Format : Listening CD
SKU: UT.BCE-8
ISBN 9790215325388. 9 x 12 inches.
The Quintets nos. 1-7, 9 and the 12 Variazioni sulla Ritirata di Madrid, for guitar and string quartet, are not listed in Boccherini’s autograph catalogues, nor in the Catalogo Boccherini y Calonje, nor in the Catalogue Baillot. However they are mentioned in the Catalogue Picquot, and they have come down to us through three non-autograph manuscripts and three unauthorized printed editions of the early twentieth century. The documentary evidence establishes their authorship, their dating and the relevant musical source, as the single movements for the most part are transcriptions of compositions for other instrumental settings.The primary source of the Quintets 1-6 is ms. Wc, Washington (DC), Library of Congress, Ms. M. 574. B Case, olim M. 572. B65 Case [RISM A/II: deest]. Written in Madrid in 1811 by François de Fossa, it derives from a copy prepared by Boccherini for the commissioner of the pieces, Francisco Borja de Riquer y de Ros, marquis of Benavent, an amateur guitarist and patron of Boccherini from 1796. The primary source of the Quintets 7, 9 and the 12 Variazioni sulla Ritirata di Madrid is ms. L520, a codex comprising 5 volumes, dating from the first half of the nineteenth century, certainly assembled at Bar-Le-Duc, the residence of Louis Picquot from 1832 to 1853, who probably was the commissioner and first owner. Upon Picquot’s death, the codex was sold at auction in 1904 by the Berlin antiquarian Leo Liepmannssohn as lot 520. In 1911 it was acquired by the Gitarristische Vereinigung of Munich. During the twentieth century this institution dissolved, and the ex lot 520 passed into anonymous private hands. Rediscovered and examined in 2010 by Andreas Stevens and Fulvia Morabito, the codex was acquired by the Bayerische Staatsbibliothek in Munich.
SKU: UT.CH-111
ISBN 9790215316317. 9 x 12 inches.
The three original pieces for guitar Notturno, Napolitana (popolar songs) and Roma (March for guitar), together with three transcriptions, are included in a manuscript of 36 pages, noting in the frontispiece “Transcriptions and compositions of F. Balilla Pratella sent as a tribute to M.R. Brondi (1920)”.These compositions follow a traditional language, and, in the tonality and the alternating themes, are an expression of Pratella’s folkloric vein, with cantabile and melancholy melodies, with the exception of the march, that show some echoes of the nineteenth century guitar masters’ way of composing.There is a characteristic use of the quartine with no alternated thumb forefinger tremolo, that immediately recalls the plectrum orchestra so much used by Pratella in his youth.The discovery of these pieces – which happened accidentally and saved them from certain destruction – contributes to enhance that period of great guitarist turmoil preceding Segovia, establishing itself at the beginning of twentieth century in Italy with three compositions from an author that, along with the Bonaccorsi and Colacicchi, anticipated that current – already initiated by the Fara, Gabriel, Caravaglios – which was, in the following decades, to go by the name of ethnomusicology.
SKU: HL.49032839
ISBN 9790001123808. UPC: 884088100001. 9.0x12.0x0.284 inches.
Johanna Senfter studied music at the Conservatoire in Frankfurt and then in 1908/9 with Max Reger at the Leipzig Conservatoire. Her late Romantic music draws inspiration from the polyphonic structure of Reger and Bach, as well as from the complex use of sounds and motifs in the music of J. Brahms, which did not leave her in an easy position in the context of twentieth Century modernism. Growing interest in the work of female composers has also led to a rediscovery of J. Senfter in recent years. Her extensive work includes piano music, orchestral works and chamber music, including the Piece for flute, clarinet (in A), two bassoons and four horns, first performed in Karlsruhe in 1934.
SKU: HL.49019206
ISBN 9790001187152. UPC: 884088907334. 9.0x12.0x0.322 inches. English.
William Blake was a highly versatile universal genius - poet, painter, copper engraver and philosopher - who in the face of the rationally based Enlightenment put the worship of ecstasy, energy, intuition and imagination above all reason. He was inspired by a vision of the prophet Ezekiel as a child and went on to construct a creative cosmos consisting of myths, opposing forces and uninhibited psychic painting. Misunderstood by his contemporaries, he only began to be rediscovered at the beginning of the twentieth century, for example by W. B. Yeats, and subsequently also during the 1960s by various figures including the 'beat poets' associated with Allen Ginsberg, filmmakers and numerous modern poets. Enjott Schneider.
