Mimoso (1926) Odeon 78 Lágrimas (1926) Odeon 78 Magoado (with Nelson Alves) (1926) Odeon 78 Sons de carrilhão (with Nelson Alves) (1926) Odeon 78 Pó de mico/Suspiro apaixonado (1930) Columbia 78 Sonho de magia/Magoado (1930) Columbia 78 Rosa carioca/Rebuliço (1930) Columbia 78 Interrogando/Recordando (1930) Columbia 78 Sentindo/Dengoso (1930) Columbia 78
PlayList, click on the 3 horizontal bars at the top right of the video to scroll down the list of pieces.Jan Antonín Losy – AriaJan Antonín Losy – CapriccioJan Antonín Losy – Sarabande
Music of the Renaissance for classical guitar (1536 to 1637)
In 1501, in Venice, the printer Ottavio Petrucci was the first to use typography in the production of music. The pages were printed in three stages: first, the staves, then the notes and finally the text and the page numbers. This new process replaced the old practice of handwritten scores and, for the first time, the very rich lute repertory could be widely disseminated.
In 1536, that is to say a hundred years after the appearance of printing in Europe, Don Luys Milán, a gentleman at the court of the king of Portugal and of the Islands, published in Valencia, under the title of El Maestro, a collection of music which contains instrumental pieces for vihuela, as well as songs with vihuela accompaniment. Two years later, in 1538, Luys de Narváez published in Valladolid “Los seys libros del Delphin de musica” which introduced into Spain the idea of Variations on a Theme. In 1546 “Tres Libros de Musica para Vihuela” by Alonso Mudarra appeared in Seville. In the third book are published for the first time small pieces written for the four string guitar.
During the sixteenth century, a score of books for guitar were published, mainly in Paris. In 1549 Adrian Le Roy, together with his cousin, Robert Ballard, founded an important publishing house which was given the royal seal of approval. Between 1551 and 1556 they published 5 books of guitar tablatures.
Round about 1570, the sonority and register of the guitar were increased with the addition of a fifth string. This innovation, together with the introduction of the flat back from about 1650, heralded the birth of the “Spanish guitar”.
Baroque Music for classical guitar (1670 to 1750)
In 1674, the Spaniard Gaspar Sanz published his “Instruccion de musica sobre la guitarra española”.
In France, in 1670, Francesco Corbetta printed in Paris “la guitarre Royalle”.
Robert de Visée, successor of Francesco Corbetta as musician at the court of the King of France, had his “Livre de guittarre dédié au Roy” printed in Paris (1682).
In 1703, François Campion was given the title of professor of theorbo and guitar at the Royal Academy of Paris by king Louis XIV. He published his “Nouvelles Découvertes sur la guitare” in Paris in 1705 as well as a treaty on accompaniment which includes the first fugues for guitar ever written.
In 1692 the Italian Ludovico Roncalli published a collection of music for guitar.
In addition, works for the baroque lute from Johann Sebastian Bach and Sylvius Léopold Weiss and the many sonatas for harpsichord of Domenico Scarlatti adapt marvelously well to the guitar.
Classical period music for classical guitar (1750 to 1840)
During this time the Italian guitarists travelled through all of Europe. Paris, Vienna and London accommodated these musicians in turn.
From 1800 to 1820, the Italian virtuoso Mauro Giuliani (1780-1840), composed the first concertos for guitar and orchestra in Vienna. The Austrian capital also had excellent guitarists such as Wenzeslaus Matiegka (1773-1830), Anton Diabelli (1781-1858) and Leonhard von Call (1768-1815).
From 1810 to 1840, Paris became the principal home of the guitar. Virtuosos like the Italians Matteo Carcassi (1792-1853) and Ferdinando Carulli (1770-1841) settled there, as well as the Spaniards Dionisio Aguado (1784-1849) and Fernando Sor (1778-1839).
Romantic Music for classical guitar (1840 to 1920)
Guitarists travelled widely in Europe and Latin America.
From 1860 to 1910 Barcelona replaced Paris as the hub of guitar music with Julian Arcas (1832-1882), José Ferrer y Esteve (1835-1916), Francisco Tárrega (1852-1909), Antonio Jiménez Manjón (1866-1919) and Miguel Llobet all being active.
From 1890 to 1940 Buenos Aires took over thanks to the arrival there of Antonio Jiménez Manjón and Miguel Llobet.
Modern Music for classical guitar (1900 to 1950)
South America boasted talents such as: Miguel Llobet (1878-1938), Julio Salvador Sagreras (1879-1942), Joao Guimarães (Pernambuco) (1883-1947), Agustín Barrios Mangoré (1885-1944) and Heitor Villa-Lobos (1887-1959).
In the 1930s, Spain again became the center of the guitar with the composers Manuel de Falla (1886-1946), Joaquin Turina (1882-1949) and Joaquin Rodrigo (1901-1999), who wrote for the guitar without being guitarists themselves.
Manuel de Falla was the first non-guitarist composer to write for the guitar, he opened the way to many composers who subsequently wrote for the guitar. These include: Heitor Villa-Lobos (1887-1959) : Suite populaire Brésilienne (1912 – 1923). Max Eschig, Paris Chôros n° 1 (1920). Max Eschig, Paris 12 études(1929). Max Eschig, Paris 5 Préludes (1940). Max Eschig, Paris
Johann Sebastian Bach – The Complete Works For Lute Solo TAB– 110 pages – 2,1 Mo Lute Suite Nr. 3 BWV 995 – Lute Suite Nr. 1 BWV 996 – Lute Suite Nr. 2 BWV 997 – Prelude Fugue & Allegro BWV 998 – Prelude BWV 999 – Fugue BWV 1000 – Lute Suite Nr. 4 BWV 1006a.
