and of the strange and confusing relationship between the allemande and the duple-time gigue in the early 18th century. Perhaps the most surprising find in the second volume is a group of four items in Italian tablature for a lute in Renaissance tuning: a Pastorale in D (like works by Corelli, Handel and others, including Weiss, which imitate the bagpipe-playing shepherds in Rome at Christmas time), followed by a group of three pieces from a sonata in A major (Allemanda, Corente and [Menuetto]), from Giovanni Zambonis Sonate dintavolatura di leuto (Lucca, 1718). Zambonis music was, it seems, well-known in Vienna,3 though little is known about the composer, beyond the fact that he was a native of Rome. It is not impossible that he was the composer of the solo sonata for arciliuto and the two concertinos for arciliuto with two violins and organ (all anonymous and in staff notation) from the Harrach library formerly owned by Robert Spencer and now at the Royal Academy of Music, London; another similar anonymous concerto for arciliuto is among the newly-discovered items of chamber music at Rohrau.4 There is not the slightest doubt that this is a discovery of major importance for lute-players. The new works increase Silvius Weisss already large surviving output by around 7%, and the fresh versions of known pieces will be of great value to players and scholars alike. Plans are in progress to make the material available as soon as possible, and the manuscripts will be used in the

preparation of the final volumes of the edition of Weisss Smtliche Werke, which is being undertaken by Dieter Kirsch and Tim Crawford for Brenreiter in association with Das Erbe deutscher Musik.

Numbering from T. Crawford, ed., Silvius Leopold Weiss: Smtliche Werke fr Laute, Band 5: Die Handschrift Dresden, Faksimile der Tabulatur, Teil I, pp. 146-151.
2

Complete copies can be found in the following MSS: Dresden SLB, sonata 18; Paris BN Rs.Vmc.ms.61 (dated Venice 1712), ff. 12v-14v; Warsaw RM 4136 (formerly Breslau Ms. Mf. 2003), ff. 15-17; Brno HAM 372, pp. 45-48; Venice Chilesotti MS (transcription made c. 1900 of a now-lost tablature MS), items 504.2-505.3. Partial copies are in: Haslemere (private collection, Dolmetsch library), pp. 127-129; Warsaw RM 4137 (formerly Breslau Ms. Mf. 2005), pp. 121-3; Wroclaw University Library 60019 Odds. Mus. (formerly Breslau Ms. Mf. 2002), 41-3. Isolated movements can be found in: Strasbourg (dated 1740: Bourre); Kln (Bourre, here called Scherzo; Menuet); Warsaw University Library RM 4140 (Breslau Ms. Mf. 2008: Menuet); Warsaw University Library RM 4141 (Breslau Ms. Mf. 2009: Menuet).
3

Several vocal and instrumental compositions (some including lutes) by Zamboni are included in a long list of manuscript music offered for sale in 1731 in the Wiener Diarium. Also included were 8 volumes of solo lute music by Weiss, and no fewer than 14 items of chamber music by him, all lost today, as far as we know. (Hannelore Gericke, Der Wiener Musikalienhandel von 1700 bis 1778, Wiener Musikwissenschaftliche Beitrge, Band 5, (Graz-Kln: Bhlau, 1960), pp. 100-101.
4

A title-page for such a concerto is in the New York Public Library Harrach collection; it reads Concertino per cammera, con arciliuto obligato, violini e basso, and is incorrectly attached to an anonymous sonata for (?) violin and basso in A minor (NYPL Harrach V. 31, item 1).