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Guitar Lit Essay

Probably has to do with Carcassi being the baddest man during the time, but im not quite so sure, what else so scribd want because all I want to do is be able to download more files but it keeps fucking with me and i dont understand

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Dylan C. Berman
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299 views

Guitar Lit Essay

Probably has to do with Carcassi being the baddest man during the time, but im not quite so sure, what else so scribd want because all I want to do is be able to download more files but it keeps fucking with me and i dont understand

Uploaded by

Dylan C. Berman
Copyright
© Attribution Non-Commercial (BY-NC)
Available Formats
Download as RTF, PDF, TXT or read online on Scribd
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Dylan Berman Mark Delpriora Guitar Literature 11 December 2012

Essay no.4 (Carcassi and Carulli)


When someone begins classical guitar, chances are that they're teacher is going to present them with a method book that will give them a clear step by step structure to help them progress in the most efficient and correct way possible. Two of the most illustrious method books that continue to be used in modern day are those by Ferdinando Carulli and Matteo Carcassi. At the turn of the nineteenth century, Carulli and Carcassi were inherent in the coruscation and popularization of the classical guitar and are exalted by players today for their invaluable influence. Born in Naples, Italy, Carulli is one the most famous composers for classical guitar and is recognized for his prolific production of guitar works. Before picking up the guitar at the age of twenty, he was a cello player under the tutelage of a priest, and inevitably must have extrapolated the technique he learned on the cello and applied and altered it so it could work on the guitar. Of course, this led to the writing of his famous book Methode, op. 27 which has been bequeathed to generation after generation until 2012 and may possibly be his most important contribution to date.

This is so because publishers were primarily interested in producing music that was easily accessible to guitarists of all levels. It is been reported that some of Carulli's potential masterpieces may have been lost simply because of the difficulty and complexity of the music. Even in the 19th century, music was big business and because of the unpopularity and lack of interest of the guitar, producers were solely concerned with the quantity of sales over the quality of the product. Although his Duo in G Op. 34, which was brought to life in the recording of Alexander and Jean-Pierre Rampal, and most famously in the recording of John Williams and Julian Bream, Methode Op.17, in my opinion that is, is unquestionably his most influential and significant work. Similarly to Carulli, Carcassi was also an Italian virtuosic performer that moved to the musical capitol of the timee, Paris. After a concert tour in Germany, Carcassi became friends with another famous guitarist and publisher, Antoine Meissonier. Carcassi distinguished himself from Carulli by using a different instrumental posture, and performing without fingernails, combined with exhibiting a greater focus on melody and a richer palette of effects. P.J Bone wrote, "He introduced a different style of music, more modern, full of melody, brilliant, abounding in artistic and pleasing effects, but of medium difficulty. Being fully master of all the carried resources of the guitar, he was able to execute his music with

marvelous skill, and Carcassi, very speedily excelled and outshone his celebrated rival." Of course his celebrity rival was Carulli, who was absolutely loved by his fans, but from the words of P.J Bone, we can infer that Carcassi was the better player of the two, and in my opinion Carcassi is also the more influential. I say this because I've had five teachers, and four of those five have assigned my Carcassi studies while none of them have ever once given me a study or work by Carulli. The Complete Carcassi Guitar Method is his most famous work and his greatest contribution to classical guitarists, period. Carcassi said, "I can assert that any intelligent person who will attentively study this book from beginning to end will acquire a perfect knowledge of the mechanism of the guitar". In the 19th century, the classical guitar was a new instrument the classical guitarists of the day were primarily invested in its promotion. From Giuliani to Sor, and Carulli to Carcassi, their legacy will be kept a live because of their interest in giving players a method with clear instruction combined with their avid ambition in the advancement of guitar technique and composition.

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