Bidrag till gitarristiken Part I [Contributions to Guitar Studies Part I]

Published by Legacy of Matanya Ophee on

by Daniel Fryklund

Translated from the Swedish by Jan Ring Ellis,

revised and annotated by Kenneth Sparr.

[DGA Editor: The original article by Fryklund appeared in the 1931 Svensk tidskrift för musikforskning and is available from the Swedish Society for Music Research.]

In 1926-28, a Handbuch der Laute und Gitarre in dictionary form (296 pages, 8vo) was published in Vienna. The author of the work was the Vienna lecturer Josef Zuth, who in 1919 wrote a doctoral thesis entitled “Simon Molitor und die Wiener Gitarristik um 1800”. Zuth had made himself quite a name in guitar studies: in addition to his own work, he published compositions for the guitar by e. g. Molitor and Schubert as well as a guitar journal. Shortly after the completion of his Handbuch, Zuth published an announcement in several journals in which he called upon experts to co-operate in a new work—an Enzyklopädie der Laute und Gitarre. This appeal did not go unheard, and Zuth was soon in position to begin to publish his enormous work which contained, in literature alone, over 30,000 entries. According to Zuth, the work should cover and contain the following: 

  • Volume I: Biographical/Bibliographical Dictionary
    • Book 1: Tablature (all lute-like instruments) 
    • Book 2: Modern notation up to the end of the nineteenth century 
    • Book 3: nineteenth-twentieth centuries (modern times) 
  • Volume II: Instruments and Makers 
  • Volume III: Theory (Notation, Method, etc.)

Fryklund got in contact with Josef Zuth probably in the beginning of 1930. It seems as if Fryklund had offered his services to Zuth in his large encyclopædia project. A letter from Zuth to Fryklund, dated 30 March 1930, makes it clear that Zuth then had completed and copied out the first volume of the bio-bibliographical part of his encyclopædia. Another letter from Zuth, dated 5 February 1931, shows again how willingly Fryklund was prepared to share his research with others. Zuth complains that he was not able to offer anything in return (“österreichische Gelehrte sind arme Teufel”) other than to mention Fryklund as a contributor. Zuth also mentions that he had collected some 30,000 references for his encyclopædia. This letter possibly has provided Fryklund with the information in the beginning of his article.

After its publication Fryklund also sent his article “Bidrag till gitarristiken” to Zuth, who thanked him in a letter dated 6 January 1932. In this letter Zuth also asks Fryklund if he was willing to translate Handbuch der Laute und die Gitarre into Swedish or French. Zuth also mentions that he had begun to make investigations about the mandolin. After a long and hard period of sickness Zuth died on 30 August 1932 and his widow announced this in a letter to Fryklund dated 6 November 1932. In her letter she suggested that Fryklund should get in contact with Adolf Koczirz, who was to complete the work of Josef Zuth. However this project was never realized. It would be interesting to know whether Zuth’s 30,000 references still exists! [DGA Editor: The Zuth Nachlass at the University of Vienna contains all of his card catalog indexes.]

Time and energy permitting, Zuth intended to include also a (Kultur-) Geschichte der Laute und Gitarre. Zuth’s Handbuch has actually only one predecessor, a work by Philip J. Bone of Luton, England: The Guitar and Mandolin, published in 1914. Bone’s work is complemented with pleasant pictures and good examples of notation, and it offers a wealth of material about guitarists and their compositions. Its greatest drawback is that it lacks source references. However, the work is mandatory for researchers and it is often cited by Zuth, who occasionally reproduces Bone’s information in literal excerpts.[1]Unfortunately Bone’s work is not available in bookshops, and inquiries to antiquarian bookshops, even English, have only had negative results.

Fryklund himself wrote to Philip J. Bone in 1931 inquiring for a copy of Bone’s work. In the letter he also informed Bone about his own work on the history of the guitar. Bone mentions in his reply to Fryklund that he also had a collection of guitar music including “some rare French works”. He tells Fryklund that his book is hard to obtain and command as much as £5 sterling. In a later letter, dated 26 May 1931, Bone offers a copy to Fryklund at the price of £5. Both letters from Bone are in Fryklund’s private archive. However, they don’t seem to have continued their correspondence.

In the Handbuch der Laute und Gitarre Zuth has created a work which makes an altogether excellent impression. The notes are comprehensive, clear and in most cases, exact.

Out of interest in Zuth’s future Enzyklopädie, the author of this article has attempted below to contribute an addition to the “Handbuch”; in certain cases, this has involved correcting mistakes. In general, the present author has dealt with older aspects, even if many new ones which have come to light during recent years could have been included: for example, Maria Rita Brondi’s work, Il Liuto e la Chitarra, which foreshadows Zuth, and which was published in 1926; and guitarist P[iotr] S[piridonovich] Agafoschin’s Russian pamphlet Nowoe o gitare, which was published in 1928, etc. 

In 1934 Domingo Prat’s “Diccionario de Guitarristas” was published, another attempt to produce an encyclopaedia on the guitar. As was the case with Josef Zuth Prat obviously did not have any knowledge about Fryklund, his collections and his work on the guitar. Interestingly enough Fryklund had some correspondence with Prat much later. In Fryklund’s archive there is a letter from Prat, dated 14 September 1938, certainly an elevated piece of work! It seems as if Fryklund had requested a copy of Prat’s “Diccionario” and also had sent Prat some of his articles and booklets. Prat’s letter must have been accompanied by a copy of his “Diccionario” as Prat wants Fryklund to confirm its delivery. The letter otherwise does not contain much of interest and the correspondence between Prat and Fryklund seems not to have continued.

The majority of the works mentioned in the following are in the author’s collection of guitar compositions, and the greatest strength of this collection are the French compositions which consist mainly of a few thousand works for voice and guitar (or lyre) from the end of the eighteenth century/beginning of the nineteenth century.

In this essay we have attempted to give our various contributions to guitar studies for various countries. As regards Denmark and Sweden, we have expanded the material to include the lutenists. The French material is so vast that we can only mention a small bit of it. We shall therefore produce a separate presentation in lexical form of guitarists in Paris, a form of presentation which should be the most suitable for both an extensive and a detailed contribution to Zuth’s Enzyklopädie.

The plan for the separate presentation of the guitarists in Paris was never fulfilled. Fryklund may soon have realised the amount of work which was needed to identify and obtain information about all these guitarists and arrangers for the guitar.

Towards the end of the eighteenth century and beginning of the nineteenth century, the guitar reached a popularity never before attained in most countries in Europe. The centre for the instrument was Paris, where the most famous guitarists were at hand, and where not only Frenchmen but also celebrities like the Italians Carcassi and Carulli and the Spaniard, Sor congregated. Pieces were composed not only for solo guitar, or two or three guitars or guitar with strings (especially the violin), wind instruments (especially the flute), or both or piano, but also nearly all popular songs, even opera melodies, were published with guitar accompaniment.[2]Most of the French publications have the approximate format 27 X 18 cm. If any format in the following differs a great deal from this, mention will be made.

The reason for the emphasis at the time on guitar accompaniment was e. g. that in general the name of the arranger was given and those publishers who did not name the arranger are few: Imbault often deletes the arranger’s name; Sieber, occasionally.

Most of the leading guitarists in Paris participated in this enormous work: if they who composed the songs were not guitar virtuosos or teachers of the guitar, then they seldom arranged works for the guitar themselves.

This enthusiasm for the guitar expressed itself occasionally in music to words dedicated to the instrument: A Ma Guitare, Romance Dédiée à Madame Caccia. Musique et accompt de Lyre ou Guitare par A: M: Lemoine (chez Lemoine ainé):

Ô Guitare enchanteresse 
Source unique du plaisir 
Quand sous mes doigts je te presse 
Je ne forme aucun desir 
Sois la maitresse chérie 
Qui m’enchaine pour toujours 
Et que ta douce harmonie 
Me tienne lieu des amours.

De tes cordes argentines 
Quand j’entends le son flateur, 
Mon âme au tems de corines 
Se transporte avec douceur. 
De Sapho de Deshoulières 
Tu prends le ton séduisant, 
Et l’on ne resiste guères 
Quand tu peins le sentiment.

Mais il fait un coeur de flamme 
Pour entendre tes accens, 
Car tu dis rein à l’âme 
Des êtres indifferens. 
Pour eux ton charmant langage 
N’est que du son et du bruit, 
Et je lis sur leur visage 
Qu’amour ne leur a rien dit.

When the lyre guitar was flourishing in the beginning of the nineteenth century, accompaniment was generally written for guitar or lyre. Occasionally only the lyre was mentioned for the accompaniment, and was often awarded a certain superiority over the guitar through being placed before it when listing accompaniments. This popularity of the lyre at least contributed to its being used so often on signs or names of music shops: in Paris there were at least two shops called A La Lyre,and also A La Lyre Moderne, A La Lyre d’Or (this name is also found in Rouen), and Aux Deux Lyres. And, like the guitar, the lyre was celebrated in both words and music.

Occasionally particular instructions were given for lyre accompaniment. Lemoine’s accompaniment for example is often equipped with the notes: “Les notes ayant un (8) se font à l’octave en bas sur la lyre”, sometimes with the addition, “ou guitare à 6 cordes”. Similar instructions occur also with Doisy’s and Grumaille’s accompaniments.

This implies that the five-course or five-string guitar was the more common type in the beginning of the nineteenth century in France. The same type of notes are very common when the lyre is specified as instrument for the accompaniment. In the commentator’s collection there is also a “Manche général de la lyre, la guitarre ordinaire y comprise”, printed by J. J. Hummel before 1814 where it is said: “La sixième corde appartient exclusivement à la Lyre”.

In one or two cases songs occur without guitar accompaniment, but with woodwind instruments ad libitum, for example Air du Rossignol Chanté par Mme Albert. Avec Accompt de flute ad libitum. Paroles de Mr Etienne. Musique de Mr Lebrun. Arrangé pour la Guitare par Meissonnier. A Paris, chez M Pacini.

Le Vieux Berger. Ronde de Cléon G*** mise en musique avec accompagnement de Flüte ou de Flageolet, ad libitum, et dediée à Madame la Vicomtesse Henry de Ségur, Par Jh Vimeux à Paris. V. Dufaut.

Le Printemps. Chansonette avec accompt de Hautbois obligé. Paroles d’Auguste Duvivier. Musique de L. Clapisson. Accompt de Guitare par Jh Vimeux. Paris, chez Bernhard Latte.

Also the guitarists, which will be dealt with later, Colin in Douai and Houze in Mons have written compositions for voice, flute and guitar.

Sometimes for the arrangements specialists were chosen for each instrument, e. g. Six Airs Italiens, Arrangés pour Flute et Guitare par Tulou et Carulli, Paris, A. Meissonnier, where the famous flutist Tulou and Carulli arranged their respective parts.

Occasionally great freedom was permitted in the choice of the accompanying instrument as in Avis aux Belles. Paroles de Mr J. B. H. *** Musique et accompagnement de Lyre ou Guitare, de Flute ou Violon Par J. B. Bedard. à Paris, Aux adresses ordinaires de Musique.

One of the compositions in our collection even has the accompaniment of Tambour de Basque: Le Médecin Turc. Romance Chantée par Mlle Pingenet ainée, Paroles de Villiers et Armand Gouffé, Musique de Nicolo, Accompagnement de Guitare ou Lyre et Tambour de Basque ad libitum par Grumaille. Paris, Cherubini, Méhul.

The composer mentioned is certainly Niccolò Isouard (1775-1818), whose music often was used in these songs to guitar.

Occasionally the compositions contain notes of interest concerning publishers, e. g. the compositions La Gloire et L’Amour. Dediés aux armées françaises. Offert à Monsieur le General Coütard, Baron de l’Empire. Paroles et Musique de MM. Lefévbre Desveaux & Jardin. Chant. Lyre ou Guitare. The note mentions: “Cedé en toute propriéte à Mr Meissonnier pour piano et guitare paris ce 1er Mars 1812. Jardin”. A printed note referring to a Romance de M Plantade arrangée avec accompagnement de Pianoforte d’après celui de Lyre de le Moine par l’Editeur. à Amsterdam au Magazin de Musique, Kalverstraat 171” is also of interest: “C’est par un accord particulier avec Mr Imbault Marchand de Musique que cette edition a été publiée”.

One can often detect the travels of compositions by means of the publishing notes. A piece in our collections with the stamp of Pleyel has had that stamp replaced by Frères, and finally one finds a note with the designation Anzon in Rouen, where the work obviously landed later.

Foreign publishers in Paris loyally used their countrymen as arrangers. This was often true of Antonio Pacini, who had Italian guitarists in Paris assisting with guitar arrangements.

One sometimes finds printed dedications in these French romances with guitar accompaniment. Of particular Swedish interest is that several of them are dedicated to Madame La Comtesse Caroline de Sparre. This can be exemplified by romances with music by Loïsa Puget spouse of Gustave Lemoine who wrote the words to these romances. We have similar works in e. g. Album 1840, 1841 and 1843 published by J. Meissonnier. Who wrote the guitar accompaniment is not mentioned except in the 2e Album No. 5 Les Deux Âmes, when Carcassi is mentioned. Compare under Puget in Zuth. Also Frédéric Bérat has celebrated La Comtesse de Sparre. From the Album 1841 we have Les Adieux. Paroles et Musique de Frédéric Bérat. Accompt de Guitare par J. Vimeux. à Madame la Comtesse de Sparre. à Paris chez Colombier. See also Fétis. Moreover, Gustave Carulli wrote music in her honour: Gaston, L’Ange de Foix. Romance. à Mme la Comtesse de Sparre. Paroles de Mr E. Aucouëte. Musique de G. Carulli. Accompt de Guitarre par Mce de Raoulx. Paris, chez S. Richault.

The identity of Caroline Sparre cannot be established with certainty. There were several women with this name during the actual period. The most probable is Caroline Sparre, born Naldi and probably of French origin. She died in 1876 in Brizay. In 1823 she was married to the French count Louis Ernest Josef Sparre (1780-1845). He was of Swedish descent. Louis Ernest Josef served both Sweden and France. He became a French baron in 1811, “equerry och brigadier-general” with Napoleon I in 1812, Inspector General of the French cavalry in 1818 and also Pair de France in 1819. Cf. Elgenstierna, Gustaf, Den introducerade svenska adelns ättartavlor VII, Stockholm 1932, p. 381.

Also a hand-written dedication in our collection is of interest, although it does not emanate from the guitarist but from the composer: “Offert à son ami Monsieur Laflêche par l’auteur Ed. B.” in a work: Quand tu m’aimais, romance. Musique de Edouard Bruguière. Arrangée pour la Guitare par François Molino. Chez Ph. Petit. This dedication refers namely to the connection between the Lyon-born composer Bruguiére and J. A. M. Laflêche, who was an active guitarist in that city (see below).

Romances with guitar or lyre accompaniment were often collected by their owners in so-called recueils factices, which stem from the latter part of the eighteenth century and beginning of the nineteenth, where the owner’s name is sometimes found on the volumes. Several of our volumes belonged to Mademoiselle Victorine Grenier (one volume also has the date: ce 4 7bre 1809). One of these volumes in folio format is of particular interest because it shows that she surely played the lyre guitar: Recueil d’ Airs Pour la Lyre Appartenant A Melle Victorine Grenier de Béziers. Similarly printed romances from various places have been bound together by booksellers to such Recueils factices; for instance two pleasing volumes: Etrenne Chantante ou Choix des plus Nouvelles, Ariettes, Romances et Vaudevilles. Avec Accompagnement de Guittare. Dédiés Aux Dames. Pour l’Année 1787. Paris. Goujon fils and the parallel volume for 1788,[3]Both have the 20 X 12 cm format. in which the title pages and the tables of contents have been engraved: the volume for 1787 contains 65 romances, most of them with guitar accompaniments by Ducray, and the volume from 1788 contains 60 romances with accompaniments by Gonnin and Le Moine amongst others.

Most of the guitar works in the Fryklund collection is in fact in form of “recueils”, and many of them obviously come from the same sources, which is indicated by their similar bindings. In the Fryklund-collection there are 67 “recueils” with mainly music for voice and guitar. The mentioned Ducray could possibly be identical with François-Guillaume Ducray-Duminil (1761-1819) who is represented with a song in Journal de Lyre ou Guitare (see Fellinger p. 478).

Occasionally the romances are accompanied by catalogues which provide important information about the compositions. One catalogue accompanying romances with words and music by Alexis de Garaudé, the elder Garaudé, and accompaniment for guitar or lyre by others, contains a list of Garaudés romances with guitar accompaniments and also mentions three numbered works of Garaudé which were not detected by Fétis and Eitner: Op. 7: 1r Rondeau. Op. 10: Cantique a voix seule avec des Choeurs. Op. 15: Méthode de Chant dédiée aux Dames (cf. Op. 25 and 40 in Fétis). See also below on catalogues of Doisy’s and Carulli’scompositions.

In France a large part of the songs published at the end of the eighteenth century and especially those at the beginning of the nineteenth century were made public complete with guitar (or lyre) accompaniment in journals, which also occasionally published compositions for guitar solo. In Zuth’s Handbuch we have found from this period only two such journals named, the one published by Vidal, the other, by Porro.[4]Zuth claims also that Charles François Alexandre Pollet published a Journal until 1793. However, this was, according to Fétis, “un journal d’airs d’operas pour le … Continue reading

Journal de guitare par Vidal. Chez Decombe luthier Md de Musique Quai de l’école No 14. Propriété de l’éditeur. Our issues contain songs with accompaniment of guitar or guitar and violin. According to Mendel the Journal de guitare appeared from 1778. In addition to this journal mentioned by Zuth, Vidal published the following—not mentioned by Zuth:

The issues of Journal de guitare were probably published c. 1800-1806. See Devriès I p. 54. It is not mentioned in Fellinger.

Recueil Periodique D’ariettes Avec Accompagnement de Guitare Mèlées d’Airs variés dédié A Madame la Presidente De Meslay par M. Vidal. Gravé par Mlle Lepreux. A Paris. 12 numbers. 172 pages. oblong 4to.[5]This Recueil Periodique is now very rare and is not mentioned by either Fétis or Eitner.

The collection contains a large number of arrangements or compositions by Vidal, amongst which are several for guitar solo or violin and guitar. The fourth number of the journal gives the following information about the publisher: “L’auteur Mtre de Guitare rue Faydeau Hotel Daufin No. 20.” In the last issue in our series (1786) Vidal announces a new series: “Le premier Cahier du Journal de Mr Vidal pour 1787 Paroîtra au commencement de janvier. Ce journal sera composé de 12 Cahiers pour l’année. Les Ariettes, Outre l’accompagnement de Guitarre, Auront un accompt de violon ad Libitum, séparé de journal”. See also Fryklund, Musikbibliografiska anteckningar, p. 27-28.[6]By Vidal we have also Ariettes et Romances avec Accompagnement de guitarre par Mr Vidal. A Paris. Chez l’auteur, Rue de Richelieu, près la Comedie italienne, aux Soirées espagnoles, No. 99, … Continue reading

Journal de Guitare ou de Lyre par P. Porro. A Paris chez l’Auteur, rue J. J. Rousseau No. 14. On the title page of No. 24, the 17th annual volume , there is: “Ce Journal sera Composée à l’avenir de 72 No. pour l’année”. We possess numbers belonging to the 17th and the 18th annual volumes (cf. Eitner: “14 Bände”). These numbers contain songs with guitar or lyre accompaniments, but also solo pieces for these instruments.

The Recueil Periodique and Journal de Guitare ou de Lyreare not mentioned in Fellinger. From the publisher’s address it seems probable that the issues of Journal de Guitare ou de Lyre were published in c. 1807-1815. See Devriès I, p. 134.

In addition to Vidal’s and Porro’s Journals, we have in our collection several journals in this genre and from the same time which are not mentioned in Zuth’s work: 

Journal de Guitarre ou Lyre par Les meilleurs Auteurs Publié à Paris par P. et I. I. Le Duc. We have numbers 19, 25, 31 and 34 of this journal. They contain compositions for song, with guitar or lyre accompaniment, one with music and accompaniment by J. Mees, one with accompaniments by the same and two with accompaniment by J. B. Barrois.

This is probably the Journal de Lyre ou Guitare mentioned by Fellinger p. 254 and published in 1807-1808. It seems as if the issues in Fryklund’s collection are from the first annual volume. J. Mees is probably identical with Joseph Henri Mees (1777- c. 1856).

Three journals were published by A. Meissonnier: 

Journal de Lyre ou Guitarre, Rédigé par Meissonnier. Chaque numéro de ce Journal sera composé de deux Romances françaises, un air italien et une piece pour la Lyre ou Guitare. Composés par les meilleurs Auteurs. Il paraîtra un numéro tous les premiers de chaque mois. On s’abonne à Paris, chez Meissonnier, Rue Bergère No. 5. The songs have lyre or guitar accompaniments, often by Meissonnier himself. We have several numbers from the annual volumes 3, 4, 7 and 9. Amongst the solo pieces for lyre of guitar there are several “Thema variés” by Mauro Guiliani.

Journal de la Lyre Moderne, Redigé par Meissonnier. With the same programme as the foregoing. From this Journal we have only No. 15 containing a romance for lyre or guitar, with words by Favart and music by Plane.

Le Troubadour des Salons Journal de chant avec Accompagnement de Lyre ou Guitare. Rédigé par M. M. Romagnesi et Meissonnier. Chaque Livraison de ce Journal contiendra trois Romances à une ou deux Voix et des Pièces pour la Guitare composées par les meilleurs Auteurs. Il paraîtra un Livraison tous les premiers de chaque mois. On s’abonne à Paris, au Magasin de Musique de A. Meissonnier, Boulevard Montmartre No 25. Most often A. Meissonnier provided the accompaniments to the songs himself. Our numbers are from the annual volumes 4, 7 and 17.

According to Fellinger Journal de Lyre ou Guitarre was published c. 1815 to c. 1827. Journal de la Lyre Moderne is not mentioned by Fellinger nor by Devriès II. The composer Plane could be identical with Jean-Marie Plane (1774- after 1827). Le Troubadour des Salons was according to Fellinger published c. 1812 until c. 1828.

Romagnesi has also published his own journal for voice with accompaniments by guitar or piano: 

L’Abeille musicale, Journal de Chant, Composé pour les jeunes personnes, par les Auteurs les plus estimés en ce genre, et publié par A. Romagnesi. A. Paris, chez A. Romagnesi, Editeur de Musique, Rue de Richelieu, 87. The A. Romagnesi referred to here is the same as the previously mentioned Romagnesi who wrote the music for many romances in Le Troubadour des Salons, where the initial A was always included in the name. Fétis, who mentions that l’Abeille musicale existed between 1828-1839, has obviously given an incorrect first name for Romagnesi: Fétis calls him Henri (even Mendel’s dictionary, after Fétis, lists the same first name).[7]A. Romagnesi is not mentioned at all by Fétis.

This incorrect information from Fétis has caused Eitner problems—as in Quellen-lexicon VIII, p. 291—and Eitner has expressed doubts as to whether he should attribute the music for certain songs to A. or Henri Romagnesi.[8]Zuth has no entry for Romagnesi.

According to Fellinger p. 865, L’Abeille musicale was published in 1828-1839. Only a few issues of this journal seem to be preserved. A. Romagnesi is of course identical to Antoine-Joseph-Michel Romagnesi (1781-1850), an assiduous publisher and arranger of songs to guitar accompaniment.

Le Ménestrel is not mentioned by Zuth, but nonetheless a journal which appeared in Paris for the first time in 1833, and was described as: Journal de Musique, publiant tous les dimanches une romance inédite, Avec Accompagnement de Piano ou Guitare. In the annual volume for 1837 there is an announcement: “A partir du mois de juin 1837, une importante mesure d’amélioration a été prise à l’égard des romances pour guitare. La partie musicale de chaque numéro se trouve réduite en un petit format, dont le prix a subi une diminution proportionelle. MM. les guitaristes peuvent s’abonner à ces petits formats à rasion de 7 fr. par an pour Paris, 8 fr., pour la province, 9 fr. pour l’étranger”. In the first five annual volumes Carcassi alone wrote the guitar accompaniments, but in the sixth annual volume others such as Antoine Meissonnier and Joseph Vimeux began to contribute guitar accompaniments as well. 

Le Menestrel Français, Journal de Chant avec Accompagnement de Guitare. Rédigé par les Meilleurs Auteurs. Ce Journal contiendra 48 Morceaux de Chant, des premiers Compositeurs Français, Italiens et Allemands; Ils seront toujours variés, savoir: en Romances, Nocturnes, Chansonettes, Boléros, Cavatines, Polonaises et Rondeaux. Il paraîtra du 15 au 20 de chaque Mois une Livraison composée de Quatre Morceaux. On s’abonne à Paris, chez S. Gaveaux, Editeur de Musique et Md d’Instrumentes, Au Ménestrel Français, Boulevard des Italiens et Passage de l’Opéra, No 2.

Le Ménestrel and Le Menestrel Français are not mentioned in Fellinger.

Les Muses Lyriques,[9]Compare Zuth: Muse Lyrique. Journal de Chant avec Accompagnement de Guitare ou Lyre, Rédigé & Publiée par MM Lafont, premier Violon de la Chambre du Roi, et A… P… Ce Journal, composé de 48. Nos contenant chacun une Romance Inédite, paraîtra en 24 Livraisons de deux Numéros, qui seront adressées Franches de Port aux Souscripteurs, le 1er et le 15 de chaque mois, sans que les Livraisons éprouvent jamais un seul jour de retard. On souscrit A Paris Chez Mr Lafont, Rue Taitbout, No 9. We have the first annual volume of this journal, which contain a large number of compositions by Lafont for song and guitar. A. P. is identical with Aimé Paris (cf. Fétis). However, there is no music by Paris in our issues of the journal, but he has written the words to four pieces: 1, 19, 41, 42. C. Farcy was an active collaborator which is not mentioned in the handbooks.

The term “handbooks” seems to be used by Fryklund as a generic appelation for the various reference works previously mentioned by him.

In the first annual volume it is mentioned that he wrote the music to certain pieces (most likely the guitar accompaniments are by him): 6, 15, 21-22. In other cases it is said that he wrote both music and guitar accompaniment: 19, 41, 43. Occasionally both words as well as music are by him: 7, 15. In 25-28 (Cantate) he has provided only the words.

According to Fellinger Les Muses Lyriques was published in 1821. However Fellinger does not seem to know the composer Aimé Paris. Farcy is probably identical with François-Charles Farcy (1792-?) mentioned by Fellinger.

Soirées Musicales ou Nouveau Recueil de Chant Avec Accompagnement de Guitare ou Lyre Composé d’Airs, Romances et Nocturnes de MM. Plantade, Romagnesi, Pradher, Jadin, Lambert, Zimmerman, Fabry Garat, Gustave Dugazon et autres Compositeurs distingués. Les Livraisons se feront exactement les 5, 15 et 25 de chaque Mois. On souscrit à Paris, chez Bressler, Rue de la Paix No 24. We have number six of the second annual volume which contains a romance with music by Romagnesi and guitar accompaniment by Meissonnier Jeune.

Fétis mentions a Journal des Troubadours which Pacini published together with Blangini. We have several numbers of this journal, all containing songs with accompaniment of guitar or lyre. Our numbers have different publishers: A. Meissonnier, de Momigny (both for the second annual volume), and Lélu. According to Fétis, the Journal des Troubadours was so successful that Pacini decided to become a music publisher.

Le Troubadour Ambulant, Journal de Guitare Composé de Soixante Feuilles, Choisies dans les Ouvrages Nouveaux, des auteurs les plus distingués. On s’abonne A Paris, Chez Mr Pacini, Compositeur et Professeur de Chant, Rue Favart, No. 12. It has a somewhat varying title page representing a guitar-playing gentleman. We have several issues without years (probably the first annual volume), but also issues belonging to the 5th and 6th volumes. In our examples the guitar (or lyre) accompaniments are written by Valentin Castelli, Meissonnier Jeune, Julia Piston and J. Vimeux.

According to Fellinger Soirées Musicales was published in c. 1820—c. 1821. In Fellinger only one volume of Journal des Troubadours is mentioned. This volume was published c. 1813 by Lélu. A journal with the same title for piano or harp and published by Momigny is mentioned by Fellinger p. 260-268. Le Troubadour Ambulant was published in 1817-1828. See Fellinger pp. 537-555.

Eitner mentions one Castro, “ein zu Paris lebender Guitarrist, der am Ende des 18. Jhs. ein ’Journal de Musique pour la guitare, redigé par Castro’, 16 Nrn., herausgab.” The Castro mentioned by Zuth, who in 1825 “auf welcher er zur Freude der Damen die grosse Trommel imitiert” was probably the some person. We have examples of no less than four journals published by Castro: 

  1. Journal de Chansonettes Italiennes, Publiées Avec Accompagnement de Guitare, Par S. Castro. A Paris. We have the issues 13-24, some of which have guitar accompaniments by Castro. 
  2. Journal de Piéces du chant Espagnol, Par divers Auteurs, Publiées Avec Accompagnement de Guitare, Par S. Castro. A Paris. We have the issues 13-24, and most of the compositions therein are by Castro, some are arranged by him.
  3. Journal de Piéces de Musique pour la Guitare. Tirées de divers Auteurs Espagnols & autres; Publié Par S. Castro. A Paris. We have two issues which contain solo pieces for guitar by Sor and Federico Moretti. 
  4. Journal de Musique Ètrangère Pour la Guitare ou Lyre, Redigé Par Castro. A Paris. We have one issue which contains solo pieces for the guitar by Castro as well as by the Spaniards Soto,[10]Spelling as in this issue. Laporta and J. Arizpacochaga.[11]The above-mentioned issue of the journal can be found in a volume, oblong folio, with the notation: Frizon, 1819, entirely devoted to Castro. In addition also Castro’s compositions op … Continue reading

Fellinger mentions only Journal de Musique Ètrangère and dates the journal to c. 1808. No information is given about Castro as publisher in Devriès.[12]Re L’Echo des salons, Journal de chant, in which amongst others Francesco Molino has written guitar accompaniments, see the following.

Even the French provinces have produced journals for the guitar. In Rouen, the Journal de Lyre aux Emules d’Apollon, Rédigé Par J. Mees, Professeur et Editeur de Musique. Ce Journal contiendra 52 Nos—on s’abonne à Rouen, was published. We have most of the issues of the first annual volume, which contain compositions for voice and lyre or guitar, and one solo for lyre by Frederic de Magalon. In this Journal Mees has written several compositions and accompaniments, and for one piece, he also wrote the words.[13]Also by Mees we have a composition Les Étrennes, Duo Concertant pour Lyre ou Violon, composé et dédié A M. Martin, Par J. Mees, Professeur. Op. 12. A Rouen, chez l’Auteur. 8o. Title … Continue reading

La Lyre Française was produced in Douai: “ce Journal qui paraîtra périodiquement est pour Piano Harpe et Guitare. on s’abonne chèz l’Auteur à Douay et chèz tous les Marchands de Musique.” The numbers in our collection contain L’Exil du Troubadour. Recueil de Romances. Musique d’Al. Meurger. Each romance has a guitar accompaniment. In one of our last issues the publisher is given: “M. Meurger auteur de ce Journal ayant eu à se plaindre du peu de soin qu’on avait apporté à la gravure de ses derniers Nos, previent ses abonnés qu’à compter de la quatrieme livraison son Journal sera gravé à Paris.[14]Re Plouvier’s Journal in Brussels, see below.

Journal de Lyre aux Emules d’Apollon and La Lyre Française are not mentioned in Fellinger. Could Al. Meurger be identical with the Alphonse Meurger le Jeune, by whom music was published in Journal de Lyre ou Guitare and Le Troubadour ambulant? A good overview of most of the guitar journals can be found in Fellinger. From this bibliography it is however clear that the holdings of these journals in libraries are indeed very incomplete. The journals in the Fryklund collection was obviously not known to Fellinger and subsequently not included in Periodica Musicalia.

Several amongst the most important articles in Zuth on the French guitarists in Paris we have been able to extend with addenda—e. g. those concerning Doche, Gatayes, Lemoine, Antoine and Joseph Meissonnier. Zuth’s title for Antoine Meissonnier’s “Méthode” does not completely agree with the title of the example in our collection: “Nouvelle Méthode simplifiée Pour la Lyre ou Guitar—par Meissonnier Proffesseur de Guitarre et de Lyre. A Paris, chez Sieber” (cf. Fétis). We have also seen another “Méthode” by Meissonnier: Méthode Compléte pour La guitare par A. Meissonnier.[15]In these instances the name is spelled as in Fétis with two n’s. Zuth spells it with one.

We have several compositions for voice and guitar or lyre accompaniment by Jean Baptiste Bédard (Eitner mentions concerning songs only “1 Chans. Einzeldruck [br. Mus.”).

Charles Doisy has written several compositions, particularly for the guitar. A good overview of his music is given in a couple of catalogues which accompany his work. In these catalogues it is revealed that he composed or arranged in addition to guitar solo, duets for 2 guitars and for guitar with violin, viola, cello, flute, hautbois (or clarinet), bassoon, choir or piano, as well as trios for 3 guitars, and for guitars with violin and viola. Furthermore, he has written 2 concerti for guitar accompanied by 2 violon obligés, viola and cello.

One such concerto is an arrangement of Viotti’s Concerto No. 18. See: “Un fondo desconocido de música para guitarra: ¿Los papeles de D. Antonio Chocano?” Por Luis Briso de Montiano. [DGA Editor: need article link] Another copy is in the collection of Matanya Ophee, olim the collection of Alexander Ivanov-Kramskoi.

Also in the catalogues there are several Recueils d’airs with music by Doisy (we have also numerous guitar accompaniments by him to songs by others published by his own publishing company), and the “Petite méthode de Guitare” which according to Zuth was announced both “sans airs” and “avec des airs”. Otherwise, in the catalogues there are various other méthodes by Doisy; for example for Clarinette, Violon, Flûte-traversière, Flûte-à-bec, Galoubet and Flageolet. Fétis and Eitner amongst others call Doisy Doisy-Lintant, a designation that has arisen out of misunderstanding: Doisy and his colleague Lintant were closely connected, and Lintant dedicated to “son confrére” Doisy “Trois Duos concertans pour deux guitare”. See also Plouvier below.

Prat, p. 109, repeats the mistake of Eitner to combine Doisy and Lintant, but raises some doubts concerning them being one and the same person. Prat says that Charles Doisy died in Paris 1807. Devriès I, p. 59, is more uncertain on this point giving Doisy’s death to 1806 or 1807.

Charles Lintant, “artiste du Théâtre Feydeau”, “professeur du guitare”, has arranged accompaniment for guitar or lyre to songs by others, particularly for Fréres Gaveaux, but also for Janet and Naderman.[16]In the article on Lintant Zuth spells Naderman with two n’s. However, the members of Naderman’s family spell it with only one.

One should note especially “Recüeil de Romances de Lamparelli Arrangées Pour la Guitarre par Le Cen. Lintant, Professeur de cet Instrument. Paris, Naderman. Our romances are numbered 1-11 in 2 volumes. They are presumably the same romances by Lamparelli which Fétis states have piano accompaniments (“onze recueils”?). Our recueils are so much more notable since Eitner could only give information about one romance by Lamparelli (piano or harp accompaniment) in “Mailand Cons”. Zuth mentions that Lintant wrote “eine kleine Gitarrschule” (Paris, Lemoine) and Fétis, a “Méthode suivie d’un abrégé des principes des accords fondamentaux pour apprendre à faire un accompagnement; Paris, G. Gaveaux” (cf. Eitner). We have a Méthode by Lintant which belongs to a different type and which is not mentioned in the literature: Nouvelle Méthode Pour la Guitare, Avec un supplement pour la Lyre Dédié à Mdlle Aurore de Bellegarde par Lintant, Artiste du Théatre des Arts et Professeur de Cet Instrument. Paris, Frères Gaveaux. This Méthode contains also romances, both compositions and arrangements by Lintant. We have those indicated by Zuth as “10 Airs var.” : Dix Airs Variés Pour Guitare ou Lyre Par Lintant. Paris, Cherubini, Méhul.

According to Prat, p. 179, Lintant was born 1758 in Grenoble and died 17 March 1830.

Jean Baptiste Phillis is represented in our collection by a particularly large number of accompaniments which he wrote for lyre or guitar[17]Phillis was also a teacher of the cithern. In a print from 1787 he is described as “Maitre de Guittare et de Sixtre”.  to others’ compositions for Pleyel (cf. Zuth: “In einem Druck von Pleyel, Paris (Nationalbibl. in Wien, Nr. 9315) ist Ph. mit Liedbearbeitungen zur Gitarre vertreten.”); we also have lyre or guitar accompaniments by Phillis written for Cherubini’s and Sieber’s publishing companies. We would also mention here a “Nouvelle méthode de lyre” by Phillis which is referred to in Mareschal’s “Plagiat” (see our article on the lyre guitar, p. 32-33), and this “méthode” is probably identical to that mentioned by Fétis: Nouvelle methode pour la guitare a six cordes, Paris, Pleyel.

The article mentioned is Fryklund’s “Studier över lyragitarren” in (Svensk tidskrift för musikforskning 9/1927, pp. 117-148). About Mareschal’s “Plagiat”, see also Matanya Ophee, “Hommage au beau sexe” (Gitarre & Laute 10/1988, Heft 2, pp. 15-24). As Ophee points out Stephen Bonner’s book on the lyre guitar, The Classic Image, Harlow 1972, would have gained a lot if its author had known about Fryklund’s research and collection. A “Phillis, père” is mentioned in: Rondo d’une folie chanté par Elleviou, musique de Méhul arrangé par Phillis père, pour Guitare ou Lyre. Paris, Pleyel. A “Mlle Phillis ainé” is mentioned as singer in: Air de Maison à vendre Chanté Par Mlle Phillis ainé. Paroles de Duval, Musique de Dalayrac. Accompagnement de Guitare Par Lemoine. Paris, Imbault. Both these works are also in the Fryklund collection. Whether “Phillis père”, “Phillis ainé” and Jean-Baptiste Phillis is the one and same person cannot be established. According to Prat, pp. 245-246, Phillis was born in Bordeaux 1753 and died in Paris 23 December 1823. Phillis’ Nouvelle méthode Pour la Lyre ou Guitarre six cordes . Oeuvre 6e. A Paris Chez Pleyel is in the library of Musikmuseet, a copy which probably originally came from the Fryklund collection. In the book can be found a delightful engraving of a lyre guitar by Ory with the text: Les meilleures Lyres et Guitares se font chez Ori, Luthier à Paris rue St. Eustache No. 27.

B. Pollet—in Fétis and Zuth: Jean Joseph Benoit Pollet—wrote music and accompaniment for guitar or lyre for several songs and also arranged accompaniments for these instruments to song compositions by others. He was also a music publisher, not mentioned by Fétis, who however, mentions that his son “se fit marchand de musique”. We also have several romances with guitar accompaniment which were published by Pollet in Paris, Rue St Dominique, No 970, and which have the autograph signature A. Pollet, and belonged to Charles François Alexandre Pollet (see Fétis and Zuth).[18]On p. 243 Bone has incorrect Christian names for the brothers Pollet. Benoit Pollet (see also below) is called Jean Pollet, and Alexandre Pollet, Charles Pollet.

On Jean-Benoît-Joseph, dit Benoît, Pollet (“le jeune”) much information is given in Devriès I, pp. 131-133. Pollet was born in Béthune in 1755 and died in Paris 16 April 1823. Benoît Pollet had an elder brother, Charles-François-Alexandre Pollet (“aîné”).

Concerning Joseph Vimeux Zuth indicates only that he published two compositions for guitar by Schott in Mainz. However, Vimeux seems to have been a particularly popular composer in his time and he wrote a large number of compositions for guitar solo, for piano and guitar and especially for voice and guitar, for which in certain cases he has written the lyrics. An endless number of song compositions for which other composers have written the music, have been provided with guitar accompaniments by Vimeux, amongst which are whole series of melodies from operas or opéras comique.

In his Handbuch Zuth mentions the method which Salomon wrote for the harpo-lyre (cf. Fryklund, Studier över lyragitarren, pp. 27-28), and precedes the name Salomon with the initial M. (as do Fétis, Mendel, Riemann, etc.). This M. is most likely an abbreviation of Monsieur (cf. for example above, M. Vidal for B. Vidal in the title of Vidal’s Recueil Périodique). In his Méthode, Salomon calls himself J. F. Also another guitarist, Guichard’s, Christian name has been the subject of discussion. Fétis claims that his name is François and not Jean-François. We would however counter that on a song composition with music and guitar accompaniment by Guichard, published by Frére, the initials J. F. appear and it would seem probable that Frére, who according to Fétis also published a Petite Méthode de guitare by Guichard, should know his first name.

According to Prat, p. 159, Francisco Guichard was born in Mans in August 1745 and died in Paris 24 February 1807.

The instrument maker, Marchal is listed in Zuth,[19]Concerning a remarkable lyre guitar by Marchal in the author’s collection see Fryklund, Studier över lyragitarren, pp. 12-14. but Zuth does not mention his rare pamphlet on the lyre guitar, the instrument discovered by Marchal: Plagiat dénoncé aux musiciens et aux amateurs des lyres nouvelles, inventées par Mareschal, Luthier à Paris. 15 pp. 0,20 X 0,125 (concerning this brochure see Fryklund, Studier över lyragitarren, pp. 20, 32,33).

The only known copy of the brochure is in the library of the Brussels Instrument Museum. Matanya Ophee’s article mentioned above contains a full facsimile of it.

Amongst guitarists in Paris represented in our collection but not found in Zuth are several which are not included in Fétis, Eitner or Bone. Of these we would here mention Defrance, “professeur”; Lami, “artiste de l’Opera Buffa”; “professeur”; Julia Piston Mlle, “professeur”, who wrote accompaniments for guitar or lyre to song compositions by others; Henry, author of a guitar method; and Maurice de Raoulx, “professeur”. We have the third edition of Henry’s guitar method, Methode Pour la Guitare Divisée en deux Parties Composée et Dédiée A Sa Fille par Henry. Op. 21 3ème Edition. A Paris, chez Janet et Cotelle. A Nismes, chez Longuet. Engraved, titlepage, pp. 1-145. 4to. Who, then, is this Henry, whose guitar method obviously had such a large public? There was a Bénigne Henry, “professeur”, who wrote the music and accompaniment for the lyre and guitar, and accompaniment only to several songs for Corbaux, and it is quite reasonable to presume that he is the author of this Méthode. That Corbaux also published a romance with music by Bénigne Henry, for which Gatayes wrote the accompaniment for guitar and lyre: Le Bonheur des champs possibly seems a bit strange, but this can be due to the fact that another specialist than the author of the guitar method could have been trusted to write the guitar accompaniment for his composition.[20]A guitarist Henri is mentioned by Zuth in the article on Sola: “Die AmZ gedenkt 1815 der Gitarrspieler Sola und Henri in Genf”.

Maurice de Raoulx was teacher of the guitar to Duchess de Berry; in a composition for voice and piano in the author’s library, he calls himself “Guitaristede S.A.R. Madame Duchesse de Berry”. Raoulx has composed for 1 and 2 guitars as well as for voice and guitar, and has written guitar accompaniments to others’ songs. A Fantaisie for the guitar on a theme of Rossini which is in the author’s collection is op. 32.

The mentioned Gatayes is of course identical with Guillaume Pierre Antoine Gatayes (1774-1846). The number of individuals who were active arranging guitar accompaniment in France during this period exceeds 200.

Like Eitner and Bone, Zuth omits Étienne Jean Baptiste Pastou. However, Fétis cites several compositions for guitar by Pastou, with the last opus number being 10. In our collection we have Opus 14: Nouvelle Retraite Espagnole suivie d’une Savoyarde et de quatre morceaux faciles et à effet Pour Guitare Seule Dédiées à son Elève Madame Schenling et Composés Par B. Pastou Fondateur de l’Ecole de la Lyre Harmonique, Professeur d’Harmonie, de Violon, de Guitare, etc. A Paris chez Bernard Latte. Titlepage pp. 2-19. 4to. We also have: Les deux noblesses. Chansonette en forme de Ronde. Parolesde Mr Firmin Ainé. Musique et accompagnement de Guitare Par B. Pastou. à Paris, Chez Hentz, Jouve.

Zuth mentions Trille Labarre but not Théodore Labarre, who is included in Fétis and Bone (under Trille Labarre) but nor in Eitner. We have song compositions by Théodore Labarre, who was primarily a harpist. To one of these compositions he also wrote a guitar accompaniment. Bone mentions several other songs with guitar accompaniment written by him which were published by Schott in Mainz.

Théodore Labarre lived 1805-1870, according to Fellinger p. 1019.

In our collection there is a Nocturne, à une ou deux voix, for which J. E. Fléché wrote words, music and guitar accompaniment. This J. E. Fléché is obviously the same as J. A. Fléché listed in Fétis and Eitner. Like the composer of the above-mentioned Nocturne, J. A. Fléché had Pacini as publisher. As with Zuth, Bone also omits Fléché. He has often been confused with J. A. M. Laflêche, teacher of guitar in Lyon, who is not mentioned by Zuth or Eitner, but is by Fétis and Bone (under Lfleche!).[21]Concerning Laflêche, see above and below.

Rigondi, by whom we have guitar accompaniments to other’s songs. He could possibly be the same as the Regondi mentioned by Zuth, a virtuoso on the guitar and melophone, about whose birthplace there is disagreement—Lyon or Genoa. In Heyer’s Katalog, IV, No. 1071, Regondi is said to have produced an Albumblatt which is presumed to be a variation for melophone, and which is now in the author’s library.[22]Zuth has a long article on the melophone. Consequently one would have expected a mention in the Handbuch of the French melophone virtuoso Louis Dessane, who like Regondi, had great … Continue reading

Giulio Regondi was probably born in Geneva in December 1822. Concerning the question of the melophone and the concertina see Douglas Rogers “Giulio Regondi III” (Guitar Review 97, 1994, p. 15).

Occasionally guitarists are listed with initials. Some of these are easy to decipher: for example, B. P. as to several accompaniments for lyre and guitar indicates the publisher and composer Benoit Pollet; likewise A. R. on a guitar accompaniment by the same publisher and composer, A. Romagnesi means the same; and Edouard D. (once, in a misprint, Erouard D.) of whom we have two guitar accompaniments for other’s songs, one published by Cochet, probably corresponds to E. Dhauterive, who also wrote guitar accompaniments for Cochet.

Other signatures however, we have not been able to interpret—for example M. G., L. H., Paulin R., J. B. C. V., Une victime des Passions 1829, etc.[23]Compare the following S. H. in Lille.

As mentioned earlier, the leading Italian guitarists resident in Paris were Carcassi and Carulli. We will only take up part of Matteo Carcassi’s activities, which encompassed music for songs and guitar accompaniments. Carcassi published songs with A. Meissonnier, for which he wrote both the music and guitar accompaniments, such as: Il faut partir. Nocturne à deux voix. Paroles de Mr Le Comte de Messence. Musique et Accompagnement de Guitare Par Matteo Carcassi. Occasionally Carcassi was his own publisher: Adieu ma Laure. Romance. Paroles de Mr ***. Mise en Musique avec Accompagt de Guitare, et dédiée à Mr Thenot. par Matteo Carcassi. à Paris, Chez l’Auteur, rue Chantereine no 21. Propriété de l’auteur. However, Carcassi was mainly active as an arranger of guitar accompaniments for songs for which others wrote the music. In this capacity he arranged song pieces for his compatriot, the music publisher Pacini, for e. g. his journal Le Troubadour ambulant, Journal de Guitare and the journal Le Ménestrel (see above). He also wrote guitar accompaniments to Rossini’s songs Soirées musical (12 issues from Troupenas) and many guitar accompaniments to songs from opéras comiques (even also from some other operas), mainly for Troupenas, but also for Brandus, Delahante, Grus, and Richault. Examples of the various operas which Carcassi arranged we would like mention: Adam La Reine d’un jour; Le Brasseur de Preston. Auber, Actéon, Gustave ou Le Bal Masqué; Le Cheval de bronze; Le Domino noir; Le Lac des fées; Les Diamans de la couronne; Le Serment; Lestocq; Zanetta. Halévy Le Val d’Andorre. Hérold La Médecine sans médecin; Le Pré aux clercs. Labarre. L’Espirant de marine. Puget (Loïsa), Le mauvais oeil. Just the series from these operas encompasses more than 160 issues. Cf. Zuth.

Zuth mentions several editions of Ferdinando Carulli’s famous guitar method, to which in the following we would add a few more. Carulli has also arranged a large number of accompaniments for guitar or lyre, or only guitar, especially for Pacini, but also for many other publishers in Paris such as Boieldieu jeune, Gaveaux (in Le Ménestrel Français), Janet et Cotelle, Launer, Lélu, Naderman, Petibon, Petit, Richault. Carulli also arranged guitar accompaniment for his son Gustave’s Sérénades, published by Bernard Latte.

Otherwise, by Ferdinando Carulli we have several compositions, especially duets for 2 guitars.[24]The following compositions by Carulli are in quarto format. We have the following duets from Op. 1: Trois Petits Duos Nocturnes Pour Deux Guitares (with Carli), to Op. 333: the arrangements by A Romagnesi’s 12 Favourite Romances for one or two guitars (with A. Romagnesi). In addition we have guitar duets published in Paris by Aulagnier, Cotelle, Janet and Cotelle, Le Duc, Lélu, Victor Dufaut, and Pacini. Occasionally the publisher of the composition printed notices of great interest. Carli adds the following NB to Op. 57: Trois petits duos Dialogués Pour deux Guitares: Ces Trois Duos devrait portés[25]Sic! le No. 96 par ce qu’ils ont éte composés après l’Op. 95. mais l’editeur pour remplir la Lacune de la Collection il y à[26]On op. 61 Zuth has Ph. before Gragnani; on p. 123, Filippo. mis l’Op. 57. The duets from Carli—who published no less than 29 opus numbers of Carulli’s duets—are accompanied by several catalogues covering Carulli’s compositions also published by Carli. These catalogues are of exceptional interest and contain information about a large number of compositions for guitar or lyre solo, duets for 2 guitars or for guitar in combination with violin, viola, flute or piano; trios for 3 guitars (op 255), or for guitar with flute and violin (Op. 119, 123, 149); or violin and viola (Op. 103); concertos Op. 140 for “deux Violins, Alto et Basse obligés deux Haut-Bois, Deux Cors et Contre Bass, ad libitum” (cf. Zuth’s information); and Op. 207, 208 for guitar, violin, viola and bass or guitar and piano. Many of the compositions in these catalogues are not mentioned by Zuth. However, mentioned by Zuth (after Eitner) in the catalogues there is Méthode complète de guitarre ou lyre, Op. 27, which opus number Zuth queries with an exclamation mark. Op. 27 is in an older catalogue from Carli: Méthode seconde édition, revue, corrigé et augmentée par l’Auteur; in a later catalogue, the 4th edition has the same opus number: Methode complète 4e Edition revue, corrigé et augmentée, par l’Auteur, et enrichie de son portrait. In the same catalogue, the 5th edition is Op. 241: 5e Edition et nouvelle Méthode. Zuth points out that Carulli dedicated Op. 10 to his student Gragnani.[27]“Op. 5” is not printed but written in. However, Op. 46 is also dedicated to him: Trois Grand duos Pour deux Guitares, Composés, & Dédiés À son Ami Filippo Gragnani par Ferdinando Carulli. An unusual dedication is that which appears in connection with Op. 5: Grand duo Concertant pour deux Lyres ou 2 Guitares Composé par Carulli Dédié à Monsieur Cezar de Trogoff par Meissonnier Proffesseur de Lyre ou Guitare Prix 4f 10c. A Paris, chez Aug.te Le Duc et

Otherwise, we have guitar duets by Carulli dedicated to “son Ami Paolo Advocati” (Op. 62), “Monsieur Heilman” (Op. 90), and “Monsieur Rougeon Desrivieres Amateur” (Op. 34). A dedication to Carulli appears in the Ouverture du Calife de Bagdad, Musique de Boieldieu, Arrangée pour Lyre ou Guitarre. Avec Accompagnement de Violon obligé et Dediée à son Ami Carulli Par Le Moyne, Professeur.

The copies of Carulli’s opuses 1, 34, 46, 57, 62, 90, 103, 119, 123, 140, 149, 207, 208 in Fryklund’s collection are not mentioned in Torta. The Grand duo Concertant dedicated to Cézar de Trogoff, opus 5, is a bit of a mystery. According to Torta’s catalogue there are at least three different works with opus number 5 and none of them is the Grand duo Concertant. Only one work with a similar title can be found with Carulli as composer and that is his opus 328, of which no copy has been located. Obviously Torta did not know of Fryklund’s “Bidrag till gitarristiken” as it is not mentioned in the bibliography and the lacunae in Torta’s catalogue are probably also due to the fact that many of these works in the Fryklund collection cannot be found in the catalogues of the Music Library of Sweden.

Zuth also includes a few other Italians in Paris who are included in our collection. For example, Borghese or Borghesi[28]have come across the spelling Borghesy a few times. —certainly denoting the same person—of whom we have accompaniments for guitar (or lyre) to several songs with music by others, published by Mme Duhan et Cie, and H. Berton, and who is certainly identical with the Italian immigrant to Paris, A. Borghesi (Zuth) and Antonio Borghese (Fétis and Eitner). By Luigi Castellacci, who was one of the most appreciated teachers of guitar in Paris (cf. Zuth and Fétis) we have several accompaniments for guitar, published by his compatriot Pacini, e. g. Preux chevalier. Romance. Paroles et Musique par J. Niépce and Douze Contre-Danses Nouvelles Pour deux Guitares Composées Par Lugui[29]A printing error for Luigi. Castellacci. Op. 33. à Paris, Chez Richault. Title page. Guitar I: 6 pp. Guitar II: 4 pp. Folio. Also Merchi would be numbered amongst the Italian guitarists in Paris. He published many works for guitar, of which the majority have disappeared. Unknown to Fétis, Eitner, Zuth and Bone is Op. 6 in the author’s collection: Recueil d’airs Avec accompagnement de Guitarre Par Musique et Tablature dédié A Monsieur De Rochebrune Conseiller du Roy Commissaire au Châtelet par Mr Merchi. IVe Livre de Guitarre. Oeuvre VIe. Paris, L’Auteur. 2 title pages, p. 1 preface, pp. 2-27, oblong folio. Francesco Molini who was also a leading Italian guitarist in Paris has written guitar accompaniments to several songs, with the music by others, for example: L’Echo des salons. Journal de chant, 1ere Année. For his Nouvelle méthode complette pour Guitare ou Lyre, see Fryklund, Studier över Lyragitarren, p. 19.

Merchi is probably the same as Giacomo Merchi, born in Brescia, established in Paris from 1753 where he also died in 1793. See Devriès II, p. 118. In Fryklund’s collection housed at Musikmuseet the following work by Merchi can also be found: Le guide des ecoliers de guitarre—Par Mr. Merchi. / Ve livre de Guitarre. Oeuvre VIIe.—Paris, L’Auteur, rue St. Thomas du Louvre, du côte du Chateau d’Eau, chez le 1er Menuisier, le second Escalier aprés la Cour au 1er Et aux adresses ordinaires de Musique. Francesco Molini’s real surname was Molino. Born in Ivrea 1768, he went to Paris in 1819 and stayed there until his death in 1847. See Molino, Francesco, Opere scelte per chitarra a cura di Mario Dell’Ara. Ancona 1993. Introduzione. L’Echo des salons is mentioned in Fellinger, p. 822, but only a few issues have been located and not this one in Fryklund’s collection.

Sola has written one guitar accompaniment in our collection: Le Retour, Romance, Musique de Mr F. Paër, Accompagnement de guitare par Sola, professeur de chant. A Paris, chez Pacini. That Sola was Italian has been confirmed beyond all doubt. The guitarist mentioned in Zuth, Charles Michel Alexis Sola, who was born in Turin and who seemed to have stayed some time in Paris: “About the end of 1810 he visited Paris where he published other compositions and was esteemed as a performer and teacher of the guitar and flute” (Bone). This Sola also taught singing and published a large number of compositions in Paris (see Fétis). In 1817 he moved to London. In the following one work is named: Instructions for the Spanish Guitar, dedicated to him by J. Mollino. Bone also mentions a brother of this Sola, Alfreddo, “a vocalist of repute”.

About Sola see Button, pp. 11-12. Button has not included Fryklund’s “Bidrag till gitarristiken” in his bibliography in spite of the fact that Fryklund’s article also contains interesting information about the guitar in England which is omitted in Button. Mollino’s Instruction is in the Fryklund collection, but kept in Musikmuseet, Stockholm.

Zuth does not include Antonio Francesco Gaetano Saverio Pacini, born in Naples in 1778, who came to Paris in 1804 where he died in 1866. In Paris Pacini was greatly favoured as a singing teacher, even by such prestigious persons a “la maréchale Bernadotte”. He also often signed himself Professeur de Chant in his publications. He lived partly at Boulevard des Italiens 11, partly Rue Favart 12. His compositions were published simultaneously by both Pacini and Bochsa.[30]Concerning Pacini’s activities as publisher of the Journal des troubadours and Le Troubadour ambulant, see above. Pacini often wrote the guitar accompaniments himself to his own and other’s compositions for his own publishing company, but he also relied on others such as Carulli, Meissonnier Jeune, and Vimeux. The latter has, for example, written guitar accompaniments for Ballade. Mise en Musique par A. Picini, et chantée par C. A. Boulanger dans Marie Tudor, Drame de Victor Hugo. A Paris, chez Pacini.

About Pacini (1778-1866) as publisher much information can be found in Devriès II, pp. 332-334. “La maréchale Bernadotte” is probably Desirée Clary, wife to Jean-Baptiste Bernadotte, who in 1814 became king of Sweden under the name of “Karl XIV Johan”. As Jean-Baptiste became “maréchal” in 1804 one can assume that Pacini’s teaching of Desirée must have occurred some time between 1804 and 1814.

Certain other names of guitarists omitted in the literature, can indicate Italian origins: 

Amantini. Our collection includes: Barcarole à la Venitienne Chantée Par Elleviou dans l’Opera de Michel-Ange. Paroles de Delrieu, Musique de N. Isouard Accompagnement de Guitare Par Amantini. Propriété de l’Auteur (Isouard).

Castelli, Valentin. We have one guitar accompaniment by Castelli: Je ne le dirai pas. Romance à deux voix. Paroles et Musique de Felix Bodin. Accompagnement de Guitre (sic!) par Castelli. A Paris, chez Pacini. We have also two romances, published by Pacini to which Castelli has written the music and presumably also the guitar accompaniment.[31]See also Le Troubadour ambulant above. Compare the Italians with the name Castelli in Eitner. The supposition of Castelli’s Italian origins can be further strengthened by the fact that he had Pacini as publisher.

Castelli is also represented by compositions and guitar accompaniments in Le Troubadour ambulant, 2e Année (1818), 10e Cahier, 3e Année (1819), 4e Cahier, 6e Année (1822), 1er Cahier where his name is “Ch: Valentin Castelli”, and 4e Cahier the same year, 7e Année, 6e Cahier. He is also represented in Journal d’Apollon 1ere Année (c. 1820), 12e Livraison. See Fellinger pp. 538, 539, 542 and 605. The work in Fryklund’s collection is not be found in Fellinger.

Cerruti, W. Compare the Italians with the name Cerruti in Eitner. We have: Ombra adorata aspetta Rondó di Giulietta e Romeo Musique de Zingarelli Chanté au Théâtre de la Cour devant Leurs Majestés par Crescentini—Accompt de Lyre ou Guitarre par W. Cerruti. 2e Année du Journal des Troubadours.

In Le Troubadour ambulant 1ere Année (1817), 7e Cahier, a composition by Cerruti is to be found: Rondo pour la Guitarre ou Lyre. See Fellinger p. 994.

Mariscotti, L. Compare in Eitner the Italian name Marescotti. We have: Barcarole. Paroles italiennes. Musique avec accompagnement de Guitare. Par L. Mariscotti. A Paris chez l’Auteur, rue de la Grande Truanderie No 2. 

Seroni, Tito. Presumably an Italian immigrant to Paris. Also with the name in French form: Tito Séron. We have two works by Seroni, which puts us in the position to reveal both his address in Versaille: Avenue de St Cloud, No 55, and a date of his stay in Paris (1834)—the latter because of a dedication, which to all appearances was written in France: 1. Méthode Raisonnée de Guitare dédiée à ses élèves et à MMrs les Professeurs par Tito Seroni. Se vend a Paris Chez Bressler—A Versailles, Chez Pfeiffer,—L’Auteur. 4to. Title page, 52 pp. With the author’s own signature. Includes a dedication to Lydia A. Nicholson, le 2 Septembre, 1834. In the introduction it is mentioned that: Je conseille, et recommande aux amateurs de se servir de Guitare dite à la Sagrini, ou Guitare tierce, ainsi nommée parce que on peut la monter à une tierce au dessus du diapazon. This method also contains some duets for 2 guitars. 2. Bataille de Campillo de Truxillo ou Fantaisie guerrière pour Guitare Dédiée à Madame la Comtesse Armand de Houdetôt et Composée par Tito Seron. Propriété de l’Auteur. à Paris, au Magazin de Musique de A. Meissonnier—A Versailles, Chez l’Auteur, Avenue de St. Cloud, No 55. 4to. Title page. 9 pp. Also this work has the author’s autograph signature and a written dedication: A Miss L. Nicholson de la part de l’Auteur T. S.

The Méthode Raissonnée is kept in Fryklund’s collection at Musikmuseet in Stockholm.

Volpato, “professeur”, by whom we have 2 guitar accompaniments for other’s song compositions, published by Pacini. Volpato is not mentioned in the handbooks. Presumably he was originally from Italy—volpato—is a genuine Italian word, and the Italian Pacini was his publisher.[32]Also Pertosa, who wrote several accompaniments for guitar or lyre to others’ songs in the Journal des Troubadours, published by the Italians Pacini and Blangini, and for Nicolo Isouard. … Continue reading

In Le Troubadour ambulant, 9e Année (1825), 9e Cahier, a composition by Volpato can be found: La Berceuse, Nocturne à deux voix. See Fellinger, p. 548. The “Pertosa” mentioned in the footnote is probably identical with F. Pertosa with works in Journal des Troubadours. See Fellinger p. 382.

Finally, we would list a few compositions in our collection, published in Paris by Italians totally unknown to the authors of the handbooks: 

Fabricatorello, Giuseppe (Griseppe in the following work is assuredly a printing error.) We have: Duettino Per due Chitarra. Musica del Signor Griseppe Fabricatorello. Appendix to Journal de Lyre ou Guitare by Meissonnier.

Paradyso, by whom we have Cavatina. Paroles de Mr D. ***. Musique et accompt de Guitare Par Sigr de Paradyso.

Finally, we have a piece published in Paris by another Italian: Rondo Suivi d’un air varies[33]= varié pour Lyre ou Guitare. Composed by Luigi Moretti. Appendix to Meissonnier’s Journal de Lyre ou Guitare. This Luigi Moretti is possibly the same as the one mentioned by Zuth.

The foremost Spanish guitarist who emigrated to Paris was Ferdinand Sor, who was born in Barcelona in 1778 and died in Paris in 1839. We have: O vous que Mars rend invicible, Romance, Chantée dans les Trois Sultanes, Par Melle Nadeje Fusil, Orpheline de Wilna, Mise en Musique avec Accompt. de Guitare, Par F: Sor. A Paris, Au Magasin de Musique de A. Meissonnier. A receipt by Sor in our collection is of interest as one discovers that Pacini was also his publisher, and that one opus 22 was composed by him, which is not mentioned in the handbooks: “Je declare céder en toute proprieté à M. Pacini l’oeuvre 22 dont le titre vingt quatre Pieces progressives pour la Guitare. Paris le 8 aout 1832. Ferdinand Sor.” See also Fétis, Eitner, Zuth. The latter does not include the études and exercises which Sor composed for Salomon’s harp-lyre (see Fryklund, “Studier över lyragitarren”, p. 17).[34]Concerning S. Castro and Federico Moretti who were born in Naples, but naturalized Spaniards, see above. Zuth does not mention Moretti’s Italian origins or his military … Continue reading

O vous que Mars appeared in Le Troubadour des Salons 17 Année, 10e Livraison. The copy in the Fryklund collection is not listed in Brian Jeffery, “Fernando Sor – Composer and Guitarist”, Second Edition, London 1994. Nor does Jeffery refer to the autograph letter from Sor to Pacini. Moreover, the Fryklund article itself is not listed in the bibliography either. On the other hand, Fryklund seems to have been unaware of an other unique work by Sor in his own collection: Mon dernier mot Romance Paroles de Mr. P.A. Vieillard Mise en Musique et dédiée à Monsieur A. Panseron. Par F. Sor.—Paris, Chez Savaresse Sarra. This work probably dates from 1828-35. The present annotator discovered this work in 1994. Cf. Kenneth Sparr, “Ein unbekanntes französisches Lied von Fernando Sor”, Gitarre & Laute 26/1994, Heft 4 pp. 39-43; “En okänd sång av Fernando Sor i Sverige”, Gitarr och Luta 27/1994 nr 4 pp. 23-25; “An Unknown French Song by Fernando Sor in Sweden”, Soundboard Vol. XXII, No. 1 pp. 39-43; “Una canzone sconosciuta di Fernando Sor in Svezia”, il Fronimo nr 93 1995 pp. 37-40. Fryklund’s collection also at least contains the following works by Sor: Vingt quatre exercises très faciles & soigneusement Doigtés pour la guitare composés par Ferdinand Sor. Op. 35. Liv. I-II Bonn, N. Simrock PN 2768, 2770; Méthode pour la guitare Guitarre-Schule von Ferdind. Sor. Bonn, Simrock, Paris bei dem Verfasser PN 2810. (The Méthode is kept at Musikmuseet); Oeuvres Pour la Guitare composées par Ferdinand Sor Op: 60 Introduction à l’Etude de la Guitare Frankfurt s/m, Fr. Ph. Dunst PN D. 543

We would also mention here a Spanish composition, published in Paris, and currently in our collection: La vraie retraite espagnole. Éxécutée par la Musique du Régiment d’Ultonia à Girone. Composée pour la Guitare et dédiée à Mr C. Deschateaux, par Fresco, Chef de Musique au 1er Terzio des Volontaires de Girone.Paris, A La Lyre Moderne, Rue Vivienne No 6. This Fresco is also omitted from the handbooks.

Amongst foreign arrangers for the guitar who moved to Paris the Bohemia-born oboist, composer and publisher, Karl Bochsa can be mentioned. He is represented in our collection by an “Accompagnement. de Lyre ou Guitare par Bochsa père”, to: “Couplet du prince de Catane, Chante par Mme. Boulanger Paroles de Mr. Castel. Musique de Nicolo de Malthe. A Paris, Chez Bochsa père, Auteur Editeur de musique et Md. d’Instrument (sic!), rue Vivienne No. 25”.

Karl Bochsa is certainly identical with the publisher Charles Bochsa (père), born in Bohemia in 1760 and active as publisher in Paris from 1812 until his death in 1820. He was followed by his son Nicolas-Robert-Charles Bochsa (fils). More biographical information about Bochsa can be found in Devriès I, p. 34. To the work mentioned above can be added the following works by Isouard with accompaniment by Bochsa père in the Fryklund collection: Couplet du français à Venise Chanté par Mme. Boulanger Paroles de Mr. Justin. Musique de Nicolo Avec Accompagnement. de Lyre ou Guitare par Bochsa père. A Paris, Chez Bochsa père, Auteur Editeur de / musique et Md. d’Instrument, rue Vivienne No. 25; Rondeau du français à Venise chanté par Mr. Paul Paroles de Mr. Justin. Musique de Nicolo avec Accompagnement. de Lyre ou Guitare par Bochsa père. A Paris, Chez Bochsa père, Auteur Editeur de musique et Md. d’Instrument, rue Vivienne No. 25. The address shows that these works were printed in the period 1812-1815.

Finally, we would call attention to a guitar accompaniment by one Wagner: Tonio ou Le Chasseur des Alpes, romance. Paroles de A. Isnard. Musique de E. Merle. Accompt de Guitare par Wagner. Paris, chez Schonenberger. It is possible that this guitar accompaniment comes from some Paris Wagner—e. g. Charles Wagner, pianist and composer, born in 1816. However, the time when the romance was published corresponds to Richard Wagner’s Paris visit, 1839-42, during which he found himself in very straitened circumstances and felt forced to “musikalische Handlangerdienste zu tun, allerlei Arrangements untergeordneter Art für die Musikverleger zu machen, französische Romanzen zu komponieren, für die Tagespresse zu schreiben usw.” (cf. Riemann’s Lex. and also Fétis, Biogr. Univers.)

Also outside of Paris we find many guitarists in France, especially in Lille, where no less than six of the following guitarists seem to have been active: Cuviller, Cuvillon, Desjardin, Laurent, Vanderghinste, and, the signature S. H. Of the others mentioned, 3 came from Douai: Colin, Meurger (see above) and Warocquier; one from Dijon: Bruet; one from Lyon: Laflêche; one from Rouen: Mees (see above); and one perhaps from Boulogne or Dunkerque: Brunet.

These guitarists are not included in the handbooks, with the exception of the aforementioned Laflêche, and possibly Colin, whose personal background is not clear. We list in alphabetical order the following: 

Bruet, N., “Md de Musique et d’Instrumens, à Dijon, Rue d’Artois No 5”. We have 2 romances, published by his own company, for which he wrote both music and the guitar accompaniment: A mon Amie; and Est-ce ainsi qu’on oublie.

N. Bruet seems to have been active at this address in 1825. See Devriès II p. 441.

Brunet, L. We have : Six Divertissemens à l’Espagnole pour Guitare Démontée — par L. Brunet. Opéra 5. A Boulogne Chez Pillement à Dunkerque Chez Pillement et Fils. It is possible that Brunet was a guitarist in Boulogne or Dunkerque.

The publisher Pillement is not mentioned in Devriès.

Colin, P. Has written music and accompaniments for guitar or lyre to a great many romances (we have over 20 in our collection from the beginning of the nineteenth century). He seems to have published them himself: “Se Vend chez les Prinicipaux Mds de Musique, A Paris. et chez l’Auteur, a Douay.” We have not come across Colin’s name as a guitarist in any other connection. Fétis suggests 2 brothers Colin, whose Christian names begin with Pierre; thesewere however Parisians.

In Le Troubadour ambulant, 9e Année (1825), 6e Cahier, 11e Année, 9e, 10e and 11e Cahier a A. Colin is mentioned as composer. See Fellinger pp. 548, 553, 554.

Cuviller, F. (spelled in the subsequent composition as Cuvillier): Soyez Sensible, Air de Mozart, Arrangée pour deux Guitares suivi de deux airs variés Pour Guitare seule dédiés à Mr. Floris Zilof par F. Cuviller. A Lille, Chez Bohem

Cuvillon, “professeur” (cf. Cuvillon in Fétis). We have: Aux jeunes amantes. Paroles de M*** Musique et Accompt de Guitare par Cuvillon Professeur. A Lille, Chez Bohem. One could possibly think that Cuvillon and Cuviller, both of whom published with Bohem in Lille, were the same person. A printing error with the two last letters in the name could easily have happened on one or other of the 2 compositions cited here.

The publisher Bohem was active in Lille from c. 1819. See Devriès II, p. 444.

Desjardin, Léopold. We have: 1. Hommage A La Fidélité, Paroles de F. Hay Mises en Musique avec accompagnement de Guitare par L. Desjardin. A Lille, chez les marchands de Musique. 2. Nocturne A Deux Voix. Paroles de Mr Moulas Mises en Musique avec accompagnement de Guitare par Léopold Desjardin. A Paris, chez les Mds de Musique, à Lille chez L’auteur.

Desjardin is also represented with two songs i Le Souvenir des Ménestrels 5e Année 1818. See Fellinger p. 446.

Laflêche and Lafleche. We have 2 songs with music and guitar accompaniment with the following information: “A Paris, Chez tous les Mds de Musique. A Lyon, Chez Arnaud Éditeur Md de Musique et d’Instruments Rue Gentil No 1” (the one with Arnaud’s stamp). It would seem that Arnaud in Lyon was the main publisher and it is clear that the composer is the above-mentioned J. A. M. Laflêche, guitar teacher in Lyon. We also have 3 romances, published by Pacini, with music and guitar accompaniment by Laflêche.

In Journal d’Euterpe, 6e Année (1818), 7e Livraison is a song by A. M. Laflêche. See Fellinger p. 360. F. Arnaud was active as publisher between 1821 and 1830 in Lyon. See Devriès II, p. 445.

Laurent, A., from Lille. In our collection there are 2 romances: 1. Ma Philosophie. Paroles de M*** Musique et Accompagnement par A. Laurent. à Lille, chez l’Auteur et les Mds de Musique. 2. Gonzalve. Romance Chevalersque à une ou deux voix. Musique et Accompt Par A: Laurent. A Paris, chez tous les Mds de Musique.

S. H. By this signature we have: La blonde Sylvie. Paroles Musique et Accompagnemet [sic!] de Guitare par S. H. Offr Gendrie Royale. A Lille, chez Bohem 

Vanderghinste, P. seems to have resided in Lille to judge from a composition: Les Effets du Retour. Romance. Paroles de Mr C. H. Barlet, Musique et accompagnement de Guitare, Par P. Vanderghinste. À Lille, chez Vanderghinste-Mas. We also have two other compositions of his where he has written the guitar accompaniment.

Warocquier, A. J. Our collection contains: Le Lendemain. Chansonette. Paroles de Mr Le Noble. Mise en Musique avec accompt de Guitare par A. J. Warocquier. A Douai, chez l’Auteur.

We can mention several Belgian guitarists represented in our collection. Bone does not mention any of them, Zuth only mentions Plouvier. The compositions mentioned below were all published in Brussels, except for those by Houzé’s and Stevens’’, who were generally published in Mons, and some of Nacher’s publishing company’s compositions which appeared in Tournay. Plouvier and Stevens worked for a time in Paris, and Thollé died in Paris in 1823 after a transient life. Several compositions by Plouvier and Thollé were published in Paris. We list: Cirez, Armand, “professeur”. We have: Air d’Oedipe à Colone. Musique de Sacchini. Accompagnement de Guitare, par Armand Cirez Professeur à Bruxelles. à Bruxelles, Chez Terry. Houzé, Amand, wrote in Mons several compositions for voice and guitar. We have pieces belonging to collections 1, 4, 5 and 6, published by his own company: A Mons, chez L’auteur rue de la Biche No 9. Houzé also wrote similar compositions for P. Nacher in Tournay. Nacher, P. Music publisher both in Tournay (earlier?) and in Brussels “au bureau du Journal l’Euterpe rue de l’Empereur No 14”.[35]Often also given as No 15. He arranged for his own publishing company guitar accompaniments for songs with music by Donizetti, Halévy, Meyerbeer and others. Plouvier, Pierre Joseph, who was born in Ghent, but went to Paris as a guitar teacher in about 1804. In Doisy’s catalogue it is stated that Plouvier was Doisy’s “élève et successeur”. Plouvier began his publishing career already when in Paris (cf. Fétis), which is evidenced by a song: Guitare confidente (music by Mozart, and guitar accompaniment by Plouvier), where the publishing information is: A Paris, Chez Plouvier, Rue Mandar No 5, Et à Bruxelles, Rue de l’Impératrice, No 1258.—Plouvier’s Op. 1 mentioned by Zuth is dedicated to Doisy, “par Plouvier son élève”. This is announced in Doisy’s catalogue concerning Op 2: Plusieurs Pièces variées et non variées, pour Guitare, avec accompt de Violon non-obligé.[36]Doisy’s catalogue also includes: Pièce variée et concertante pour Harpe et Piano, Par P.J. Plouvier fils. Possibly the above-mentioned Plouvier’s son. In addition we have Plouvier’s accompaniments to songs by other composers, published by his own company in Brussels where he later moved: A Bruxelles chez Plouvier et Cie au magasin de musique, d’instruments et Cordes de Naples, montagne de la Cour No 672. A few of our examples have the notation 1ere, 2e, 3e année and belong to a journal published by Plouvier. An issue from the first year gives the following information: Il paraît 6 Nos par mois. Le prix de L’abonnement est de 18 francs pour L’année, franc de port pour tout le Royaume. Concerning the compositions for the guitar, see also Fétis.

Pierre-Joseph Plouvier died in 1826. The works mentioned by Fryklund are probably the following: 1. Les croisades ou le boristhène. Romance. Paroles de Mme. d’Hervilly. Musique de J. Struntz. Chantée par Mr. Lavigne Accompt. de Guitare par Plouvier. A Bruxelles, chez Plouvier et Cie. Montagne de la Cour No. 672. [c. 1826]. Journal des Amateurs. Recueil de Chant 3e Année. The composer is Jacob Strunz (1783-after 1845). 2. Rose ou il s’agit de bien voir la chose air Chanté par Lavigne. Musique de Mr. Bayal, Avoué. Accompt. de Guitare par Plouvier. A Bruxelles chez Plouvier et Cie. au magasin de musique, d’instrumens et Cordes de Naples, mont Vaudeville Sur L’arrivèe du docteur agne de la Cour No. 672. [c. 1826] Journal des Amateurs. Recueil de Chant 3e Année. About Plouvier’s activities as publisher see Devriès I, p. 130. Fryklund speculates in his footnote if Plouvier had a son, “P.J. Plouvier fils”, but Devriès suggests that they are one and the same person.

Stevens, Jean Baptiste. Fétis mentions inter alia his compositions for the guitar. We have: La Lanterne magique. Paroles de Mr H. Delmotte. Musique et Accompt par J. B. Stevens. A Mons, chez l’Auteur. Instruction: “Guitare avec capo-d’astro à la 3e case.”

Thollé, Thomas. Born in Liége, died in Paris. See Fétis and Eitner. In our collection there is Toujours toi. Romance avec accompagnement de Guittare par Thollé. A Paris Chez Ice Pleyel.

Another work by Thollé in the Fryklund collection is: Gall. Paroles de Mr. de Piis. Musique et accompt. de Guitare par Thollé. Ignace Pleyel.

In the foregoing we have dealt with several Italian guitarists who resided in Paris, and Italian guitar compositions which were published in France. In the following we will list English, Danish and Swedish editions of Carulli’s guitar method and the Swedish editions of Giuliani’s. With reference to Paganini’s quartets for violin, viola, guitar and cello, Op. 4 and 5, Zuth mentions the Milan edition, 1821.[37]Any Genua edition seems hardly to exist. Cf. Fétis IV, p.417: “ces quatours furent publiés à Gênes presque en sa présence”. However, he does not include a later edition of these quartets, published by Richault in Paris, “dédiées aux Amateurs”, of which we have a copy.[38]These Paganini quartets are very rare. Kinsky says in the Catalogue of Heyer’s Museum IV, p. 443, that he could not locate them in the Royal Library in Berlin. Otherwise, we would summarily mention here the Italian guitarists Pettoletti and Piantanida, who are of certain interest to even us in theNordic countries. Two compositions by Pietro Pettoletti have Scandinavian motifs: Op 11, Divertissement facile (Thème suedois) p. 2 Guit.; op. 12, Fantaisie (Air national norvégien). Several of his works have been published in Sweden: Mes Souvenirs, Divertissemens, pour une & pour deux Guitarres, composés par Pierre Pettoletti. Oeuvre 6e. Imp. Lithogr. chez Gjöthström & Magnusson à Stockholm. Variations pour la Guitarre, composées par P. Pettoletti, & dédiées à Monsieur le Baron Troil, Son Elève. Oeuvre 7e. Lith. chez Gjöthström & Magnusson à Stockholm.[39]By “Monsieur le Baron de Troil” is most probably meant a member of the Finnish noble family von Troil, which also had members in Sweden. The lineage came to an end on the male side in 1880. Six Variations faciles & agréables sur l’air de La Tyrolienne pour la Guitarre, composées par P. Pettoletti. Oeuvre 8. Lith. chez Gjöthström & Magnusson à Stockholm. In our collection we have a programme from a concert in Copenhagen “paa det kongelige Hoftheater” [in the Royal theatre], 13 December 1826, given by “Brødrene Joachim and Pierre Pettoletti [the brothers…]”, “under Anførsel af Hr. Concertmester Thiemroth og understøttet af det kongelige Capel og Jomfruerne Zrza og Wulff [under the auspices of the Concertmaster Thiemroth and assisted by the Kongelige Kapel and the young ladies Zrza and Wulff].” This programme is of interest because one then understands that the brothers Pietro and Joachim played concerts together. About the guitar pieces, the programme states: “Concerto for Guitar, med Accompagnement af Orchester af Carulli, udføres af Joachim Pettoletti [with orchestral accompaniment by Carulli, performed by Joachim Pettoletti]”; “Potpourri for 2 Guitarrer, comp. af Guilliani udføres af Brødrene Pettoletti[40]This is the way Giuliani is spelled in the programme. [Potpourri for 2 Guitars, composed by Guilliani performed by the Brothers Pettoletti].” “Concerterende Variationer for 2 Guitarrer, comp. af Guilliani, udføres af Brødrene Pettoletti”. Joachim Pettoletti also played a concerto for violin by Libon.[41]At present there are several persons in Copenhagen with the name Pettoletti who might be relatives of the afore-mentioned Pettoletti. Bone and Zuth mention in addition to these two Pettolettis, a third: C. G. Pettoletti.

On the brothers Pettoletti and particularly on Joachim Pettoletti see Kenneth Sparr, “Magazin för Guitarre-spelare. 1. Joachim Pettoletti, ’Six Walzes instructives’ (Gitarr och Luta 28/1995, Nr 4, pp. 17-22). For a more detailed study on the Pettoletti family in Denmark and Sweden see also a forthcoming history of the guitar in Denmark written by Erling Møldrup.

Piantanida, G. B. by whom C. C. Lose in Copenhagen has published two romances which we have in our library: “D’où te vient cette fleur charmante” and “Tu le veux donc”, oblong 4to, each have a title page and 2 pages. Both are set for Voce, Guitarre and Pianoforte. Piantanida has also published two other works through Lose for song and piano: Sei Ariette Italiane composte e dedicate a S:A:R: Carolina Principessa Reale de Danimarca e Norvegia da Giovan Batista Piantanida; and: Six Romances françaises composées e dediées à Son Altesse la Princesse Julianne de Philipsthal par G:B: Piantanida (the above-mentioned two romances are not found in these collections). Who then is this Piantanida? That G and B are first name initials should not be doubted since they are found on all these compositions. Furthermore, one could suppose that the compositions should be ascribed to the violinist Giovanni Piantanida, who according to Eitner also should be denoted as Giovanni B. Eitner also enters “fraglich” [questionable] Six Romances françaises, the only one of the above he mentions under Giovanni. But this Giovanni (B.) Piantanida whom Eitner refers to have lived between 1705 and 1782 approximately, and thus all references vis these compositions to this person are untenable considering the times and the two “dédicaces”. The Copenhagen compositions however fit well from the point of view of time with that Piantanida who according to Fétis and Eitner lived between 1768 and 1836, and whose first name was Gaetano, and who according to Fétis, resided several years in Denmark. Fétis also records the two above-mentioned song collections and “Quelques morceaux de chant détachés, gravés en Allemagne” under Gaetano. There have been many musicians with the name Piantanida: Fétis lists 2 and Eitner, 7. It would appear that lexicographers have mixed them up to a greater or lesser extent. Concerning the source of the compositions by Piantanida published in Copenhagen, we feel at present able to claim that his first name initials are G. B., and with some surety claim that his first name is Giovanni Batista (compare the composition above with this name and Eitner’s information about Giovanni B.), that he was not the same as the violinist Giovanni Piantanida, named in Fétis and Eitner, and that it is very possible even likely that this G. B. Piantanida—considering the great interest shown to him by a Danish publisher, and which he in turn showed in Denmark by dedicating his compositions to a Danish princess—resided some time in Denmark. Zuth does not mention any Piantanida. Amongst the Spanish guitar books, we would mention the one discussed by Zuth, the second edition of: Arte de tocar la guitarra espanola por música, compuesto y ordenado por D. Fernando Ferandiere, profesor de música en esta corte. Segunda edicion. Madrid, 1816. The second edition which was unknown to Fétis and Eitner is of interest since through the foreward we can discover a hitherto unknown work by Ferandiere which he printed in Malaga as early as 1775: Prontuario Musico, ó Arte de tocar el Violin. Fétis’ claim that Ferandeiro is the correct spelling of the name is false.

This book from the Fryklund collection is now kept in the library of Musikmuseet, Stockholm.

Concerning Sor(s), see the foregoing.[42]We have not been able to check a notice in Carl Van Vechten’s work, The Music of Spain, [New York, Alfred A. Knopf, 1918] where on p. 176 it is claimed that in the programme for Fétis’ … Continue reading In connection with Portugese guitarists, we would only make a few additions to Zuth’s article on Antonio da Silva Leite. Zuth indicates, as does Bone, that Estudo de Guitarra appeared in 1796; however, it was the second edition of the guitar method which was published that year. The first came out in 1795. The second is similar to the first edition except for a few changes in the title. Zuth has combined the first edition’s title with the second edition’s year of publication! Zuth records, after Bone, Leite’s “6 Sonaten für Git. mit Viol. und 2 Tromp ad.lib.” without date. Joaquim de Vasconcellos gives in the Supplement to Fétis Biographie Universelle the Portugese title of the work: Seis Sonatas de Guitarra com accompaghamento da Rabeca e duas Trompas ad libitum, and the date, 1792.

Some biographical information on Silva Leite can be found in Prat, p. 177. As Fryklund was always very careful, not to say pedantic, it is odd that he doesn’t discuss the difference between the Portuguese “guitarra” and the “violão”, which easily can lead to confusion. The portuguese “guitarra” is more related to the English guitar and cister than to the guitar and has a different tuning. Antonio da Silva Leite’s works mentioned by Fryklund is intended for the “guitarra Inglesa” which is a forerunner to the “guitarra Portuguesa”. For a more detailed information on Silva Leite’s works, see “Fábricas de Sons. Instrumentos de Música Europes dos Seéculos XVI a XX”, Lisboa 1994, pp. 19-21.

Concerning German guitarists, we have several additions concerning those composers named by Zuth. Neither Eitner nor Zuth mentions the second edition of Bornhardt’s “Anwiesung“: Anweisung die Guitarre zu spielen uud[43]Misprint: u instead of n. zu stimmen von Bornhard. 2te vermehrte Auflage. Mainz, B. Schott u. Söhne. 4to, 15 p. Without date (our example has a written dedication in English, October, 1832). We also have songs with guitar accompaniment by Bornhardt, published by Cranz and Ludwig Rudolphus in Hamburg – Eitner, who mentions several of Bornhardt’s songs, lists none from this publisher. In our autograph collection we have even a letter from Bornhardt to his publisher, Simrock in Bonn, dated Braunschweig, 13th October, 1816. In this letter he writes about a manuscript “Lieder der Geselligheit” which we could not discover in the handbooks; however, one should not exclude the possibility that the manuscript received another title and went to another publisher: “Ferner habe ich ein Manuskript unter dem Titel: Lieder der Geselligkeit für fröhliche Zirkel mit Begl: der Guitarre oder des Pianofortevollendet, welches 25 Platten stark ist,—für jedes Instrument einzeln, und für beyde zusammen gebraucht werden kann. Die Texte sind neue launige Gedichte, Trink- und Tischlieder, und was sich sonst für den geselligen Zirkel eignet. Diese Samlung würde sehr gut als ein Neujahrsgeschenk etwa in einem farbigen Umschlage erscheinen können. Zum Honorar verlange ich 4 Ldor und 6 Exempl: [Furthermore I have completed a manuscript with the title Songs Communal for a Merry Company, with accompaniment of guitar or pianoforte, which will take 25 plates… can be for each instrument alone and for both together. The text consists of new, lighthearted poems, drinking and eating songs—what else is appropriate for a merry company. This collection would suite as a New Years gift for example, in colourful covers. As payment I would demand 4 Ldor and 6 Exempl…]—”

The copy of Bornhardt’s “Anweisung” is kept in the library of Musikmuseet, Stockholm.

Zuth does not mention Albert Gottlieb Methfessel’s Liederbuch: Gesellschafts-Liederbuch für Guitarre. Eingerichtet nach dem Commersbuch von A. Methfessel. Zweite verbesserte und vermehrte Auflage. Leipzig, Hamburg und Itzehoe, Verlag von Schubert & Niemeyer. We have: Zweite verbesserte und vermehrte Auflage, oblong 8vo, title page, 162 pp. In our autograph collection we also have a letter, Rudolstadt, 12th September, 1816 (the year is unclear) from Methfessel to the publisher Simrock, in which he offers him a new work. This work we have not found noted in the literature: “Am besten entscheidet wohl das Publikum, und ich sehe, es wird, mir günstig, entscheiden. Ist dieses, so werden Sie vielleicht nicht abgeneigt seyn, beiligendes Werkchen, einen Pot-pourri für Pianof. u. Gitarre von mir in Verlag zu nehmen. Es ist hauptsächlich für Dilettanten, also für den grösseren Theil des Publikums—Der, in Verhältnis der Pagenzahl gewiss billige Preis, den ich auch nun in Bezug auf meine Zufriedenheit mit unserem neusten Geschäft so billig setzen kann, ist 6 Louis d’or. Zwei deren können Sie mir in Musikal. abtragen [the public will be the best judge, and as far as I can see they will be positive. If this is so, you perhaps will not be too reluctant to publish the enclosed little work, a potpourri for pianoforte and guitar. It is mainly for diletantes, i.e. for the largerst part of the audience—The price is certainly cheap in relation to the number of pages, and I can make it so low because I am so pleased with our latest enterprise, 6 Louis d’or. Two of these you could keep in exchange for music.]” The entry in Zuth’s Handbuch for Methfessel includes: “eine anziehende Schilderung von M. als Gesellschafter und Gitarrsänger in L. Spohrs Selbstbiographie [a charming depiction of M. as a society person and guitar singer in L Spohr’s autobiography].” Spohr made these observations in the spring of 1819 when he and 4 “Rudolstädter”, amongst them Methfessel, journeyed from Frankfurt am Main to Mannheim and Mainz, during which journey Methfessel “durch den Vortrag humoristischer Gesänge, die er meisterhaft mit der Guitarre begleitete, die ganze Gesellschaft in die fröhlichste Laune versetzte [put the whole company into the best mood through his masterly performance of humourous songs].” In this connection it might be of interest that we have an album page, dedicated to Spohr by Methfessel: “Rudolstadt: Am 9 Dec. 1819″; “Das Herz”, a lovely poem in 4 stanzas with music, which comprises an epilogue to their companionship. Methfessel’s note reads: “Da Sie mich bisher immer heiter sahen, so muss ich Ihnen wohl zeigen, dass ich auch eine ernsthafte Physognomie annehmen kann: bei ihrem Abschiede von uns; doch bin ich, vergnügt u. betrübt, immer Ihr treuer Freund Albert Methfessel [As you so far have seen me merry, I have to show you that I also can put on a serious face at your departure from us—although I remain both pleased and sad. Always your true friend, Albert Methfessel.]” One finds signs of Methfessel’s popularity also in a letter in our collection from Frederik Kuhlau to “Herrn F. Peters, Bureau de Musique, Leipzig” (Copenhagen, d. 4ten Aug. 1829), in which Kuhlau expresses his desire to dedicate to Methfessel his Op. 106: “Der Zweck meines heutigen Schreibens ist erstlich: Ihnen Dank zu sagen für Ihre mir in Leipzig erwiesene gütige Aufnahme, und zweitens: Sie zu bitten dem Titel der von mir componirten 6 Gedichte von Fouqué folgendes hinzufügen: “in Musik gesetzt und seinem Freunde Albert Methfessel gewidmet von etc.”—Ich hoffe diese Dedication wird den Absatz dieses Werkchens (wenigstens in Hamburg) befördern, da Methfessel dort ein sehr geachteter Gesanglehrer ist. [The intention of my writing today is first of all to thankyou for your nice reception of me in Leipzig, and secondly, to ask your permission to add the following to the title of the six poems by Fouqué: “set to music and dedicated to his friend Albert Methfessel etc.”—I hope that this dedication will assist the initiation of this small piece (at least in Hamburg) as Methfessel is a very treasured song teacher there.]” By Johann Andreas Anschütz we have: Recueil de Chansons avec accompagnement de la Guitarre. Auswahl der vorzüglichsten Gesänge aus Opern und anderen Werken der ersten Tonkünstler für die Guitarre eingerichtet von J. A. Anschuez. No 8. A Bonn, chez N. Simrock. 4to. We have issue No. 8 which contains songs nos. 43-48 (pp. 122-138). This collection is mentioned neither by Fétis nor Eitner, and not especially by Zuth. Friedrich Wilhelm Arnold edited a Pfennig-Magazin für Gesang und Guitarre herausgegeben von einem Verein rheinländischer Tonkünstler, redigiert von Dr. F. W. Arnold. Cöln. Verlag von Gaul & Tonger 1834. 4to We have the first volume, 1834, 52 issues, 208 pages, which contains songs with accompaniment of guitar and also solo pieces for guitar, including compositions by Arnold himself. By d’Aymard we have in our collection a Romance avec accompagnement de guitare, dédiée à mesdemoiselles Auguste et Louise de Griesheim. Par D’Aymard, professeur de musique vocale et de guitare. Brunswick 1804. Se trouve à Brunswick chez Alexandre Pluchart, imprimeur-librairie. Oblong folio, titlepage, 2 pp. Introduction for violin or flute. Cf. Zuth, where d’Aymord is assuredly a printing error. Amongst known German composers who wrote for the guitar and who Zuth does not include in his work are Friedrich Silcher, and the Brünn-born, Franz Lauska. In catalogue 39 from Lengfeld’sche Buchhandlung in Cologne there are entries (Nos. 1035 and 1036) for German and foreign Volkslieder with accompaniment for piano and guitar by Silcher, Op. 22, 25, 28, 39, 54 and 57, published in Tübingen by L. F. Fues. From our collection we can add: III Lieder aus der Frithiofs-Sage, I Frithiofs Abschied, II Ingeborgs Klage, III König Rings Drapa mit Begleitung des pianoforte und der Gitarre in Musik gesetzt und Herrn Hofkaplan Grüneisen hochachtungsvoll gewidmet von Fr. Silcher. Op. 29, Tübingen, bei Heinrich Laupp. Oblong 4to. Titlepage, pp. 2-9. By Lauska we have: Der junge Krieger. Lied: Aus Wolken tritt der Mond mit mildem Glanze; für Forte-piano & Guitarre von Lauska. Hamburg, bey Rudolphus, Altona bey Crantz. Oblong 4to, title page, 2 pp. This composition and its publisher could not be found under Lauska in either Eitner or Fétis. We have also a few older compositions for voice and guitar by Germans who are unknown, not only in Zuth’s Handbuch, but also in other music literature: Quodlibet für eine Singstimme mit Begleitung der Guitarre. Aus vierzig Piecen zusammengestellt und leicht eingerichtet von Adolph Rendle. Augsburg, Verlag Von Anton Böhm. Folio, title page, 8 pp.; and Fünf Lieder mit Begleitung der Guitarre in Musick gesetzt und Fräulein Sophie Hoos ergebenst zugeeignet von Adam Struth. Frankfurt a/M, bei Fr: Ph: Dunst. 4to, title page, pp. 2-11.

In the library of Musikmuseet is a method for the guitar which may have belonged to the Fryklund collection. It seems to be the only extant copy of Joseph Küffner’s guitar method. Unfortunately it lacks the titlepage but the foreword is dated 1826 and signed by Küffner. It was probably published by B. Schott in 1826. The plate number is 2469. This work is not listed in Matthias Henke, “Joseph Küffner II. Thematisch-bibliographisches Verzeichnis der Werke Joseph Küffners”. Tutzing 1985.

When one examines Zuth’s articles concerning English guitarists, one discovers that he—like most contemporary researchers in the area—has not had access to Robert Bruce Armstrong’s imposing and rare work: Musical Instruments. The second part of this work, English and Irish Instruments, published in 1908, treats the English Guitar, and all English inventions of guitar-, harp- and lute-like instruments at the beginning of the nineteenth century as well as compositions for these instruments. Because of his ignorance of this work, Zuth has omitted to mention R. L. Downes, “professor of music and Cheltenham and Bath” who composed and arranged for C. Wheatstone’s Regency Harp-Lute, as well as John Parry, who published an instruction book for the same instrument. For Angelo Benedetto Ventura (a printing error in Zuth has produced the first name Aug.), Zuth mentions his instrument inventions, but not his compositions or arrangements for harp-lute and Imperial harp-lute “with accompaniments for the Pianoforte and Spanish Guitar” (see also Eitner). Following Eitner, Zuth cites several works by Thomas Bolton, but in Armstrong we find even others, e. g. Instructions for Harp-Guitar and Apollo Lyre, and arrangements for Harp-Lute or Harp-Guitar. Armstrong records among others Instructions for Playing upon the Harp-Guitar and Lute, by F. Chabran. This is obviously the same Chabran about whom Zuth says that he composed “für die spanische oder die Harfen-Lautengitarre” [for the Spanish or the harp-lute guitar]. However, should it be as Eitner and Zuth suppose, that the Italian violinist, Francesco Chabran (one also finds it spelt Chiabran and Ciabran) who was born in 1723—he went to Paris in 1751—in his old age at the beginning of the nineteenth century could write instructions etc. for these newly invented instruments. If this is the case, one would need to look at the latter part of his life in London not known to lexicographers (even his year of death is unknown). Thus one should ask oneself if it is possible that the Chabran who wrote these Instructions is identical with the violinist, but instead, a completely different person (Eitner also mentions one Charles Chabran, whose compositions were published in London).

On Bolton and Chabran, see Button pp. 3-7.

Mordaunt Levien, originator of the 7-string Guitar-Harp (in French instrument catalogues called Guitare-soleil) is mentioned by Zuth in this connection, but he does not mention that Levien published a method for his instrument, and also various compositions and arrangements. Zuth otherwise designates him as a “Gitarrenmacher” [guitar maker] which is highly dubious. Probably he was only the inventor of the instrument and held the patent—inscriptions on his instruments often read: Inventeur et Breveté. Notwithstanding that Levien took out a patent for his instrument in France in 1823 and the instrument was occasionally decorated with Bourbon heraldry, he is hardly French (Kinsky in his catalogue calls him “ein französischer Guitarist”), but English. His Christian name Mordaunt is genuine English and he worked in London as a music teacher and had already by 1818 worked on improvements to Light’s Harp-Guitar, and received an award from the Society of Arts for an “improved instrument”. The earlier type had 8 strings with a pegbox reminiscent of the pedal harp. Armstrong had never seen an instrument of this category, nor a reproduction of the whole instrument. Thus he was forced to reproduce a few parts of the Guitar-Harp, which are depicted in G. Jones’ History of the Rise and Progress of Music, London 1818. However, there is a fine example of this 8-stringed Guitar-Harp in consul general Claudius’ collection in Copenhagen which seems to be the only known example at present of the instrument. According to Zuth, Levien’s first initial is L. He has taken this information from von Lütgendorff who clearly supports his assertion with an inscription on the 8-stringed Guitar-Harp in Claudius’ collection: L. Levien No 8 Pleasant Row Pentonville. In this case one should have reckoned with two Leviens: L. and Mordaunt (about Mordaunt, see Chouquet, Le Musée du Conservatoire National de Musique, Paris, 1884, p. 68, and Armstrong’s work). However, if one observes closely the reproductions of the above-mentioned Guitar-Harp in Claudius’ catalogue, 1931, one cannot locate any L. preceding Levien. There is only Levien without Christian name. Given all this, it should be probable that it is one and the same Levien (Mordaunt) who first invented the 8-string and later the 7-string Guitar-Harp, and who according to Chouquet, received in France on the 6th October, 1825, “un brevet d’importation et de perfectionnement pour cet instrument de forme conique.”

Carl Claudius’ collection is now housed in Musikmuseum, Copenhagen.

Edward Light (c. 1747-1832), discoverer of several guitar-, harp- and lute-like instruments, is of course of great interest for a specialised work like Zuth’s. However, since Zuth did not know of Armstrong’s work, his presentation is very scanty: he mentions only two of Light’s musical works. For a more complete survey, we must refer to Armstrong, and our newly published booklet, Förteckning över Edward Lights musikaliska verk [List of Edward Light’s Musical Works]. In the latter there is firstly an exhaustive survey of Light’s work which is in the author’s own collection, followed by a complete list of Light’s now known musical works. Light’s work as regards the instruments he invented is of course of interest to instrument museums, but they are especially rare. Thus for example in the Conservatory in Brussels which has one of the world’s best instrument collections there is not one of Light’s printed works (the same is true for Fonds Fétis in the Royal Library in the same city).[44]Concerning Light “als Erfinder und Barry als Verfertiger” [as inventor and Barry as maker] mentioned in Zuth, see the author’s above-mentioned booklet, p. 22. Zuth mentions only one Light—Edward. However, there are in fact two other LightsRichard and Thomas. Both wrote for the Harp-Lute, Richard Light even for the Dital-Harp (on the possible family relationship between these Lights, see the author’s booklet, p. 10). Following Eitner, Zuth informs us that Thomas Call published song compositions for “Organum, Harfe und Guitarre” in London, about 1760. “Harfe” should be “harpsichord” and it should be pointed out that both Eitner and Bone state that the title begins with: The Tunes & Hymns as they are used, but in our copy “& Hymns” is omitted, which does not prevent Hymns from following Tunes and that the work, in a warning for reprinting at “Phillips in St. Martins Court” on the second side of the title page, is called ’’Tunes and Hymns”.[45]The work contains a title page, pp. 1-14 music, followed by 27 hymns. 8o. One understands from the book title that Thomas Call was an organist and that he had “his lodgings at Mr. Bennet’s Stay Ware House near Great Turn Stile, Holbourn.” In our copy, the “about 1760” was changed to “1762” as year of printing in connection with a written reference: “See Preface to Arnold’s Church Music Reformed”, a work which is also referred to in another note—”John Arnold mentions this work, page IX, in his Church Music Reformed, 1765”.

Click here for continuation in Part II.

Annotation and Editorial content Copyright © 1997 by Kenneth Sparr. All Rights Reserved.


1 Unfortunately Bone’s work is not available in bookshops, and inquiries to antiquarian bookshops, even English, have only had negative results.
2 Most of the French publications have the approximate format 27 X 18 cm. If any format in the following differs a great deal from this, mention will be made.
3 Both have the 20 X 12 cm format.
4 Zuth claims also that Charles François Alexandre Pollet published a Journal until 1793. However, this was, according to Fétis, “un journal d’airs d’operas pour le cistre”.
5 This Recueil Periodique is now very rare and is not mentioned by either Fétis or Eitner.
6 By Vidal we have also Ariettes et Romances avec Accompagnement de guitarre par Mr Vidal. A Paris. Chez l’auteur, Rue de Richelieu, près la Comedie italienne, aux Soirées espagnoles, No. 99, oblong 4o.
7 A. Romagnesi is not mentioned at all by Fétis.
8 Zuth has no entry for Romagnesi.
9 Compare Zuth: Muse Lyrique.
10 Spelling as in this issue.
11 The above-mentioned issue of the journal can be found in a volume, oblong folio, with the notation: Frizon, 1819, entirely devoted to Castro. In addition also Castro’s compositions op 4: Plusieurs Petites Pieces pour la guitare—-—Par Castro, Professeur de guitare. A Paris. Title page, pp. 2-9. Also by Castro: Variations Pour la Guitare, A Paris, Nos. 40 and 41, both in three parts, each containing a title page and four pages of music. The volume also contains Trois Rondeaux pour la guitare ou lyre composés Par Mr Fréderic Moretti, Dediés à son ami Castro Professeur de Guitare. Oeuvre IVe. A Paris. Title page, pp. 2-16. These compositions are completely ignored in the literature.
12 Re L’Echo des salons, Journal de chant, in which amongst others Francesco Molino has written guitar accompaniments, see the following.
13 Also by Mees we have a composition Les Étrennes, Duo Concertant pour Lyre ou Violon, composé et dédié A M. Martin, Par J. Mees, Professeur. Op. 12. A Rouen, chez l’Auteur. 8o. Title page, pp. 2-17.
14 Re Plouvier’s Journal in Brussels, see below.
15 In these instances the name is spelled as in Fétis with two n’s. Zuth spells it with one.
16 In the article on Lintant Zuth spells Naderman with two n’s. However, the members of Naderman’s family spell it with only one.
17 Phillis was also a teacher of the cithern. In a print from 1787 he is described as “Maitre de Guittare et de Sixtre”.
18 On p. 243 Bone has incorrect Christian names for the brothers Pollet. Benoit Pollet (see also below) is called Jean Pollet, and Alexandre Pollet, Charles Pollet.
19 Concerning a remarkable lyre guitar by Marchal in the author’s collection see Fryklund, Studier över lyragitarren, pp. 12-14.
20 A guitarist Henri is mentioned by Zuth in the article on Sola: “Die AmZ gedenkt 1815 der Gitarrspieler Sola und Henri in Genf”.
21 Concerning Laflêche, see above and below.
22 Zuth has a long article on the melophone. Consequently one would have expected a mention in the Handbuch of the French melophone virtuoso Louis Dessane, who like Regondi, had great triumphs during his concert tours (cf. e. g. Fétis, Biograph. Univers). Zuth has however omitted Dessane. NB. In our autograph collection we have a letter from Dessane to G. E. Anders which deals with the melophone.
23 Compare the following S. H. in Lille.
24 The following compositions by Carulli are in quarto format.
25 Sic!
26 On op. 61 Zuth has Ph. before Gragnani; on p. 123, Filippo.
27 “Op. 5” is not printed but written in.
28 have come across the spelling Borghesy a few times.
29 A printing error for Luigi.
30 Concerning Pacini’s activities as publisher of the Journal des troubadours and Le Troubadour ambulant, see above.
31 See also Le Troubadour ambulant above.
32 Also Pertosa, who wrote several accompaniments for guitar or lyre to others’ songs in the Journal des Troubadours, published by the Italians Pacini and Blangini, and for Nicolo Isouard. Pertosa does not appear in the handbooks. He may also be assumed to have Italian origins: the name sounds Italian, and it would seem as if Pertosa belonged to the Italian music circles in Paris.
33 = varié
34 Concerning S. Castro and Federico Moretti who were born in Naples, but naturalized Spaniards, see above. Zuth does not mention Moretti’s Italian origins or his military background in Spain—he ended up a major general. He died in 1838.
35 Often also given as No 15.
36 Doisy’s catalogue also includes: Pièce variée et concertante pour Harpe et Piano, Par P.J. Plouvier fils. Possibly the above-mentioned Plouvier’s son.
37 Any Genua edition seems hardly to exist. Cf. Fétis IV, p.417: “ces quatours furent publiés à Gênes presque en sa présence”.
38 These Paganini quartets are very rare. Kinsky says in the Catalogue of Heyer’s Museum IV, p. 443, that he could not locate them in the Royal Library in Berlin.
39 By “Monsieur le Baron de Troil” is most probably meant a member of the Finnish noble family von Troil, which also had members in Sweden. The lineage came to an end on the male side in 1880.
40 This is the way Giuliani is spelled in the programme.
41 At present there are several persons in Copenhagen with the name Pettoletti who might be relatives of the afore-mentioned Pettoletti.
42 We have not been able to check a notice in Carl Van Vechten’s work, The Music of Spain, [New York, Alfred A. Knopf, 1918] where on p. 176 it is claimed that in the programme for Fétis’ second historical concert in Paris, eighteenth November, 1832, there was mentioned “Vilhancicos espagnols, à 6 voix de femmes, avec 8 guitares obligées, composés par Soto de Puebla et exécutés dans un concert à la cour de Philippe II (1561).” [Sparr: For details on Fétis’ Concerts Historiques, also including information about the participations of guitarists such as Aguado and Sor, see: Robert Wangermée, François-Joseph Fétis Musicologue et Compositeur, Brussels, 1951.]
43 Misprint: u instead of n.
44 Concerning Light “als Erfinder und Barry als Verfertiger” [as inventor and Barry as maker] mentioned in Zuth, see the author’s above-mentioned booklet, p. 22.
45 The work contains a title page, pp. 1-14 music, followed by 27 hymns. 8o.


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