An edition of five newly discovered chamber pieces for the highly unusual combination of guitar, flute and strings, made by the London violinist George Pigott (1795-1853) edited by Christopher Page.
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A new book by Dr. Sarah Clarke has been published recently by the Boydell Press for the London Record Society.
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Presented here is the full article “L’Hymne de Riégo” published in Revue de Paris, January 7, 1865 (pages 105-134). It is an written by Philbert Audebrand based on an encounter with Huerta around 1860. The portion regarding Huerta’s time in America is part of my article “Huerta in America” published by the Guitar Foundation of America in Soundboard Volume 50, numbers 3 and 4. See my other article for earlier Huerta biographical articles.
(more…)A 2 part article I wrote on Huerta’s activities in America is being published by the Guitar Foundation of America in Soundboard Volume 50, numbers 3 and 4. The article includes portions of biographical articles detailing Huerta’s various stories regarding his concerts and other events during the 2 years he was in America between April 1824 and early 1826. Since some of the articles are very long the information not specific about these years was left out of the article. Below I present the shorter full articles in the original languages and translations. See here for the full 1865 article by Philibert Audebrand.
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“Il Capotasto – notiziario a cura della Associazione Chitarristica “Benvenuto Terzi” was a quarterly magazine self-published starting from December 1993, in Bergamo, by former students, professionals and supporters, who gravitated around the school of Benvenuto Terzi, the virtuoso guitarist and composer from Bergamo.
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My article on Justin Holland’s guitar music collection was published by Soundboard Scholar on July 6, 2024.
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Between 1973 and 1979 Ruth and Jerry Mock self published a magazine focused on the classic guitar called Creative Guitar International (CGI).
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Luigi Sagrini’s op. 4 was dedicated to Luigi Legnani and the theme was listed as “Racio Calupo.” This seemed odd for a well-known prodigy to dedicate a work to a famous guitarist yet use an obscure theme. Nothing related to “Racio Calupo” turned up in searches, so I began to suspect the name was wrong. After much effort, and help from other researchers, I believe I found the source for the theme. The source I located is obscure and unfortunately does not help explain the relationship between Sagrini and Legnani, who dedicated works to each other.
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During my research on Justin Holland to locate information about his exact location through all years of his and his family’s lives I created an extensive timeline. Cleveland land records are included in the timeline.
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