Sonata Prima pour la Guitare Op.14

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In Italy he knew both Paganini and Rossini and may have performed concerts in their company. Following the monumental publication of Giuliani's complete works in 38 volumes ed. Brian Jeffery, , Giuliani's prolific achievements at long last gained rightful recognition. Giuliani's Sonata pour la Guitare , Op.

What we hear is the first movement, Allegro spiritoso, a finely structured statement in the form of a classical sonatina. The work has a lyrically Italianate quality, with two delightful themes, a short development section and a lively recapitulation rounded off with a brief coda.

The use of keyboard techniques including Alberti basses and pedal notes is well integrated with guitaristic effects such as lively arpeggio patterns and melodic passages in thirds and sixths. When Segovia's recording of Andantino variato was first released it was described as 'originally a movement from a Sonata for Guitar and Violin, now in a freely transcribed version for guitar alone, by the Mexican composer, Manuel Ponce'. It was soon apparent that this work was actually a set of variations composed entirely by Ponce on the theme from the third movement of Paganini's Grand Sonata, written for 'guitar with violin accompaniment'.

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The publication of Segovia's edition of Manuel Ponce's Andantino variato ed. Segovia, Peer International Corp. Ponce provides his own harmonization of Paganini's theme, occasionally keeping the original bass line but thickening chords throughout to achieve a fuller texture.

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Variation 1 imitates Paganini's opening variation of lively triplets but with different melodic and harmonic patterns. The repeated chords and brief rapid scale passages of Variation 2 take us into Ponce's characteristic landscape, while Variation 3 evolves through intricate harmonic progressions with angular triplets and various unexpected twists and turns. Variation 4 re-visits the triplets of the first variation for two bars before introducing new thematic material. Variation 5, in C sharp minor and marked lento, brings in a poignant chromatic melody with subtle interplay of bass and treble, a mood dispelled by Variation 6, a lively tremolo study.

Variation 7, Andante, a majestic valedictory statement, begins with octaves and striding chords, ending with a short Moderato coda featuring brilliant arpeggios and a final rapid descending scale. Contrasting with the Allegro moderato and key of D major of the first section, the Trio , molto legato, in B minor, lends itself most idiomatically to Segovia's gradations in tone colours.

Mendelssohn's Song without Words , Op. In the form of a Barcarolle, evoking the gondola's gentle rhythm, the piece exemplifies the art of cantabile, the smooth articulation of a melodic line supported by elegant bass sequences. Chopin's Prelude in A , Op.

Both versions place an extra note at the end of phrases in order to add sonority, the guitar lacking the piano's sustaining pedal. Canzonetta from Mendelssohn's String Quartet No. The piece is in ternary form, the vigorous dance-like opening themes contrasting against the scintillating arpeggios of the middle section. The entire composition with its sprightly melodies, passages in thirds and pizzicato octaves , is extremely technically demanding as the guitar accommodates the voicings of a string quartet while Segovia's sheer instrumental mastery is revealed at its most brilliantly triumphant throughout the virtuosic semiquaver figurations.

Variations on a Theme by Mozart, Op. Please click here to manage your MP3 cart content.

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