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TV 34770

BAAAUECO
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Side 1-25:16 Min .
SCARLATTI
Sonata in D Major, K. 490 L. 206-5:18 Min.
Sonata in E Minor, K. 292 L. 24-3:14 Min.
Sonata in E Major, K. 380 L. 23-2:41 Min.
Sonata in A Major, K. 208 L. 238-
Side 2-20:33 Min.
PAGANINI
Sonata in A Major, Op. 3 No. 1-3:28 Min.
(Arranged by Manuel Barrueco)
. GIULIANI
TURNABOUT

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Variations sur les Folies d' Espagne, Op. 45-4:17 Min.
Sonata in A Major, K. 209 L. 428-7:15 Min.
(Transcribed by Manuel Barrueco) PAGANINI
Sonata in E Minor, Op. 3 No. 6-3:38 Min .
CIMAROSA (Arranged by Manuel Barrueco)

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Sonata in D Minor-2:31 Min.
Sonata in A Major-1:53 Min. GIULIANI
Sonata in B Minor-2:24 Min. Gran Sonata Eroica in A Major, Op. 150-9:10 Min .
(Transcribed by Julian Bream) Allegro Maestoso

Also Available on Cassette CT 4470

Out of the dozen pieces assembled for this record only two are original guitar Cuban American guitarist MANUEL BARRUECO has been hailed by the Los Angeles Dr. Thomas Heck, it has been of great value in the preparation of this essay.
compositions. There are reasons for that In the 18th century the guitar, a Times as 'a major artist. · The tune known as Folies d'Espagne has a very interesting history. The
A graduate of the Peabody Conservatory of Music , he became the first guitarist to
favorite instrument of the ladies of French' society, was used chiefly to win the Concert Artist Guild Award in 1974 . As a result , he made his New York debut
French term is the equivalent of the Italian follia and the Portuguese folia. The
accompany singers. It became a vehicle for a soloist or virtuoso only in the 19th that same year . origin of the folia, a dance in triple time, was long a matter of dispute. It was
century, due largely to the efforts of the Spaniard Fernando Sor (1778-1839), Since then , he has embarked on an extensive concert career that includes , in addi- thought to be Spanish, but the Portuguese musicologist Luis de Freitas-Branco
who was honored with the sobriquet 'the Beethoven of the guitar.' With the tion to New York recitals at Alice Tully Hall in Lincoln Center, solo appearances and has drawn attention to the fact that the noun folia (meaning 'obsession') and
with orchestras throughout the United States and Canada in such cities as Los the verb foliar derived from it, are Portuguese and not Spanish words. Folias
increasing popularity of the guitar in the 20th century and the resulting Angeles . San Francisco , Chicago , Washington D.C., and Toronto.
emergence of remarkable concertizing virtuosi, it became obvious that there His European debut took place in March 1979 . His performances were so well were known in Portugal as early as the fourteenth century, and yet the tendency
was a lack of a serious, substantial literature, for no composer of consequence received that his schedule there now includes London , Paris . Rome , Amsterdam and to regard the folia as a Spanish dance was in evidence at the beginning of the
from the first half of the 19th century and even later wrote music for Zurich . 17th century, where they were referred to as Folies d'Espaign.
Mr . Barrueco has made two previous recordings for the Vox Turnabout label. The In actuality this term referred specifically to one particular melody, which over
guitar-wheltier lyrical pieces or full-fledged sonatas. In an attempt to create a first . including works of Villa-Lobos and Chavez , was called 'breathtaking ' by Stereo
.repertory of intrinsic value, the guitarist turned to transcription-usually pieces Review and one of the top six classical recordings of 1979 by England 's the years had appeared in variation form on an ostinato bass in works by Italian,
for harpsichord by important composers of the past. Gramophone. The second . with music of Albeniz and Granados , has received similar English, French and German composers. It seems very strange indeed that
The timbre of the guitar is somewhat akin to that of the harpsichord, and it critical acclaim . throughout four centuries dozens of composers used the tune for variations. It
Manuel Barrueco is on the faculty of the Manhattan School of Music . where he is
seemed natural for these transcribers to take advantage of the vast treasury of co-founder of the guitar department.
is a more puzzling phenomenon in view of the fact that the melody itself
harpsichord music by Bach, Handel, Domenico Scarlatti and others. The comprises only five notes and the range covers only a fourth with its lower
undersigned begs the indulgence of the listener for the brief treatment given the semitone (C..sharp to G). Yet it seemed to have an irresistible hold over a host of
Scarlatti and Paganini works on this record. The compositions of Cimarosa and issued in Paris in collaboration with Isidor Philipp three sets of harpsichord composers. Percy Scholes compiled a list of twenty-six such names, but
Giuliani are less familiar to the general music lover, and thus much of the space sonatas , copyrighted in 1926. The venture had unexpected results: the remarked 'that it is certain that dozens of examples are omitted.' Mauro's
available herewith will be devoted to their works. Australian pianist and composer Arthur Benjamin (1893-1960) arranged a variations are a case in point The list by Scholes includes Frescobaldi, Corelli
The bulk of the one-movement sonatas in binary form by Scarlatti concerto for oboe and strings from this musical source; and the interest in (Op. 5, No. 12, probably the best known example), Vivaldi, Domenico Scarlatti
(1685-1757) was created in the last decade of his life in Madrid, and indeed, the Cimarosa's harpsichord sonatas increased as new editions appeared in Moscow (Variazioni sulfa Follia di Spagna), Bach (Cantata No. 212), C. P. E. Bach,
five sonatas here, according to Ralph Kirkpatrick, were written between 1747 (1961), Amsterdam (1967) and Cracow (1971). Finally, Cimarosa's own country Gretry, Cherubini, Liszt (Rhapsodie espagnole, 1863) and Rachmaninoffs
and 1757. The symbols of identification, e.g. K. 490 and L. 206, refer to the fell into line with a Milan edition (1971/72). Variations on a Theme by Corelli (!). Corelli's variation cycle achieved
listing of Kirkpatrick and the edition of Alessandro Longo, but only the Cimarosa's harpsichord sonatas are one-movement pieces, similar to the extraordinary fame, and as time went on elaborations appeared which bear
Kirkpatrick numbers indicate the approximate chronology. The key, tempo and sonatas by Domenico Scarlatti and his follower Antonio Soler but of smaller Corelli's name but go far beyond the violin technique of his time.
meter of the sonatas are as follows: dimension. Yet there is evidence that Cimarosa was thinking of tw<r or three- Finally, the use of the Folies d'Espagne melody was not reserved for
movement units. They encompass a five-octave range, are fashioned in binary violin virtuosi alone, because Giuliani availed himself of it for his set of six
Sonata in D major, K. 490, L. 206 (Cantabile, 414) form, and are devoid of contrapuntal complexities. Interestingly enough, two of
Sonata in E minor, K. 292, L. 24 (Allegro, 318) variations for guitar published in Vienna in 1814. In applying the key of D
the sonatas included in the present recording also appear in the above- minor to his set, Giuliani followed the model of Corelli (22 variations) and
Sonata in E major, K. 380, L. 25 (Andante comodo, 314)
mentioned oboe concerto (which is laid out in the slow-fast-slow-fast design of Vivaldi (Op. 1, No. 12, 19 variations). The theme (Andantino), as given by
Sonata in A major, K. 208, L. 238 (Andante cantabile, 414) the church sonata). The sonata in D minor (Larghetto, 414), originally in D
Sonata in A major, K. 209, L. 428 (Allegro, 318) Giuliani, is a variation of the original melody, shaped in the sarabande
minor (Boghen III/9), with the characteristic flourish of thirty-second rhythm ( J J.J ). Variation I displays a motion in eighth-notes, Variation II
Niccolb Paganini (1782-1840) was an accomplished guitarist, and he notes, - appears as the first part of the concerto. Our sonata in B in sixteenths, Variation III in triplets and Variation IV again in sixteenth
composed more than one hundred pieces for solo guitar which, however, he
notes but proceeding in octaves. There is a change in tempo (un poco piu
withheld from publication (he usually demanded a very high fee which the
minor (Largo, 618), originally in A minor (Boghen lll, 3), dominated by a dactylic Adagio) and tonality (D major) in Variation V, which is actually a double
publishers refused to pay). However, he did allow a few works in which the
variation (i.e. each 8-measure strain is varied and repeated) . This runs into
guitar was used solely in an accompanying capacity to be printed: 12 sonatas for Siciliano rhythnm, forms the third section of the concerto. The A major piece
Variation VI (Allegro vivace) which, reverting to the basic key, is
violin and guitar, Opp. 2 & 3 and 6 quartets for violin, viola, violoncello and on our record (Allegro, 414, Boghen II, 12) is a pleasant, fluent miniature in
characterized by dotted rhythms. In contrast to Corelli's treatment, Giuliani
guitar, Opp. 4 & 5. The arrangements for guitar of Op. 3, Nos. 1 & 6, by binary form.
Manuel Barrueco, are offered in the present recording. We come now to Mauro Giuliani (1781-1829), the composer of the two amends his final variation with a coda in D major.
The Gran Sonata Eroica in A major, published as Op. 150 in Milan
Compared to the classical sonata of the late 18th century, these pieces are original guitar pieces on the record. He was born in Bisceglie, a small town in
eleven years after Giuliani's death (1829), is a problematical composition
structurally not sonatas at all. The lengths of the works, in A major (Op. 3, No. Apulia, situated on the Adriatic coast about 22 miles northwest of Bari. He
because, according to Dr. Heck, its authorship is not documented. The
1) and E minor (Op. 3, No. 6), amount to 88 and 68 measures respectively, began his musical studies as a cellist. When he took up the guitar, he achieved
authenticity of the title is questionable because it consists of 261 measures,
totals which hardly match even the exposition of the first movement of a late remarkable virtuosity on the instrument Realizing that he could not find
and therefore cannot in terms of the 1820s be considered a gran sonata. It
Mozart or Haydn sonata. The first work opens with a slow pastoral song rewarding opportunities as a guitar virtuoso in his country, he emigrated to
is only the first movement of a sonata, and yet Giuliani had already
(Larghetto, 618), violinistically embroidered. A sprightly dance-like Presto Vienna in 1806, where there was a comparatively large community of guitarists.
demonstrated his ability to compose a full-fledged three-movement sonata
variato (214) with variation follows whose pizzicato execution invites a guitar Giuliani quickly made headway and had no trouble getting his compositions
earlier (Op. 15 of 1808). In any event, whoever wrote this Gran Sonata
arrangement published. He was a busy performer: he played the cello in the first performance
of Beethoven's seventh symphony in 1813; and he played drums, along with
Eroica displayed fine workmanship and a knowledge of Beethoven's
The sixth sonata in E minor is similarly fashioned. There is a violinistically
predilection for the mediant key (witness the tum to C major in the
shaped 'Song Without Words' (Andante, 414), followed by a dance (A llegro vivo other musical notables such as Hummel, Salieri and Meyerbeer, in the
development section). Also noteworthy is the elimination of the restate-
e spiritoso, 618) in E major with a minore section of virtuoso quality. There is a performance of Beethoven's forgotten Battle Music; he teamed up with
ment of the main idea in the recapitulation. GIUSEPPE SASSOBRUNO
repeat of the first part in E major. Moscheles and the violinist Josef Mayseder to give a cycle of six concerts
The importance of Domenico Cimarosa (1749-1801) in the world of music referred to as the 'Ducat Concerts,' due to the fact that tickets were sold only on Th_e original tape used for this recording was made at 30 IPS by David Hancock,
rests entirely on his sixty operas. His fame as an opera composer took him all a subscription basis and cost one ducat each, a price only the well-to-do could using a special record-playback curve for optimum signal/noise ratio, thus
the way to the Russian court of Catherine the Great His minimal output in the afford. eliminating the need for noise-reduction systems. Print-through is avoided by the
instrumental field aroused little interest during his lifetime and even later. It is Giuliani left Vienna in 1819 to return to Italy. He spent a few years in Rome, use of AGFA PEM 468 mastering tape.
Warning : Unauthorized reproduction is a violation of applicable laws .
significant that the Italian biographer Maria Tibali Chiesa allotted to Cimarosa's where he met Rossini; and he settled finally in Naples, where he died in 1829. Recorded in May 1980; First production March 1981
harpsichord sonatas only one paragraph of nine lines (in a book of 330 pages), His total output of compositions for the guitar amounted to more than 150 Recording Engineer: David Hancock
with. no discussion of form and structure. This book (Cimarosa and His Time) pieces. Most of them were engraved and printed in Vienna, Leipzig and Paris. Cover Photo: Jane Hamborsky
appeared in 1945, when already a collection of 32 harpsichord sonatas by the Thanks to the American Guitar Society we are familiar with some of Giuliani's TMK(S) ® TURNABOUT. Marca(s) Registrada(s) . Printed in U.S.A.
® 1981 THE MOSS MUSIC GROUP, INC. , 48 West 38th SI. , New York , N.Y. 10018
composer of fl matrimonio segreto was easily accessible. works: the Guitar Society issued a volume of 14 pieces (154 pages) in a facsimile Distributed in Canada by/Distribue au Canada par
The Italian pianist, conductor, educator and music editor Felice Boghen edition, reprinted from early and first editions. Edited by Frederick Noad and The Moss Music Group (Canada) 510 Coronation Drive , West Hill , Ontario M1E 4X6