Sequence of publication of the 'Journal de musique étrangère pour la guitare ou lyre'. - Early Guitars and Vihuela2024-03-29T10:25:06Zhttp://earlyguitar.ning.com/forum/topics/sequence-of-publication-of-the-journal-de-musique-trang-re-pour?commentId=2111060%3AComment%3A67387&feed=yes&xn_auth=noDear Martyn
I hope you did re…tag:earlyguitar.ning.com,2016-09-21:2111060:Comment:674712016-09-21T01:26:18.023ZGabriel Scheborhttp://earlyguitar.ning.com/profile/GabrielSchebor
<p>Dear Martyn</p>
<p>I hope you did receive the files now.</p>
<p>Please, let me know.</p>
<p>Best wishes!</p>
<p>Gabriel</p>
<p>Dear Martyn</p>
<p>I hope you did receive the files now.</p>
<p>Please, let me know.</p>
<p>Best wishes!</p>
<p>Gabriel</p> Dear Gabriel,
Nothing in my…tag:earlyguitar.ning.com,2016-09-17:2111060:Comment:674642016-09-17T06:57:40.202ZMartyn Hodgsonhttp://earlyguitar.ning.com/profile/MartynHodgson
<p>Dear Gabriel,</p>
<p></p>
<p>Nothing in my inbox or even Spam folder! So, yes please, could you send it again. The email address to use is </p>
<p>hodgsonmartyn@yahoo.co.uk</p>
<p></p>
<p>Incidentally, regarding the paper on Castro de Gistau that Jelma mentioned <span>Erik</span></p>
<p><span>Stenstadvold had published, I was able to contact Erik and he says that, in fact, he<span> did research Castro quite extensively, but never finished the paper. But he's going to pick up the thread…</span></span></p>
<p>Dear Gabriel,</p>
<p></p>
<p>Nothing in my inbox or even Spam folder! So, yes please, could you send it again. The email address to use is </p>
<p>hodgsonmartyn@yahoo.co.uk</p>
<p></p>
<p>Incidentally, regarding the paper on Castro de Gistau that Jelma mentioned <span>Erik</span></p>
<p><span>Stenstadvold had published, I was able to contact Erik and he says that, in fact, he<span> did research Castro quite extensively, but never finished the paper. But he's going to pick up the thread again so hopefully we'll have more background on the enigmatic Castro de Gistau!</span></span></p>
<p></p>
<p><span><span>regards,</span></span></p>
<p></p>
<p><span><span>Martyn</span></span></p>
<p></p>
<p></p>
<p></p> Dear Martyn, I sent you the s…tag:earlyguitar.ning.com,2016-09-16:2111060:Comment:674632016-09-16T00:27:52.931ZGabriel Scheborhttp://earlyguitar.ning.com/profile/GabrielSchebor
<p>Dear Martyn, I sent you the stuff I have, some days ago. Please check your Spam folders. In case you did not receive the files at all, please, let me know and I will send you back the files.</p>
<p>Best wishes</p>
<p>Gabriel</p>
<p>Dear Martyn, I sent you the stuff I have, some days ago. Please check your Spam folders. In case you did not receive the files at all, please, let me know and I will send you back the files.</p>
<p>Best wishes</p>
<p>Gabriel</p> Thank you Jelma,
However I…tag:earlyguitar.ning.com,2016-09-13:2111060:Comment:674622016-09-13T13:54:58.701ZMartyn Hodgsonhttp://earlyguitar.ning.com/profile/MartynHodgson
<p>Thank you Jelma, </p>
<p></p>
<p>However I much prefer to use a facsimile wherever possible - in my experience even the best of modern editions can be suspect and original MSs often show bits of evidence not always conscientiously reflected in many modern editions. So Gabriel please still send me what you have.</p>
<p></p>
<p>Regarding the excellent <span>Erik Stenstadvold's papers, I'm aware of his paper on </span><span>the life and career of Mariano de Castro from the Consortium for…</span></p>
<p>Thank you Jelma, </p>
<p></p>
<p>However I much prefer to use a facsimile wherever possible - in my experience even the best of modern editions can be suspect and original MSs often show bits of evidence not always conscientiously reflected in many modern editions. So Gabriel please still send me what you have.</p>
<p></p>
<p>Regarding the excellent <span>Erik Stenstadvold's papers, I'm aware of his paper on </span><span>the life and career of Mariano de Castro from the Consortium for Guitar Research but not of his work listing Salvador's works and especially the Journal. I see his website lists various papers etc but I can't see the one you mention on Salvador. Could you please send me a copy? Or a link? I'll also contact him direct.</span></p>
<p></p>
<p><span>Martyn</span></p>
<h1 class="site-title"><a href="https://guitarconsortium.wordpress.com/" title="The Consortium for Guitar Research" rel="home"> </a></h1>
<p></p>
<p> </p> Thank you for your contributi…tag:earlyguitar.ning.com,2016-09-13:2111060:Comment:675532016-09-13T03:12:47.393ZGabriel Scheborhttp://earlyguitar.ning.com/profile/GabrielSchebor
<p>Thank you for your contribution, Jelma! I hope Sebastian will have your guitar ready soon! ¿where did you get the articles by Eric Stenstadvold? Best wishes!</p>
<p>Thank you for your contribution, Jelma! I hope Sebastian will have your guitar ready soon! ¿where did you get the articles by Eric Stenstadvold? Best wishes!</p> Erik Stenstadvold wrote two v…tag:earlyguitar.ning.com,2016-09-12:2111060:Comment:673022016-09-12T19:52:59.916ZJelma van Amersfoorthttp://earlyguitar.ning.com/profile/JelmavanAmersfoort
<p>Erik Stenstadvold wrote two very good articles on Salvador Castro in which he deals with the chronology and various editions of the Journal, and of Castro's other publications. You might want to look into those.</p>
<p>Erik Stenstadvold wrote two very good articles on Salvador Castro in which he deals with the chronology and various editions of the Journal, and of Castro's other publications. You might want to look into those.</p> In fact, there is a perfectly…tag:earlyguitar.ning.com,2016-09-12:2111060:Comment:673982016-09-12T19:49:35.289ZJelma van Amersfoorthttp://earlyguitar.ning.com/profile/JelmavanAmersfoort
<p>In fact, there is a perfectly legal and very good modern edition of this music...: Antologíga de Guitar I. Piezas de concerto, from Musica Hispana, ICCMU (2008). Only 25 euros. And the composers name is Isidro (!) Laporta.</p>
<p>In fact, there is a perfectly legal and very good modern edition of this music...: Antologíga de Guitar I. Piezas de concerto, from Musica Hispana, ICCMU (2008). Only 25 euros. And the composers name is Isidro (!) Laporta.</p> Thanks Gabriel,
I found the p…tag:earlyguitar.ning.com,2016-09-10:2111060:Comment:675442016-09-10T07:20:20.923ZMartyn Hodgsonhttp://earlyguitar.ning.com/profile/MartynHodgson
<p>Thanks Gabriel,</p>
<p>I found the page for Isidora Laporta in the Biblioteca Histórica Municipal de Madrid at this link below. But there seems to be no digital images I can download.…</p>
<p></p>
<p></p>
<p>Thanks Gabriel,</p>
<p>I found the page for Isidora Laporta in the Biblioteca Histórica Municipal de Madrid at this link below. But there seems to be no digital images I can download.</p>
<p></p>
<p><a href="http://catalogos.munimadrid.es/cgi-bin/historica/O7545/ID08cc91ef?ACC=131&srch=%22Laporta,%20Isidro%22.T100,T110,T111.&xsface=on&etapaFace=1&fieldFace=T100,T110,T111" target="_blank">http://catalogos.munimadrid.es/cgi-bin/historica/O7545/ID08cc91ef?ACC=131&srch=%22Laporta,%20Isidro%22.T100,T110,T111.&xsface=on&etapaFace=1&fieldFace=T100,T110,T111</a></p>
<p></p>
<p>So, yes please, I'd be grateful for digital images of the MSs you have from this collection.</p>
<p></p>
<p>regards</p>
<p></p>
<p>Martyn</p>
<p></p> I agree completely with your…tag:earlyguitar.ning.com,2016-09-09:2111060:Comment:673872016-09-09T17:05:29.703ZGabriel Scheborhttp://earlyguitar.ning.com/profile/GabrielSchebor
<p>I agree completely with your analysis. I would just add a small quote: perhaps you already know the guitar works kept in the Biblioteca Histórica Municipal de Madrid. If you don't, I would strongly suggest you to see their website (some of them are digitised). Luis Briso de Montiano kindly sent me, some months ago, a bunch of manuscripts kept there. This includes Laporta and Arizpacochaga works for guitar and thorough bass. If you are interested, I could send you some of them.</p>
<p>Best…</p>
<p>I agree completely with your analysis. I would just add a small quote: perhaps you already know the guitar works kept in the Biblioteca Histórica Municipal de Madrid. If you don't, I would strongly suggest you to see their website (some of them are digitised). Luis Briso de Montiano kindly sent me, some months ago, a bunch of manuscripts kept there. This includes Laporta and Arizpacochaga works for guitar and thorough bass. If you are interested, I could send you some of them.</p>
<p>Best wishes</p>
<p>Gabriel</p> Dear Gabriel,
Thanks for th…tag:earlyguitar.ning.com,2016-09-05:2111060:Comment:674422016-09-05T08:16:09.670ZMartyn Hodgsonhttp://earlyguitar.ning.com/profile/MartynHodgson
<p> Dear Gabriel,</p>
<p></p>
<p>Thanks for this too.</p>
<p></p>
<p>Yes, I also think that the works in Castro's Journal may reflect the changing styles from a Spanish six course instrument to the more usual six string instrument which became common in the rest of Europe from the early 1800s. What is more tricky is deciding which pieces may have originally composed for the six course instrument. Like you I tend to think that listed composers such as <span>Arizpacochaga, Laporta, Soto, Abreu,…</span></p>
<p> Dear Gabriel,</p>
<p></p>
<p>Thanks for this too.</p>
<p></p>
<p>Yes, I also think that the works in Castro's Journal may reflect the changing styles from a Spanish six course instrument to the more usual six string instrument which became common in the rest of Europe from the early 1800s. What is more tricky is deciding which pieces may have originally composed for the six course instrument. Like you I tend to think that listed composers such as <span>Arizpacochaga, Laporta, Soto, Abreu, Soler may have originally conceived their works for six courses before being later published (pirated even!) by Castro in the later Paris publications.</span></p>
<p></p>
<p><span>One of the stylistic features which seems to me to emerge is that the works which might be more likely for six courses exhibit a more polarised treble and bass texture (eg pieces like Soler's - plates marked 21), whereas perhaps later ones are rather denser in texture. I also wonder if some of Aguado's earlier works may have first been conceived for six courses before he too sought the lucrative streets of Paris! The pieces with clear Spanish influences (rhythms and dances titles, etc) also work well with six courses - though this is perhaps best shown in the Spanish song settings which seem to me very suited to six courses. And perhaps even the young Sor's early Spanish song settings, like those of Castro himself, were composed for the six course instrument. </span></p>
<p></p>
<p><span>And, of course, many of these players would have started on the six course instrument in Spain and only perhaps moved onto the more fashionable (and easier!) six string instrument in revolutionary/imperial France. For example I do see some of Castro's own works displaying features more suitable for six courses whilst others, as you imply, may work better with six single strings.</span></p>
<p></p>
<p><span>Abreu seems to have been born around 1750 and Soler 1754, so both would have reached maturity whilst the six course instrument was general in Spain. So again perhaps the pages of Castro's Journal, even if published in the first deaceds of the nineteenth century, reflect not only pieces from this period (early romantic) but also the last few decades of the previous century.</span></p>
<p></p>
<p><span>Martyn</span></p>
<p></p>