GIULIO REGONDI REVERIE PDF

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About this Recording 8. Both Mertz and Regondi carried on the composerperformer tradition of Sor and Giuliani a generation before, as did their contemporaries Coste and Ferranti. It was considered the norm. Not until the twentieth century, when Segovia, Bream and others approached other composers instead of writing their own music, did guitarists have a broad-based repertoire to draw from.

The keybound nature of its fingerboard meant that only a few bright talents found the tonal freedom, the ability to change key instantaneously, that pianists have always taken for granted. What the guitar could do, however, it did well.

Regondi and Mertz found inspiration in the piano music of Chopin, Mendelssohn and Schumann, and adapted elements of their music into their own creative processes. After the huge wave of guitar popularity in the early part of the nineteenth century had subsided, the talents of Regondi and Mertz shine like lighthouses over a dark sea. Giulio Regondi had a disturbed early life. His German mother seems to have vanished early in his childhood, and it was his Italian father or stepfather, by some accounts who brought him up and, a guitarist himself, presumably gave him his first lessons on the guitar.

The help of friends and his own resilience ensured survival, though we shall never know how far this early trauma contributed to his untimely death at the age of fifty from a painful cancer.

Unlike many child prodigies, Regondi matured into an artist of poetic genius. His reputation increased accordingly. Each begins with a slow introduction, followed by an Andante theme, slightly operatic in character, after which come a number of variations four in Op. Study No. This surviving study has a form typical of Regondi: a high melody supported by broken chords in the bass.

The tremolando technique is designed to give a plucked instrument the illusion of sustaining power. A slow introduction is followed by clusters of gossamer-like hemidemisemiquavers 64th notes before the tremolo section is heard.

The long line of an eloquent bass aria interrupts this flow before a harmonically interesting chord sequence returns the piece to its tremolando substance. Few composers of the time knew their instruments as intimately as Regondi knew the guitar and the concertina. He was unique. He settled in Vienna, where he had the good sense, or the good luck, to be taken up by royalty. His life was not an easy one but, unlike Regondi, his troubles came later, in adulthood.

Concerts had to be cancelled through illness; and insurrection and revolution deprived him of pupils and the income they brought. To cap everything, his pianist wife Josephine Plantin nearly killed him with an accidental overdose of strychnine prescribed for his neuralgia.

On the other hand, she did introduce him to the piano works of Chopin, Schumann and Mendelssohn, and they proved to be powerful influences in his own compositions.

Musical taste in nineteenth-century Vienna embraced music from virtually every nearby nation. The Polish polonaise was a favourite, and Schubert wrote six of them for piano duet.

It begins with a majestic march in A minor that is followed by a graceful section in A major before the main rondo-like body of the work, more classical in style than romantic but needing the technique of a virtuoso to do justice to the idiomatic writing for the guitar.

It contains few harmonic surprises, but it does indicate that Mertz must have been, like Regondi, a guitarist of outstanding ability. It was Makarov who in offered two prizes for the best guitar composition. Like Regondi, he had lived for only fifty years but had greatly enriched the guitar repertoire. Colin Cooper.

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Rêverie : op. 19 / nocturne pour la guitarre composé par Giulio Regondi.

Giulio Regondi — 6 May was a Swiss-born classical guitarist , concertinist and composer active in France and mainly the United Kingdom. Regondi was born of a German mother and an Italian father in Geneva, Switzerland. There is a reference to his appearing in London in , presented as a child prodigy of the guitar. His works for solo guitar comprise a set of etudes, variations on a theme by Bellini and five larger works. From Wikipedia, the free encyclopedia.

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Reverie - Nocturne, Op.19 (Regondi, Giulio)

About this Recording 8. Both Mertz and Regondi carried on the composerperformer tradition of Sor and Giuliani a generation before, as did their contemporaries Coste and Ferranti. It was considered the norm. Not until the twentieth century, when Segovia, Bream and others approached other composers instead of writing their own music, did guitarists have a broad-based repertoire to draw from.

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