The early romantic guitar is the guitar of the Classical and Romantic period of music, showing remarkable consistency in the instrument from 1790 to 1830. By this time guitars used single strings of six or more (compared to, for example, the Baroque guitar with nine or ten strings paired to make five courses). The romantic guitar eventually led to a different type of guitar in Spain: the fan-braced Spanish guitars of Torres, which may be seen as the immediate precursor of the modern classical guitar.

History

The first unaltered guitar strung with single strings rather than pairs of strings was a guitar built by Ferdinando Gagliano in 1774, in Naples. This guitar, displayed in the Heyer museum in Cologne before it was dispersed, showed some main differences between the baroque guitar and what would later become the classical guitar. For example, it had 5 single strings, inlaid bass frets on the neck, a long neck (11 frets where the fretboard met the body) relative to string length, a pegged, terminal bridge, and a characteristic figure-8 shaped tuning head. This “missing link” lacks only a sixth string before resembling the distinctive early romantic guitar.

The earliest extant six string guitar was built in 1779 by Gaetano Vinaccia (1759 - after 1831) in Naples, Italy. The Vinaccia family of luthiers is known for developing the mandolin. This guitar has been examined and does not show tell-tale signs of modifications from a double-course guitar. Authenticity of guitars before the 1790's is often in question. This also corresponds to when Moretti's 6-string method appeared, in 1792.

France also began to produce six, single-stringed guitars around the same time, and some years later Spain began as well. The Italian, French, and Spanish six-string guitars all differed from the baroque guitar in more or less the same ways. Other than the differences pointed out in the first single-string guitar above, the guitar gradually had more pronounced curves and a larger body, ornamentation was somewhat restrained and was placed mostly around the edges of the body and sound hole. Decorative rose covering the sound hole was also removed to allow for more volume. Frets of the instrument were changed from tied gut to fixed strips (first ebony or ivory, then metal). And the wooden pegs were later on replaced by metal tuning machines.

Technique

The abundance of instructional books in this period reveals that there was no standard way to play the instrument. They mainly used earlier traditions; for example the right hand was supported on a table, even though the Spanish guitarist Nicario Juaralde warned against resting the little finger on the table for more right hand freedom. Mainly the thumb and first two fingers were used for plucking and in the 19th century free stroke (tirando – letting the fingertips rise after the note is played) was typically used. Because of the narrow fretboard, the left-hand thumb was used by some guitarists to play notes on the sixth string; however Sor mentions this negatively in his method - Sor suggests that the left-hand thumb should rather be centered at the neck (and notes that neither bass-string fingering choices, nor holding/supporting of the guitar require the ''"high"'' thumb positioning). Romantic guitars were often held by a strap around the player’s neck, and Dionysio Aguado actually invented a “tripodion”, his own invention, for holding the instrument. Unlike most classical guitarists today, players were divided as to whether or not use fingernails. Fernando Sor, for example did not, while his compatriot, Aguado, did use them. Aguado was also the first guitarist to advocate a relaxed relationship between the player and the instrument. His method encourages the player leaning back in his chair, with two feet solidly on the ground rather than using a footstool, and the edge of the chair is used to keep the guitar from sliding down to the right, projecting the neck upward and closer to the player’s torso rather than way out to the left.

Notable Composers

Composer-guitarists.

Antoine de Lhoyer 1768-1852

Ferdinando Carulli 1770-1841

Fernando Sor 1778-1839

Mauro Giuliani 1781-1829

Johann Kaspar Mertz 1806-1856

Giulio Regondi 1822-1872

References

Further reading

Heck, Thomas Fitzsimons. ''Mauro Giuliani : virtuoso guitarist and composer.'' 1995. ISBN 1882612000

Heck, Thomas Fitzsimons. ''The birth of the classic guitar and its cultivation in Vienna, reflected in the career and compositions of Mauro Giuliani (d.1829).'' Yale University. 1970. (Thesis)

Ribouillault-Bibron, Danielle. ''La technique de guitare en France dans la première moitié du XIXe siècle.'' 1980. (Thesis) 1

Walter, Adrian Charles. ''The Early Nineteenth Century Guitar: An Interpretive Context for the Contemporary Performer; with a specific focus on the compositions of Mauro Giuliani and Fernando Sor.'' 2008. (Thesis) 1

Frédéric Ben Attar, Frédéric Carpino et Ingrid Riollot: ''Les guitares romantiques'' (Musée de la Lutherie et de l'Archèterie Françaises, Mirecourt) 1

Sinier de Ridder. ''La Guitare''

*''La Guitare, Tome I: Paris 1650-1950'' 1, 2

*''La Guitare, Tome II: Mirecourt, les provinces françaises'' 1, 2

Erik Pierre Hofmann, Pascal Mougin, Stefan Hackl. ''Stauffer & Co'' 1

Christof Hanusch. ''Masterpieces of German Instrument Making - "Weissgerber" Guitars by Richard Jacob'' 1, 2, 3

External links

The guitar in the 19th century

''The guitar chamber trio from 1780 to 1830: its style and structure'' Thesis by Robert C Liew

''Franz Schubert's Chamber Music with Guitar: A Study of the Guitar's Role in Biedermeier Vienna'' by Stephen Mattingly

Category:Classical guitar Category:Romantic music Category:Acoustic guitars

cs:Romantická kytara he:גיטרה רומנטית

name	Nicolas de Angelis
background	non_vocal_instrumentalist
origin	Saint-Cloud, France
instrument	Guitar
genre	Instrumental ClassicalEasy listening
occupation	Guitarist
years active	1980 - Present
label	DelphineRock Records
website	}}

Nicolas de Angelis is a French guitarist.

Early years

Born in Saint-Cloud, a west Parisian suburb along the shores of the Seine River, de Angelis studied guitar at the Paris Academy from the age of ten. De Angelis started the guitar with a teacher from the Paris Academy who first inspired his great love of the instrument.

At sixteen he belonged to a small group of very talented French musicians, among them Michel Berger. From the age of eighteen, he lent his talent to many pop starts such as Julien Clerc, Sylvie Vartan and Fabienne Thibault, and soon became one of the most requested session musicians.

Song for Anna

In 1981 he recorded his first solo LP, ''Quelques Notes Pour Anna''. This album achieved Gold record sales within a few weeks,and paved the way for his further successes.

Discography

1981 Quelques notes pour Anna

1985 Grand Concert

1985 Guitar Guitar

1985 Jalouse (Toute la guitar)

1985 Les Sonates

1986 L'amour à plein coeur

1986 Romantic Rendez-vous

1987 Soleil

1996 Love follow us

1997 Love follow us 2

1998 Friends France

1998 Le Meilleur de la guitare

See also

List of guitarists

Delphine Records

References

http://www.delphine-artists.co.uk/nicolas_de_angelis.htm

http://www.midomi.com/index.php?action=main.artist_bio&name;=NicolasdeAngelis&from;=artist_overview

External links

Nicolas de Angelis homepage

Category:Living people Category:French classical guitarists Category:French pop guitarists

ar:نيكولاس دو أنجليس

Ferdinando Maria Meinrado Francesco Pascale Rosario Carulli (Naples, 9 February 1770 – Paris, 17 February 1841) was an Italian composer for classical guitar and the author of the first complete classical guitar method, which continues to be used today. He wrote a variety of works for classical guitar, including concertos and chamber works. He was an extremely prolific writer for guitar, composing over 400 works for the instrument in the space of 12 years.

Biography

Carulli was born in Naples, then part of the Kingdom of Naples. His father, Michele, was a distinguished literator, secretary to the delegate of the Neapolitan Jurisdiction. Like many of his contemporaries, he was taught musical theory by a priest, who was also an amateur musician. Carulli's first instrument was the cello, but when he was twenty he discovered the guitar and devoted his life to the study and advancement of the guitar. As there were no professional guitar teachers in Naples at the time, Carulli developed his own style of playing.

Carulli was a gifted performer. His concerts in Naples were so popular that he soon began touring Europe. Around 1801 Carulli married a French woman, Marie-Josephine Boyer, and had a son with her. A few years later Carulli started to compose in Milan, where he contributed to local publications. After a highly successful Paris tour, Carulli moved there. At the time the city was known as the 'music-capital' of the world, and he stayed there for the rest of his life.

In Paris Carulli became a very successful musician and teacher. He fulfilled his intention of making the guitar popular and fashionable among the upper classes and Paris musicians. It was also in Paris that he published most of his works, eventually becoming a publisher himself and printing the works of other prominent guitarists including Filippo Gragnani whom he befriended and who later dedicated three guitar duets to Carulli.

In the 1830s, many European guitarists followed Carulli to Paris, apparently "attracted by his personality". With so many other guitarists in Paris, Carulli worked harder at his teaching, and soon had counted members of the Parisian nobility among his students.

Many of the pieces now regarded as Carulli's greatest were initially turned down by the publishers as being too hard for the average player, and it is likely that many masterpieces were lost this way. Undeterred, Carulli started publishing his pieces himself. However, the great majority of Carulli's surviving works are those that were considered 'safe' enough to be accepted by other publishers, mainly for the teaching of certain techniques or for beginners. Although he had many students and supporters, Carulli began to believe he didn't deserve his impressive reputation because most of the great works he had composed were never published.

Confined to mainly simple pieces, Carulli wrote his world-famous method of classical guitar, "Harmony Applied to the Guitar", a collection of pieces that are still used today in tuition. At the time of publishing, the method was very popular and had many editions published.

Later in life, Carulli began to experiment with changes in guitar construction. With Lacote, a French guitar maker, he made some significant changes for improving the sound of the guitar.

Carulli died in Paris on February 17, 1841, aged 71.

Music/style

Carulli was among the most prolific composers of his time. He wrote more than four hundred works for the guitar, and countless others for various instrumental combinations, always including the guitar. His most influential work of all was his "Method, op. 27", published in 1810, and still used widely today in training students of the classical guitar. Carulli also composed some pieces for guitar and piano with his son Gustavo. He wrote works for chamber orchestra and other ensembles.

Classical guitarists have recorded many of his works. Arguably his most famous work is a duet for guitar and flute, which was recorded by Alexander Lagoya and Jean-Pierre Rampal, although his Duo in G Op.34 achieved a measure of indirect fame in Britain as the theme tune of cult 1980s science fiction/television game show ''The Adventure Game''. The Duo in G has been recorded several times, most famously by Julian Bream and John Williams.

Instruments used by Carulli

Among the guitars used by Carulli, one finds Guitar around 1810 (photos)According to Philip James Bone's book ''The guitar and mandolin : biographies of celebrated players and composers for these instruments'' (p. 70, 71), this instrument was presented by Ferdinando Carulli to his son Gustave Carulli. The initials GC can be seen on the instrument, at either side of the bridge. Pierre Rene Lacote, Guitar called ''Décacorde''Carulli worked together with Lacote to create the 10-string Décacorde. There exists a patent for this instrument. It is speculated that the original "invention" and patent was aimed at amateur guitarists: in the patent configuration only the 5 lower strings are fretted. On the other hand, there also exist other configurations, where 6 or 7 strings are fretted, and it is speculated that these Décacordes were played professionally.

Compositions

See List of compositions by Ferdinando Carulli

References

External links

Publications

Catalogo tematico delle opere di Ferdinando Carulli (Mario Torta, Ed. LIM)

Ferdinando Carulli (1770-1841) : profilo biografico-critico e catalogo tematico delle opere con numero (con cenni sulla formazione della chitarra esacorde ed elementi di metodologia bibliografica); Doctoral thesis by Mario Torta; (Università degli studi di Roma, La Sapienza; 1989)

Sheet music

Rischel & Birket-Smith's Collection of guitar music 1 Det Kongelige Bibliotek, Denmark

Boije Collection The Music Library of Sweden

Free Scores for Guitar by Ferdinando Carulli fingered by Eythor Thorlaksson

Free scores Mutopia Project

Images of Carulli

Images (Gallica)

Category:1770 births Category:1841 deaths Category:People from Naples Category:Italian classical guitarists Category:Italian composers Category:Romantic composers Category:Composers for the classical guitar

bg:Фердинандо Карули ca:Ferdinando Carulli cs:Ferdinando Carulli de:Ferdinando Carulli es:Ferdinando Carulli fa:فردیناندو کارولی fr:Ferdinando Carulli it:Ferdinando Carulli he:פרדיננדו קארולי nl:Ferdinando Carulli ja:フェルディナンド・カルッリ nn:Ferdinando Carulli pl:Ferdinando Carulli pt:Ferdinando Carulli ru:Карулли, Фердинандо ckb:فێردیناندۆ کاروڵی fi:Ferdinando Carulli sv:Ferdinando Carulli tr:Ferdinando Carulli

name	Francis Goya
birth name	Francis Weyer
birth date	May 16, 1946
birth place	Liege, Belgium
death date
nationality
occupation	guitarist }}

Francis Goya (born Francis Weyer on 16 May 1946) is a Belgian guitarist born in Liege.

Weyer first played with Patrick Ruymen in the group Les Caraïbes, a Belgian cover group. The two then formed the rock group Liberty Six in 1965, which had a proto-psychedelic stage show and released only one single before disbanding. Weyer then moved on to the J.J. Band and Plus.

In the 1970s, Weyer started using the name Francis Goya and released solo albums of romantic Spanish guitar and mandolin music. His 1975 single "Nostalgia", a tune written by his father and arranged for guitar by Goya, became an international hit, reaching #1 in Belgium, Holland, Germany, Norway, and Brazil. Later albums saw Goya moving more into a Latin American-influenced style, including three albums recorded with Bolivian singer Carmina Cabrera.

Goya has some 40 album releases to his credit.

Discography

Singles

"Nostalgia"/"Nautilus" (1975)

"Concierto d'Aranjuez"/"Lovers melody" (1976)

"Maria Padilha"/"Daddy's bolero" (1976)

"Caf'Conc'"/"Tangoya" (1976)

"Gipsy Wedding" (1977)

"Argentina"/"Natasha" (1978)

"Manolita"/"Natasha" (1978)

"Moscow nights"/"Song of the Dnjepr" (1981)

Albums

''Nostalgia'' (1975)

''Souvenirs aus Griechenland'' (1979)

''Summernight Moods'' (1979)

''Romantic Guitar'' (1985)

''This is Francis Goya'' (1986)

''Rendez-vous'' (1988)

''Plays His Favourite Hits Vol.1'' (1990)

''Bahia Lady'' (with Carmina Cabrera) (1990)

''Noche Latino'' (with Carmina Cabrera)(1993)

''Festival Latino'' (with Carmina Cabrera)(1994)

''The Very Best of'' (1994)

''Together'' (with Peter Weekers) (1994)

''Jacques Brel'' (1998)

''Plays His Favourite Hits Vol. 2'' (1998)

''Francis Goya in Moscow'' (1999)

''Together'' (with Richard Clayderman)(2000)

''Latin Romance'' (1999)

''Best of Francis Goya'' (1999)

''De Mooiste Sfeermelodieën'' (2000)

''Pleased to meet You, Mr. Valgre'' (2001)

''Hollands Glorie'' (2002)

''Hollands Glorie Kerst'' (2002)

''A tribute to Alexandra Pakhmutova'' (2002)

''Klassieke Droommelodieën'' (2003)

''Rakkaudella'' (2004)

''Intimité'' (with Jean-Luc Drion)(2004)

''Magic Moments'' (2004)

''Gondwana'' (2004)

''Face to Face'' (2005) (with Richard Clayderman)

''Wings for life'' (2008)

External links

Official website

Francis Goya at the Belgian Pop & Rock Archives

Category:1946 births Category:Living people Category:Belgian rock guitarists

es:Francis Goya lt:Francis Goya nl:Francis Goya ru:Гойя, Франсис fi:Francis Goya vi:Francis Goya

Dionisio Aguado (8 April 1784 – 29 December 1849) was a Spanish classical guitarist and composer.

Biography

Born in Madrid, he studied with Miguel García. In 1826, Aguado visited Paris, where he met and became friends with and for a while lived with Fernando Sor. Sor's duo ''Les Deux Amis'' ("The Two Friends") commemorated the friendship: one part is marked "Sor" and the other "Aguado."

Aguado's major work ''Escuela de Guitarra'' was a guitar tutor published in 1825. As of 2011, it is still in print, with Tecla Editions releasing a reprint in 2005. In the ''Escuela'' Aguado describes his use of fingernails on the right hand as well as his invention of a "tripodion": a device that held the guitar and thus minimized the damping effect of the player's body on the guitar's back and sides. Aguado's other works include ''Trois Rondos Brillants'' (Opus 2), ''Le Menuet Affandangado'' (Opus 15), ''Le Fandango Varie'' (Opus 16), as well as numerous waltzes, minuets, and other light pieces. The more extended works require a virtuoso technique and left-hand stretches that are almost impossible on the longer string lengths of modern guitars. (See Frederick Noad, "The Classical Guitar")

Aguado returned home to Madrid in 1837 and died there aged 65.

Aguado's surname comes from the Spanish word for "soaked." (This is because an ancient relative of his, who was a knight, returned after a battle caked in mud. The nickname then eventually became the surname.

Instruments used by Aguado

Of the instruments used by Aguado, two which were built by

Pierre René Lacôte, (Paris 1838) and

Etienne Laprevotte, (Paris 1838)

are held at the Museo Arqueológico Nacional in Madrid. Aguado is known for having used a tripod to support his guitar.

List of works

1825 Rondo

Op. 1 : Douze Valses

Op. 2 : Trois Rondo Brillants

Op. 3 : Huit Petites Pièces

Op. 4 : Six Petites Pièces

Op. 5 : Quatre Andantes et Quatre Valses

Op. 6 : Nuevo Método de Guitarra

Op. 7 : Valses Faciles

Op. 8 : Contredanses et Valses Faciles

Op. 9 : Contredanses non difficiles

Op. 10 : Exercices Faciles et Très Utiles

Op. 11 : Les Favorites - Huit Contredanses

Op. 12 : Six Menuets & Six Valses

Op. 13 : Morceaux Agréables non difficiles

Op. 14 : Dix Petites Pièces non difficiles

Op. 15 : Le Menuet Affandangado

Op. 16 : Le Fandango Varié

References

External links

Images of Aguado

Image ref

Image ref

Sheet music

Rischel & Birket-Smith's Collection of guitar music 1 Det Kongelige Bibliotek, Denmark

Boije Collection The Music Library of Sweden

creativeguitar.org (sheetmusic largely compiled from the above primary sources)

Category:1784 births Category:1849 deaths Category:Spanish classical guitarists Category:Spanish composers Category:Romantic composers Category:Composers for the classical guitar

ca:Dionisio Aguado García de:Dionisio Aguado es:Dionisio Aguado y García fr:Dionisio Aguado it:Dionisio Aguado he:דיוניסיו אגואדו mk:Дионисио Агуадо ja:ディオニシオ・アグアド pt:Dionisio Aguado ru:Агуадо, Дионисио fi:Dionisio Aguado sv:Dionisio Aguado