klasik dönem 18.yy da gitar

6 telli gitarın üretilmesi
gitarın rezonans yapısının artırılması 
rezonans deliği
francisco sanguino ilk 6 telli gitar

6 telli gitar ilk 1750 lerde ispanya da yayılmıştır.1780 lerde sarımlı bas teller kullanılmaya
başlanmıştır.bundan sonra demir perdeler başlamıştır.
1760 larda sol anahtarı tablaturun yerini almıştır. gitar orkestra akort ayarına gelmiştir.

boccherini 
ispanya da yasadığı dönemde yazdığı gitarlı 5 liler
erken 19.yy gitar müziği
rusyada 7 telli gitar

christian gottlieb scheidler: 1752-1815 alman gitarist ve lutcu frankfurt ta bilinen

f5bir gitar hocası
simon molitor: 1766-1848  avusturyalı gitarcı
leonhard von call 1767-1815
kaspar fürstenau 1772-1819 gitar flüt eserleri yazmıştır
wenzel thomas matiegka1773-1830 cek besteci gitar virtüözü ,ünlü nocturno su 

francesco molino 1775-1847 italyan besteci gitar metodu ve oda müziği eserleri

francois de fossa1775-1849 fransız besteci
joseph küffner 1776-1856 alman gitarist
daha cok oda müziği eserleri vermiş ve bu alanda çalışmalara imza atmıştır..carulli 1770-1841
italyan gitarist carulli gitar repertuarına bir çok etüd,oda müziği ve concertolar ve metodlar
kazandırmıştır. genel olarak orta düzey besteler yapan carulli nin etudleri günümüzde halen
calınmaktadır.
Beethoven ın gitardaki ismi
f.sor 1778-1831
ispanyol gitarist sor bir süre ispanya da calıstıkdan sonra 1815 te  İngiltere ye yerleşir ve
orada Royal music Academy de onur üyesi olarak kabul edilir.Daha sonra Moskova ya
seyahat eden Sor 1830 da  Paris e yerlerşir ve gitar metodunu orada yayınlar.
Sor un besteciliği başlangıc eserlerinden virtüözite içeren konser repertuarlkarına kadar
yayılır. (Varyasyonlar,Fantaziler,Sonatlar ve etüdler)

m.giuliani 1781-1831
19. yüzyılın büyük gitaristlerinden İtalyan Giuliani gençliğinde keman, flüt ve gitar dersler
almış, ülkesinde gitar virtüozu olarak tanındıktan ve Paris’te resitaller verdikten sonra
1807’de Viyana’ya yerleşmiş, yorumcu ve öğretmen olarak yaşamını kazanmaya çalışmıştır.
İlerde imparatoriçe olan Marie-Louise ve Kont Waldstein gibi soylular ondan ders almış, ünlü
piyanist Moscheles ile dizi konserler vermiş, Hummel ve Diabelli ile dost olmuş, Beethoven
ve Haydn ile tanışmış, hatta Beethoven’in 7. Senfonisinin 1813’teki ilk yorumuna orkestrada
keman çalarak katılmıştır. Bu arada çok yetenekli iki çocuğu da yetişmiş; evlilik dışı doğan
ilki Michel Barletta Giuliani (1801-67) Paris Konservatuarında şan öğretmeni, diğeri Emilia
Giuliani (1813-40) hem beste yapan, hem de konser veren virtüoz bir kadın gitarist olmuştur.
Ancak Giuliani Viyana’da besteci olarak pek ilgi görmemiş, eserlerini yayınlayan Artaria
yayınevi başarılı olamamış; 1819’da para sıkıntısı ve borçları nedeniyle İtalya’ya dönmüş,
1821’den sonra İtalya, Hollanda, Almanya ve Londra’da konserler vermiş ve Napoli’de 8
Mayıs 1829’da ölmüştür. Arkasında üç gitar konçertosu (Op.30, 36,70), bir dizi fantezi
(Op.119 Rossiniana’lar), keman, gitar sonatları, bir metod, şarkılar, düolar, prelüdler, etüdler
ve varyasyonlar gibi Opus sayısı olan 150, olmayan 70 kadar gitar eseri ve parçası bırakan
Giuliani, özellikle tanınmış opera besteleri üzerine yazdığı eserlerle zamana uymuştur. Ancak
onun Romans kısmını kullandığı Aşk ve Şöhret (Liebe und Ruhm) operasının bestecisi,
Cherubini’nin öğrencisi, 7 yaşında harika çocuk olarak şan ve piyano konserleri veren Ulm
doğumlu Johann Christoph Kienlen (1783-1829) adlı Alman –Suabyalı- besteci bugün
unutulmuştur. Viyana’ya dört operasından birini sahnelemek için gelen, 1815-17 arasında bu
kentte kalan besteciyi Giuliani izlemiş, belki de oradaki seslendirilişte bile yer almış, operanın
en ilginç bulduğu Romans’ı üzerine Op.105 Varyasyonları yazmıştı. Op.105 1820’lerde
yayınlanmıştır.İtalyan Giuliani gitarın yanı sıra cello eğitimi görmüştür. Viyanada uzun süre
yaşayan Giuliani de döneminin bir çok diğer İtalyan gitaristi gibi ülkesini terketmiş ve
kariyerini Avusturyada yapmıştır. O dönemde yaşayan İtalyan gitaristler Gitarın akustik
açıdan yetersizliği sebebiyle diğer klasik müzik enstrumanlarla beraber çalamaması veya
sadece eşlik ensturmanı pozisyonunda kalmış olması  yüzünden büyük konser salonlarında
opera evlerinde boy gösterememiştir. Ancak Fransa,Almanya, Avusturya gibi ülkelerde salon
müziği konseptinin yaygın olması bu gitaristlerin solist olarakta ön plana çıkmalarını
sağlamıştır.(Varyasyonlar,Etüdler,Konçertolar ve oda müziği eserleri)  La Rossiniane lar

a.diabelli 1781-1858 

Avusturyalı piyanist ve gitarist. Beethoven " Diabelli nin Valsi üzerine 32 varyasyonunu
yazmıştır. Gitar için sonatlar ve oda müziği eserleri yazmıştır.

n.paganini1782-1840

İtalyan keman virtüözü Paganini erken yaşlarda gitarlada ilgilenmiş bu enstruman içinde

besteler yapmıştır. Giuliani ve Carulli ile dostluk kuran besteci Legnani ile de yakınlık
kurmuş ve beraber bir çok konser vermişlerdir. Solo gitar için bir çok Sonat ve Capris yazan
paganini özellikle gitar- keman duo- trio ve quartet eserleri bestelemiştir.

d.aguado 1784-1846

İspanyol gitarist Aguado bir süre sonra Paris e yerleşir ve orada Sor ile dostluk kurarlar Sor
ona eserlerini ithaf eder. Aguado nun gitar metodu Sor un metoduyla  beraber klasik
dönem gitartarihinin en önemli pedagojik çalışmaları olarak kabul edilir. Ayrıca Aguado  ilk
kez tırnakla gitar çalmaya başlayan gitaristtir Agaudo tırnakla çalma sayesinde bir çok değişik
renk ve efekt elde edildiğini diğer enstrumanlarda olmayan farklı tınılar oluışturulduğunu
savunmıuştur. J.Bream bir çok Aguado eserini repertuarona eklemiş ve kaydetmiştir.

legnani1790-1877
This Italian guitarist, composer and instrument maker was born in Ferrara on 7th November
1790. Legnani initially trained as a string player (violin, viola etc.), but later devoted himself
to voice, and the guitar. As a tenor he debuted in Ravenna in 1807, during the 1820's he
featured in this role singing in operas by Rossini, Pacini and Donizetti amongst others. Luigi
Legnani's concert guitar career began in earnest in Milan in 1819. Three years on he appeared
in Vienna, Austria where he was regarded as the worthy successor to Mauro Giuliani, the
latter having departed Austria for his homeland in 1819. He successfully made later
appearances in this musical-centre on two occasions, 1833 and 1839, both were equally well
received with the Viennese hailing him as a star. Legnani also toured Italy, Germany and
Switzerland. 

Friendly with Paganini

Legnani was well acquianted with one of the leading violinists of the time, Niccolo Paganini,
who regarded Luigi Legnani as the leading player of the guitar of the time. Paganini was also
an avid guitarist himself, and composed for the instrument in ensembles with string
instruments. The two maestros planned to perform in concert as a duo in Turin, by way of a
series of recitals in 1836. But, probably owing to the violinist's poor health these were
cancelled shortly before the allotted date. 
In 1850 the guitarist retired from concert performance to reside in Ravenna, and turned to the
construction of his beloved instrument, along with the violin. A famous guitar - the 'Legnani
model' - featuring a screw adjustment for the neck was widely copied in central Europe. Luigi
Legnani died in this city at the age of 87 years. 

With over 250 works Legnani made a major contribution to the classical guitar repertory.
These included solo guitar works, a gutair-playing method instruction, fantasies, potpourries,
capriccios, variations on well known operatic themes; duets for guitar and concertos. Of some
popularity are his 36 caprices written in all the major and minor keys and probably inspired
by Paganini's 24 caprices for violin. 
İtalyan gitarist Legnani milanda La scala gitaristlik yapmış, Fransa Almanya ve Avusturya da
turneye gitmiştir. Viyana da bir çok gitar yapımcısına tavsiyeler vermiş farklı gitar yapımı
planları vermiştir. Birçok varyasyon etüd ve rondonun yanı sıra özellikle her ton için yazdığı
36 capris ile anılır. Oda müziği eserleri yazmıştır. Duo concertante
m.carcassi 1792-1853
İtalyan gitarist Carcassi de cok fazla virtüözite eseri yerine kolay etüdler yazmıştır.Daha
cok gitar metodu ve 25 etüdleriyle anılır bunu dısında valsler fantaziler bestelemiştir.

Mertz
Johann Kaspar Mertz (* 17. August 1806 in Pressburg (heute Bratislava); † 14.
Oktober 1856 in Wien) war ein österreichischer Komponistund Gitarrist der Romantik.
Bugünkü Slovakya sınırları içerisinde Pressburg şehrinde doğmuştur. 1806-1856. Fakir bir
ailenin çoçuğudur. Erken yaşta gitar ve flüt dersleri vermeye başlamış.1840 yılında Viyana da
yaşamaya ve konser gitaristi olarak kariyer yapmaya devam eder. Dresden de tanıştığı
piyanist Josephine Plantin ile evlenir. Viyana da tanınmış bir gitarist olsa da sadece
konser gitaristliğinden geçinemez ve ders vermek zorunda kalır.Macaristan da devrim olması
ile 1848  yılında bir çok öğrencisi ülkesine döner ve mertz zor durumda kalır. Bu sürede
Salzburg da karısı ile birlikte imparatorluk ailesi için çalışır. Gitar tarihinde ise daha cok
besteci olarak anılır. Öldükten sonra gitarları ve notaları karısı tarafından satılır.Mertz
in gitar Besteciliği romantik dönem bestecilerinden  Chopin,Mendellsohn,Schumann ın
piyano bestelerine benzer.Diğer tarafdan onun çağdaşları olan Sor ve Aguado daha çok
Mozart ve Haydn tarzı klasik dönem üslupları kullanırlar. Kendi besteleri dışında Mertz
Schubert lied ler ve opera frazları düzenlemiştir.
Mertz in bir diğer özelliği ise çok telli gitar kullanmış olmasıdır. Önce 8 telli daha sonra 10
telli gitar kullanarak gitarın çaım kapasitesini genişletmşştir. (ek olarak re-do-si-la)

In Brussels, Belgium, in 1856, Johann Kaspar Mertz won first composition prize in a local
guitar competition. Napoleon Coste had also entered with hisGreat Serenade opus 30 but it
was Mertz's Concertino per Chitarra sola which was victorious. He died soon after entering
and did not even hear of his success before his passing. There are clear references to the
current Romantic piano styles which Mertz was exposed to through his wife's piano work. His
guitar styles are more similar to the pianistic forms of Chopin, Mendelssohn, Shubert and
Schumann than earlier guitar forms employed by Fernando Sor, Dionisio Aguado(classical –
Hadyn Mozart) and Mauro Giuliani (bel canto - Rossini). 
ohann Kasper Mertz's most prominent work is a collection of small pieces called the
Bardenklänge (English : Bardic sounds), which are stylistically similar to the piano works of
Robert Schumann. Interestingly these pieces were inspired by a man who did not exist!
Falaciously they were ascribed to a 3rd century bard called Ossian Gaelic, but in reality the
work was written in the 1700's by the Scotsman James MacPherson. Even so, the poetry
inspired many a Romantic European poet or musician. 

Coste
Claude Antoine Jean Georges Napoléon Coste (June 27, 1805 – January 14, 1883) was a
French guitarist and composer

Napoléon Coste was born in Amondans (Doubs), France, near Besançon. He was first taught
the guitar by his mother, an accomplished player. As a teenager he became a teacher of the
instrument and appeared in many concerts in the Franche-Comté. In 1829, at the age of 24, he
moved to Paris where he studied under Fernando Sor and quickly established himself as the
leading French virtuoso guitarist. However, the demand for guitarists was in decline and,
though his brilliance provided financial stability, he failed to find a publisher for his music.
As such, he had to fund its publication himself.

Coste broke his arm in 1863 as a result of an accident, which brought his performing career to
a premature end. He hired an assistant and continued to teach guitar and composition. After
Sor's death, Coste edited and republished Sor's original method for guitar as "Méthode
complète pour la Guitare par Ferdinand Sor, rédigée et augmentée [refingered and
expanded] de nombreux exemples et leçons par N. Coste".

Coste was a member of the masonic lodge Les Frères Unis Inséparables.[1]

Napoléon Coste had a special fondness for playing on a seven-string guitar. He is known as
one of the first composers to transcribe guitar music of the 17th century into modernmusical
notation. He died at age 77 leaving a significant catalogue of original compositions.
regondi 1822-1872

GIULIO REGONDI  
(1822 - 1872)

Giulio Regondi was an infant prodigy of the guitar who matured into an eminent artist and
esteemed composer of poetic but challenging works. Born in Geneva (or perhaps Genoa or
Lyons) in 1822 to an unnamed German mother who may have died at his birth, Giulio was
raised by an Italian father (some say step-father or foster father) who was himself a talented
guitarist, composer, and baritone. Making his début in Paris by the age of seven, he become
known as ‘The Infant Paganini’. In the age of such masters as Sor, Carulli, Carcassi and
Molino, Regondi, usually performing in duo with his father, enraptured critics while still no
more than a child. The Spanish virtuoso Fernando Sor (1778–1839) dedicated his Fantaisie
“Souvenir d’Amitiè,” Op. 46 (1831) to the young Regondi and may have also written for him
a Grand Duet (now lost), evidence of a relationship which implies mutual respect and
suggests tantalisingly that Sor may even have played some role in the young man’s
development. The Regondis, father and son, arrived in London in 1831 and achieved critical
and financial success there, touring throughout the British Isles. Then, one day in about 1835,
the father handed the child a 5 pound note and absconded with the rest of their money, said to
have been several thousand pounds sterling, leaving the boy dependent on the good will of
strangers. In his mature years, however, Regondi continued triumphantly to give concerts
throughout Europe.
Young Giulio somehow survived this trauma, and, with the help of friends and foster parents,
became a resident of London and continued to earn a living as a performer. On one occasion,
he performed in duo with another child prodigy, Catherine Josepha Pelzer, who became the
doyenne of the Victorian guitar world under her married name, Mrs Sidney Pratten. In 1836
he shared a concert with the Viennese pianist Moscheles and the famous soprano Maria
Malibran.
Several years earlier Regondi had also taken up the newly invented concertina and quickly
developed a phenomenal technique on this instrument, further evidence of his extraordinary
musical talents. On the concertina Regondi performed difficult works composed for violin and
other instruments, and composed virtuoso works of his own, including a concerto; the
concertina’s rising popularity seems to have owed a great deal to the young man’s
contributions. Regondi toured the continent with the cellist Joseph Lidel, performing on both
guitar and concertina; once in 1841 he performed in duo with Clara Wieck Schumann in the
Gewandhaus in Leipzig. There were other concert tours, but Regondi lived most of the rest of
his life in England. A member of the Victorian musical establishment, he performed several
times a year in London and occasionally Liverpool, and enjoyed the patronage of, among
others, Sir Charles Wheatstone, the inventor of the concertina. Regondi was reputed to have a
kind and gentle nature; in later life, by one account, he was contacted by the “father” who had
deserted him years earlier; he readily agreed to take in the destitute old man and to care for
him in his old age. He died of cancer in London in 1872 and is buried there in St Mary’s
Catholic Cemetery, Kensal.
Regondi’s achievements were lost to posterity for decades, but his compositions were
eventually rediscovered, edited by Simon Wynberg and published by Chanterelle in 1981.
Some years later the American musicologist, Matanya Ophee, was given a copy of
Regondi’s Ten Études  in Moscow by Natalia Ivanova-Kramskaia, daughter of the renowned
guitarist, Alexander Ivanov-Kramskoi. The ten studies were duly published by Editions
Orphée in 1995.
catharina sydeny pratten

1821 in Mühlheim am Rhein, † 10. Okt. 1895 in London, Gitarristin, Lehrerin, Komponistin.

Ferdinand Pelzer (1801—1861), Gitarrist, Pädagoge und Herausgeber der zwischen 1833 und
1835 erschienenen Zeitschrift „The Guilianiad, or Guitarists Magazine“, bildete seine beiden
Töchter Catharina Josepha und Giulia (1837—1938) in Gitarrenspiel und Musiktheorie aus.
Von den anderen der insgesamt sieben Kinder sind nur seine Töchter Anné (Annie) W. Pelzer
und Jane Pelzer namentlich überliefert. Anné W. Pelzer betätigte sich um 1860 als
Concertina-Spielerin, Pianistin und Komponistin. Jane Pelzer wird in der Literatur als
Pianistin erwähnt. Catharina Josepha erhielt nach der Übersiedelung nach London Unterricht
in Komposition von einem Dr. Carnaby. Vermutlich handelt es sich dabei um den Organisten
und Komponisten William Carnaby (1772—1839). Über ihre weitere Ausbildung auf ihrem
Instrument ist nichts bekannt.
 
Catharina Josepha Pelzer gab ihre ersten Konzerte im deutschsprachigen Raum bereits als
Kind. Um 1828 unternahm sie mit ihren Vater eine Konzertreise und trat bei seinen Konzerten
mit Solostücken und als Duo-Partnerin auf der Terzgitarre auf. 1829 zog die Familie Pelzer
nach London, wo Catharina Josepha zusammen mit ihrem Vater 1833 im King´s Theatre
debütierte. In den folgenden Jahren absolvierte sie mehrere Soloauftritte und organisierte in
den Jahren 1835 und 1836 jeweils eine Serie von drei Recitals in den Hanover Square Rooms,
bei denen sie von den „most eminent musicians in London“ (Bone, S. 244) unterstützt wurde.
Mit dem Gitarristen und Concertina-Spieler Giulio Regondi (1822—1872) spielte sie 1834
und 1836 als Duo. Ihr Biograph und Schüler Frank Mott Harrison schreibt dazu: „The infant
prodigies — Catherina Josepha Pelzer and Giulio Regondi — had met, and were brought
together. Such diminutive performers were ‚lost‘ on a large platform; so to be seen as well as
heard, they were mounted upon a table“ (Harrison 1899, zit. nach Wade 2001, S. 92).
 arcas 1832-1882

Um 1837 unternahm sie eine Konzertreise durch Europa, bei der sie unter anderem Mauro
Giulianis (1781—1829) Konzert Nr. 3 in F-Dur auf einer Terzgitarre vortrug.  Im Jahr 1842
konzertierte sie zusammen mit ihrer Schwester, der Pianistin Jane Pelzer. Als Lehrerin machte
sich Catharina Josepha Pelzer zunächst in Exeter, vermutlich zwischen 1840 und 1847, einen
Namen und konnte für das Unterrichten des in England damals unpopulären Gitarrenspiels die
Unterstützung von Lady John Somerset gewinnen. Während Ferdinand Pelzer, der sie bislang
auf ihren Reisen begleitet hatte, 1849 nach London zurückkehrte, blieb Catharina Josepha
Pelzer vorerst in Exeter. Auf Anraten von Lady John Somerset, welche ihr Räumlichkeiten in
London zur Verfügung stellte, kehrte Catharina Josepha Pratten vor 1854 nach London zurück
und wurde dort in die adeligen Bekanntenkreis Lady John Somersets eingeführt. Aus diesem
entstammte  später ein Großteil ihrer Schülerinnen.
 
Während sie ihre Schüler, wie beispielsweise den Gitarristen und Komponisten Ernest Shand
(1868—1924), das Gitarrenspiel mit Blick auf eine professionelle Musikerkarriere lehrte,
verfolgte sie bei Schülerinnen eine andere Zielsetzung: „later in the century, the celebrated
‚guitariste' Madame Sidney Pratten insisted to her biographer that she has ‚endeavoured to
inculcate into the minds of [her] aristocratic pupils their power to render a poem of woman´s
life and woman´s mission – to soothe invalids and cheer up sad souls'" (Harrison 1899, zit.
nach Hagan 2008, S. 107).  Abgesehen von Frank Mott Harrison, A. F. Cramer und Ernest
Shand lassen sich nur Frauen, unter anderem die Prinzessinnen Louise und Beatrice, unter
ihren SchülerInnen finden — vermutlich weil die Gitarre als ein „ladylike instrument“ (MusW
1863, S. 279) galt, dessen „sympathic tone being naturally in accordance with feminine
tastes" (ebd.).
 

Auch nach der Eheschließung mit dem Flötisten und Komponisten Robert Sidney Pratten
(1824—1868) im Jahr 1854 betätigte sich Madame Sidney Pratten, wie sie sich seitdem
nannte, als Gitarristin und Lehrerin. Zusammen mit ihrem Mann veranstaltete sie zwischen
1854 und 1867 mehrere Matineen, bei denen sowohl die Gastgeberin selbst als auch
GastmusikerInnen konzertierten. „A very miscellancous concert — to speak
emphatically —  was given by Mr. and Madame Sidney Pratten (why Mr. and Madame?) at
their residence“ (MusW 30. Mai 1857, S. 348). Weiter heißt es: Madame Sidney Prattens
„salon was an important meeting point for London musicians“ (Atlas 1996, S. 2). Nach dem
Tod ihres Mannes 1868 zog sich die Gitarristin für drei Jahre vom öffentlichen Konzertbetrieb
zurück.  Am 17. Mai 1871 spielte sie Mauro Giulianis (1781—1829) Konzert Nr. 3 in F-Dur,
am Klavier von der Nichte des Komponisten begleitet. Ein weiteres Konzert fand 1873 mit
Begleitung eines Chors unter der Leitung von Charles Gounod (1818—1893) statt. In der
weltlichen Kantate The Corsair welches von Sir Frederick Hymen Cowen (1852—1935) für
das Birmingham Music Festival im Jahr 1876 komponiert wurde, wirkte Madame Sidney
Pratten als Gitarristin mit.
 
Bis ins hohe Alter betätigte sie sich als Konzertgitarristin, Lehrerin und Komponistin. Zu
einem Rezital als 70-jährige heißt es in der Presse: „A large audience assembled to enjoy a
pleasing program. The talented entrepreneur was in excellent form, and rendered her solos
with her usual charm and brilliancy. Madame Sidney Pratten played numerous morceaux, all
from her own pen" (Musical Opinion and Music Trade Review 1892, S. 522). Auch im
November 1893 findet sich noch ein Beleg für einen Auftritt in der Steinway Hall in London.
 
Neben der Gitarre widmete sie sich auch der Concertina und der Gigelira, einer Art
Xylophon, und betätigte sich seit den 1860er Jahren als Komponistin. Ihr Œuvre umfasst
zwischen 150 und 250 Werke, darunter auch einige Stücke für Concertina und Gigelira, von
denen die Mehrzahl ihren Schülerinnen gewidmet sind. Die von ihr veröffentlichte
zweibändige Gitarrenschule The Guitar Tutor mit technischen Übungen und Studien von
Fernando Sor (1778—1839), Mauro Giuliani (1781—1829) und anderen Komponisten stellte
sich als zu anspruchsvoll für AnfängerInnen heraus. Das nachfolgende Buch Learning the
Guitar Simplified  hingegen erschien allein zu ihren Lebzeiten in zwölf Auflagen.
 
Ihr Gitarrenspiel wird in Rezensionen übereinstimmend gelobt. Madame Prattens „is certainly
a most finished operator on the  ‚organ of Spain'. The charming naiveté with which she told
the story of her own compositions as she played them quite captivated her audience, and the
applause which greeted her every movement was very hearty. Her manipulation of the
romantic instrument showed true Spanish taste, and her performance as a whole formed a
delightful interlude in an exceptionally successful and pleasant recital” (Athenaeum 1873, S.
831). Gillett zufolge erscheint Prattens Karriere als Sologitarristin jedoch erklärungsbedürftig:
„Pratten´s career began near the close of a period of great popularity for the guitar. As Percy
Scholes suggests, the 1830s represented the height of the instrument´s popularity in England,
its prominence clearly waning by mid-century […] How, then, did Madame Pratten maintain
a high-profile career during decades of the guitar´s eclipse as a serious virtuosic
instrument?” (Gillett, S. 211). Auch in der Besprechung eines Auftritts 1873 wird dies
deutlich: „Madame Sidney Pratten […]  has achieved for herself a scarely inferior reputation
as a mistress of the guitar, an instrument the resources of which are so little understood in
this country, even by professional musicians, that its introduction on this occasion, was
almost in the nature of a new revelation. Its advantages for the purposes of vocal
accompaniment in a certain class of simple songs, serenades, &c., are well known, but as a
solo instrument its claims have yet to win their way to general acceptance” (Birmingham
Daily Post 23. Mai 1873). Nach Gilett wurde Prattens Karriere jedoch durch Faktoren
begünstigt, wie „the novelty of a female guitar virtuoso, her high social sponsorship; the
perception of the guitar as an enhancement of female beauty; and its accessibility to
amateurs at the most undemanding level“ (Gillett, S. 211).
 
Madame Sidney Pratten starb am 10. Okt. 1895 in Folge einer Lungenentzündung. Ihre
Schwester Giulia, verh. King-Church, führte die Gitarrenschule weiter und machte sich
ebenfalls als Lehrerin der Gitarre sowie der Mandoline einen Namen. Bei regelmäßigen
Konzerten mit ihren SchülerInnen in der Guildhall School of Music und der Steinway Hall
trat sie auch als Solistin auf. Die beiden Schwestern sammelten zu Lebzeiten über
45 Gitarren, darunter 13 des berühmten Gitarrenbauers Panormo, zwei aus dem Nachlass von
Fernando Sor und weitere von Lacote, G. Regondi und L. Schulz. Eine der Gitarren wurde im
Rahmen eines von Giuilia King-Church veranstalteten GitarristInnen-Wettbewerbs zu Ehren
ihrer verstorbenen Schwester im Jahr 1898 an die Gitarristin Lily Wolton übergeben.

tarrega 1852-1909

E.Pujol: İspoanyol gitarist,20.yy.gitar pedagojisinin en önemli isimlerinden biri.

 Tarrega dan  16 yaşındayken ders almıştır.

 Güney amerika ya turneye gitmiştir.
 1946 da Lizbon konservatuarında ders vermeye başlar.
 Felipe Pedrell (1841-1922) ile beraber ve rodrigoya müzikolojik incelemelere
başlarlar.
 Konser ve eğitimin yanısıra Rönesans dönemi ispanyol besteciler narvaez, mudarra,
valderrabano nun eserlerini düzenleyşp kitaplaştırır.

 El Abejorro,
 Ondinas,
 Canción de Cuna,
 Barcarolle,
 Cubana,
  Impromptu,
 Piezas Españolas,
 Pieza nº 2 (Guajira o Evocación Cubana),
 Pieza nº 3 (Tango Español),
 Preludios,
 Scottish Madrileño,
 Sevilla,
 Danzas Españolas,
 Tango,

Solo guitar[edit]

 ME 7899 Aquelarre (Danse des sorcières - 1969) Pujol n°1246,

 ME 7028 Atardecer (Crépuscule) Pujol n°1229,
 ME 7238 Barcarolle Pujol n°1235,
 ME 7580 Becqueriana (Endecha) Pujol n°1240,
 ME 3130 Cancion de Cuna (Berceuse) Pujol n°1203,
 ME 7884 Canto de Otono (Chant d’automne) Pujol n°1245,
 ME 7939 Cap i Cua (Variation désuète sur l’exercice 19 d’Aguado) Pujol n°1248,
 ME 7848 Caprice varié sur un thème d’Aguado Pujol n°1242,
 ME 7541 Endecha a la Amada Ausente Pujol n°1238,
 ME 2186 Étude n°1 Pujol n°1200,
 ME 2187 Étude n°2 Pujol n°1201,
 ME 2188 Étude n°3 Pujol n°1202,
 ME 3128 Exercices en formes d’études, 1. Cahier Pujol n°1221,
 ME 7847 2. Cahier Pujol n°1243,
 ME 2189 Impromptu Pujol n°1206,
 ME 7579 La Libelula Pujol n°1239,
 ME 2586-88 Trois Morceaux espagnols:
 1. Tonadilla,
 2. Tango,
 3. Guajira Pujol n°1204,
  ME 3129 Pequena Romanza Pujol n°1222,
 ME 7885 Pizzicato Pujol n°1247,
 ME 7236 Deux Préludes Pujol n°1233,
 ME 7027 Rapsodie Valenciana Pujol n°1228,
 ME 2190 Sevilla (Evocation) Pujol n°1205,
 ME 7030 Triquilandia (Jugando al Escondite) Pujol n°1231,
 ME 7237 2e Triquilandia:
 1. Œdipe et le Sphinx,
 2. Variation,
 3. Jeu,
 4. La Plume de perdreau,
 5. Branle bourguignon Pujol n°1234,
 ME 7533 3e Triquilandia,
 1. Le Petit Grenadier,
 2. Cantilène,
 3. Valse Pujol n°1241,
 ME 7991 Triptyque campagnard (1971):
 1. Aube,
 2. Bucolique,
 3. Fête Pujol n°1249,
 ME 7883 Variations sur un thème obsédant Pujol n°1244,
 ME 7029 Veneciana Pujol n°1230,

Guitar duos[edit]

 ME 8046 Canaries (Canarios), air de danse populaire ancienne Pujol n°1415,

 ME 8081-01 Duet (étude) Pujol n°1417a,
 ME 6942 Manola del Avapies (Tonadilla) Pujol n°1403,
 ME 7239 Ricercare Pujol n°1409,
 ME 8081 Tyrolienne (Tirolesa) Pujol n°1417b,

(Verleger: Max Eschig Paris)

Transcriptions[edit]

275 transcriptions (Juan Riera)

A student of the master, Tárrega
This Spanish maestro was born in the village of Granadella, near the city of Lleida. An
important figure in guitar history, he is regarded as the leading spokesman for twentieth

century guitar pedagogy. He was a student ofFrancisco Tarrega.  His musical studies
began with the director of the village band who taught him the sight-singing method,
solfeggio. These lessons continued and he also enrolled at the Municipal school of Musicin
Barcelona. At age 11 years he learnt to play the bandurria (similar to mandolin and cittern)
and was selected to perform with the famous Catalonian bandurria and guitar orchestra
“Estudiantina Universitaria” at the Paris Exhibition in 1900. At the behest of his father, Dr.
Don Ramon Pujol, Emilio initiated engineering studies which were detained by a long bout of
pleurisy (a lung ailment) after which he was able to convince his father of his passion for
music as a career. In 1901 he began his studies with Francisco Tárrega at the Conservatory of
BHis first few lessons alone with the “mestre” dealt only with position, tuning, left and right
hand positioning, and harmony. Pujol was later chosen as one of Tárrega's elite students and
was included in a daily program of instruction :

 In the morning they practiced arpeggios, “cejas” (bars), scales, “ligados” (slurs), and
trills, all in timed exercise sessions.
 A break for luch and rest, but as Riera in his biography on Pujol mentions, Emilio
would practice through the break as well
 Interpretation was the focus in the afternoon, with Tárrega personally illustrating
various original or transcribed guitar works. One student would then perform a work
for the class, afterwhich the performance was critiqued by teacher and classmates.

Often the students were invited to a concert of guitar duets played by their teacher and the
prolific arranger Dr. Severino Garcia-Fortea. Emilio Pujol continued with these studies until
1907 after Tárrega became partially paralysed. Francisco Tárrega died two years later at
which time Pujol was in Madrid studying theory and composition with Agustín Campo, a
former student of Dionisio Aguado. Pujol keenly felt the loss of his former “mestre” (Catalan
for “Maestro”) as was expressed in his biography Tárrega, Ensayo biografico. Both in
mourning, Llobet wrote to Pujol expressing his loss as well as inviting to him to stay in touch
- “Write me or better yet come. . . [to Paris]. . . for it is your opinions that interest me.” . 
arcelona. At this time Tárrega's former student Miguel Llobet was expanding his
performances beyond Barcelona thus beginning his illustrious concert career. Referring to
Tárrega as his "mestre" (Catalan for “Maestro”), in his biography he endearingly described
the then 49-year-old teacher as graying, with a long beard in the style of the Spanish painter,
Zorilla. 
Emilio Pujol gave his first recital at the age of 21 years in Lleida, and later several months
before Tárrega's death in May, 1909 he made his Barcelona debut. By 1912 his career as
concert guitarist was established by his appearance at Bechstein Hall (today known as the
Wigmore) in London. He also performed in a private appearance before the Spanish Royal
family and Queen Victoria. Following World War I, at the behest of Miguel Llobet, he
undertook his first tour of South America beginning in Buenos Aires. In 1923 he married an
Andalusian singer and guitarist, Matilda Cuervas, in Paris. Pujol's concert tours at this time
were interrupted periodically by time in Paris where he conducted historical research into
instrumental predecessors of the guitar. 

Andres Segovia invited Emilio Pujol to teach guitar

classes

Musicological studies were initially conducted under the tutelage of Felipe Pedrell (1841-
1922), the Spanish composer and historian who championed the development of nationalistic
Spanish music and influenced many Spanish composers such as Enrique Granados and Isaac
Albeniz. Later in 1926 he continued his studies under Lionel de la Laurencie (1861-1933),
(author of the lute book Les Luthistes) at the Conservatory of Paris. These latter studies
resulted in an encyclopedic history of the guitar entitled La Guitare. Emilio Pujol's research
included the Golden age of the Vihuelists (the vihuela was a guitar-like instrument used in
Spain mid-2nd millennium) and his concerts at this time included music from this period
(1926-27). In January, 1936, Pujol discovered at the Jacquemart-André Museum in Paris, the
only original example of a vihuela from the sixteenth century which is known today. The
Spanish luthier Miguel Simplicio produced a copy of this instrument which Pujol
subsequently used in performances. 
Between 1941 and 1946 Pujol prepared and edited a volume covering
thevihuela composer Luis de Narváez which was published as part of a seriesMonumentos de
la Musica Española. The series eventually included volumes covering Alonso
Mudarra and Enriquez de Valderrábano published in 1949 and 1963 respectively. Prior to his
death, Pujol had begun work on the largest of vihuela music books, the Orphenica Lyra by
Miguel Fuenllana, originally published in 1554. Pujol regarded this book as the pinnacle of
the vihuela school. In one of the earliest instances of guitar instruction being included in an
academic institution, Emilio Pujol held guitar classes at the Lisbon Conservatory of Music
from 1946 to 1969. He was personally invited to give classes at the Accademia Musicale
Chigiana by Andres Segovia, and also adjucated guitar competitions. In 1956 his first wife
Matilde died and seven years later he married Maria Adelaide Robert, a noted Portuguese
pianist and singer who greatly assisted him in his final years. He returned to the region of his
birth, Catalonia in 1965 to launch his International Courses of Guitar, Luteand Vihuela in the
city of Lleida, Spain. The event was held every summer and was attended by students and
teachers from around the world. In 1972 it was moved to the thirteenth-century village of
Cervera. 

 M.Llobet: (1878-1938)

-Barselona da doğdu.
-Tarrega dan gitar dersi aldı ve barselona konsevatuarında okudu.
-İspanya da ve yurtdışında resitller verdi.
-Profesörlük ünvanı aldı.
-A.Segovia’nın hocası oldu.
-ses kayıtları yaptı.
Original compositions[edit]

 Romanza
  Estudio en mi mayor
 Estudio Capricho en re mayor
 Mazurka
 Variaciones sobre un Tema de Sor
 Scherzo-Vals
 Prélude Original
 Preludio en re mayor
 Respuesta-Impromptu
 Preludio en la mayor
 Preludio en mi mayor
 Estilo

Arrangements of folksongs[edit]

 Plany (Lamentation)
 La filla del marxant (The merchant's daughter)
 El testament d'Amèlia (Amelia's will)
 Cançó del lladre (Thief's song)
 Lo rossinyol (The nightingale)
 Lo fill del rei (King's son)
 L'hereu Riera (Heir Riera)
 El mestre (The teacher)
 La filadora (The spinner woman)
 La presó de Lleida (The prison at Lleida)
 La Nit de Nadal (Christmas Eve)
 La pastoreta (The little shepherd girl)
 El noi de la Mare (The Mother's child (Our Lady's child))
 Leonesa (From León)
 Estilos populares Argentinos nos. 1 & 2.

Transcriptions[edit]

Guitar solo[edit]
  Isaac Albéniz: Cádiz, Oriental, Sevilla, Torre Bermeja y Córdoba (1929)
 Enrique Granados: Danzas Españolas nos. 5, 7 & 10, Dedicatoria, La Maja de Goya.
 Joaquín "Quinito" Valverde: Clavelitos.

Guitar duet[edit]

 Isaac Albéniz: Rumores de la Caleta, Castilla, Bajo la Palmera, Evocación.

 Louis-Claude Daquin: Le Cou Cou.
 Enrique Granados: Enrique: Danzas Españolas nos 6 & 11.
 Eduardo López-Chávarri: Leyenda del Castillo Moro.
 Felix Mendelssohn: Romanzas sin Palabras nos.20 & 25.
 Wolfgang Amadeus Mozart: Minueto de la Sinfonia no.39.
 Pyotr Ilyich Tchaikovsky: Humoresque, op.10 no.2.