|
New Millennium StringsConcerts | Musicians | Rehearsals | Supporters | Board | Contact Us |
|
|
Ferdinando CarulliPetit Concerto de Societe in E MinorFerdinando Carulli was born in Naples in 1770 and died in Paris in 1841. He was a renowned Neopolitan guitarist and pedagogue. In his childhood Carulli studied the cello, but when he was 20 years old he devoted himself entirely to the guitar. Since there was a lack of guitar instructors, Carulli was left alone to develop his own skills. Through his solitude and study, Carulli produced an instructional manual known as Method, Op. 27. This manual continues to be one of the best instructional books written for the beginning guitar student, although it has been updated and reissued many times. By 1808 Carulli had moved to Paris and began teaching there. It was through his new instructional method that Carulli was able to develop a new school for teaching guitar. As a result, the instrument also gained acceptance in Europe and had a great impact on French middle-class society. Carulli produced nearly 400 works for the guitar, plus numerous chamber music pieces which included the guitar. The Petit Concerto de Societe in E Minor is steeped in the Neopolitan opera tradition. The opening tutti theme, heard in the first violins, exudes drama and flair. The intense and operatic opening provides a long introduction. In the first movement, the initial entrance of the guitar solo is written as a cadenza, which is in direct contrast to the prior orchestral tutti. The technique employing large contrasts is reminiscent of "Sturm und Drang". Overall the harmonic structure of the concerto is basically homophonic and Alberti bass passages are often employed to accentuate cadences. The second movement is written like a florid cadenza for the guitar, which a minimal accompanimental texture is provided by the strings. The third movement provides a boisterous introduction. When the soloist is heard, after the introduction the initial statement is a cadenza, and thereafter the solo is accompanied with a transparent homophonic texture. A concise sweeping tutti completes the piece. -- program notes by Laurien Jones |