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La Rel Evan CIA de Cat.tedesco

La Rel Evan CIA de Cat.tedesco

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Published by: josemfc74 on Apr 23, 2010
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for downloading this article, which comes from a large resource of freearticles available at www.egtaguitarforum.orgAs with many free web resources, we have something to sell! If you enjoy this article,please consider purchasing our printed journal,
uitar Forum
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The Relevance of Mario Castelnuovo-Tedesco (1895–1968)
 
  of the birth of Mario Castelnuovo-Tedesco, it is appropriate torefresh our memory concerning his most significant achievements and to evaluate our ownrelationship with the music. With the work of Castelnuovo-Tedesco we rediscover a newsense of the guitar’s lyricism and return to the Italian impressionistic post-romanticism of thefirst half of this century, so closely aligned with similar concepts in Spanish culture. In termsof guitar history, he stands at a crucial point, providing substantial pieces for recitals at a timewhen there was all too little and, through the advocacy of Andrés Segovia, entering the legend-ary brotherhood of those who enriched the guitar’s twentieth-century repertoire. Without aknowledge of this composer’s contribution, our awareness of the evolution of the guitar overthis century would remain rudimentary.For many guitar teachers the music of Castelnuovo-Tedesco may seem somewhat irrelevantto the daily grind of improving the standard of pupils. He was not essentially a pedagogic typeof composer in the manner of Leo Brouwer or even Heitor Villa- Lobos, providing studies forfingers of varying capabilities. e closest he came to this was in one of his last endeavours forguitar,
 Appunti, preludi e studi per chitarra
, op. 20. Ruggero Chiesa puts the following Prefaceto his edition:
When I invited Mario Castelnuovo-Tedesco to compose some pieces for the guitar in the spring of 967,he adhered to the proposal with great enthusiasm. ey were to be of middling technical diffi culty andto be aimed mainly at young performers. e idea gave him the opportunity to realise a plan he had hadin his mind for some time and he at once started to compose
, an opus divided into four parts orbooks, each of which contained and developed a specific musical and technical criterion: Book , ‘Inter- vals’, Book 2, ‘Rhythm’, Book 3, ‘Figurations’, Book 4, ‘Six Studies in Serial Composition’.Unfortunately, owing to the untimely death of the author, this important work in the realm of guitarmusic was not concluded, only the first two books being finished, plus two pieces of the third and sketch-es for three serial studies.
Castelnuovo-Tedesco collaborated with Chiesa on the first book in terms of ‘fingering and revi-sion only’, but observations ‘on the other material came too late’:
ese were fairly numerous and would have included entailed some modifications in order to align thepieces more to the technical possibilities of the instrument.Ronald Purcell, pupil of the master, informed me that some corrections were carried out, but thesewere only of a slight order. In view of this I have come to the conclusion that the best thing to do wouldbe to add the fingering to the pieces that did not require major alterations, leaving the responsibility of the changes in the other pieces to the performers. is seems the only way of not betraying the originalintentions of the composer to whom guitarists owe so much of their basic literature.
 - 2e Foreword of Angelo Gilardino’s edition of 
Platero y yo
, op. 90, for narrator and guitar, con-tains a similar message:
Any guitarist wishing to perform these compositions will then have of necessity to bring about appropri-ate changes to some details, so as to make these scores technically fit for performance: this trouble willbe rewarded by the unique certainty of having been able to draw from the original text which, in order tobe understood, requires a careful evaluation of the adherence and identification relationship between themusical and the literary texts.
Such an exercise should not be too much to ask of performers, though teachers may feel lesswilling to prepare their own editions from the composer’s incomplete manuscripts. Students,with various pressures on them already, may also be averse to this kind of task, possibly pre-ferring the joys of creating their own transcriptions from Albéniz or Granados to the delicatechoices of tinkering with a composer’s text. (In the event, for whatever reason, apart from Sego- via’s recordings and concert performances of ten of the pieces from
Platero y yo
, very few guitar-ists play this work, apparently preferring the well edited eight piece Suite of Eduardo Sainz de laMaza’s
Platero y yo
)An interesting example of editorial expertise is Gilardino’s edition of 24 Caprichos de Goya,op. 95, recently recorded by Lily Afshar (on Summit  67, released 994). Castelnuovo-Te-desco died before Gilardino’s revisions to the text were complete. For the editor this createdsomething of a dilemma, as he could hardly print emendations unauthorised by the composer:
On the one hand, the musician’s outspoken desire that his works be published with an exhaustive instru-mental glossary invalidated beforehand all schemes to circulate an edition of the bare manuscript; onthe other hand, the absence of any authority (which could proceed from the author alone) to endorse my revisions with, ruled out any plan to force the same upon all readers.Acting in concert with the publisher and with Mrs Clara Castelnuovo-Tedesco, the composer’s widow,I thus decided to have the original setting printed out along one basic stave (with the mending of mereslips) leaving it to one additional parallel stave to convey my own elaboration of the text, whenever need-ed or expedient.
us when listening to a recording of this work with score in hand, it is fascinating to see which version the performer chooses, either the raw
, the suggested emendations or even anothersolution at the player’s discretion.e works dealt with so far were composed some years aer Castelnuovo-Tedesco first startedwriting for the guitar. He was, therefore, by this time quite accustomed to the processes of edito-rial attention essential before his music could become natural on an instrument which he didnot play himself. e composer provided the musical inspiration and players then edited thework into shape for him. In the later Bèrben publications (such as
Platero y yo
), it is fascinatingat times to see how far the composer can be at variance with the instrument’s actual capabilitieswhile putting forward ideas which are in themselves very well in accord with the guitar’s lyricalnature.Castelnuovo-Tedesco became interested in writing for the guitar aer meeting Segovia at theInternational Festival of Music, Venice in 932. Segovia had travelled to Venice with Manuel deFalla, in order to enjoy a short holiday. Falla was there to attend the premiere of 
El retablo de

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