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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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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This table represents the most complete catalog of works by Francesco Calegari. Not much detail about his life is known besides his works and a single concert advertised for July 24, 1815 in Leipzig. He published most of his works with opus numbers through Hofmeister in Leipzig, beginning in 1813 and none appear after 1818. He seems to have returned to Florence in 1818 as his only work for guitar was published by Ricordi that year. Ricordi lists music for piano published by an F. Calegari from 1827 through 1838 but it is unknown whether this is the same composer.
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Pfennig magazines were cheap collections in the 1830s of music for instruments such as guitar, piano, violin, and flute. Two in Germany began publication in 1834 with similar titles.
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Marco Mustardino published a series of articles 2009 in il Fronimo titled “Luigi Rinaldo Legnani: catalogo tematico delle prime opere a stampa per Chitarra. [Luigi Rinaldo Legnani: thematic catalog of early printed works for Guitar].” This covered first editions and was the first detailed catalog of Legnani’s works.
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