Classical Lute German/French D minor : 1 FDAFDA 6, used for texture Johann Kropfgans (1708-1771) (Expressive Style) Adam Falkenhagen

(galant) Ernst Gottlieb Baron (galant) Wolff Jacob Lauffensteiner Rudolph Straub Last of the classical lute style players Hagen Kauhaut (knew Haydn) Friedrich Wilhelm Rust (knew Beethoven) Christian Gottlieb Scheidler also composed for guitar Composed for Archlute used primarily for Counterpoint 1 GDAFCG 6 Melchiore Chiesa Fillipo Da La Casa (composing for lute and Figured bass as Vargas y Guzman composed for guitar and Figured bass) Galant/Rococo JC Bach Light and airy, comes from french Style Antoine Watteau (painter, frivolous), of Bourbon Kings Expressive Portraying emotion, mercurial, capricious, changes moods very quickly CPE Bach, Johann Kropfgans (probably heard by Bach) Italian School, GEN. I Technically, Melchiore Chiesa and Fillipo de la Casa are clumped in here, even though they are lutenists Luigi Boccherini (1743-1805) Italian Born, worked in Spain Worked for Benevente Family, why he wrote guitar music. Had 12 guitar quintets published in 1799 (some are lost), the ones we do have come through de Fossa, who transcribed them, loaned to a collector who never gave them back. 4th quintet, Rondeau movement is a fandango in the style of Padre Basilio (with castanets) , whom he probably heard on the street. (theme and variation type form, improvisatory)

Simfonia (has diagram of table, how the musicians are supposed to line up to play) Frederico Moretti born in Naples Publishes in Naples before going to work Madrid, once there, publishes in 1799 Method for 6 course guitar (but he played the 7 string guitar) Knew Padre Basilio, somehow, probably didnt get along. Pulled first petition to publish work once info rmed of Basilio being on the panel of judges in Inquisition Spanish Military man, went to London. Publishes 12 song cycle on Love Gragnani (1767-1812 ) family of instrument builders, moved to Paris, chamber music writer, knew Carulli. Played Violin and Cello as well. Quartets and Sextets (2 guitars, 2 violins, cello, clarinets) Carulli (1770-1841) Born in Naples, played cello and guitar Worked in Paris, moved there in 1809 (guitaromanie!) Publishes first method in 1810, friends with Gragnani, not with Molino. Carulli bridges Classicism/Romanticism. Had programmatic works. Worked with Lacote, to build 10 string guitar. Over 360 opus numbers. Transcriptions of Haydn, Beethoven and Mozart Treatise on Transcription and Figured bass. Son became well known Tenor. Guitaromanie Molinists vs. Carullists None of these Italians did anything of historical relevance while in Italy! Spanish GEN. I Padre Basilio monk, improvisatory, not documented well. Influential to many around him. Aguados teacher. Also knew/taught Fernando Ferandiere. He and Moretti probably didnt get along Much of his life is unknown to us. Vargas y Guzman lived and published in Cadiz (1773) , as well as Veracruz Mexico. (1776) Arco written in figured bass (implies bowed bass instrument) Similar to the Melchiore Chiesa Concordance. Theorist and player of 6 course guitar. Fernando Fierandiere pupil of Padre Basilio. Publishes method in 1799. Contains 230 compositions. Pretty much all of his stuff is lost Antonio Ximenez, Joseph Rodriguez de Leon, Isidro Laporta Technically, Bocherrini and Moretti are in this school as well. French GEN I

Francois Campion, Antoine Bailleux, Joseph Merchi, Pierre Porro French GEN II Ophee and Brian Geoffery important scholars Didnt know much about LHoyer until 1990s. Probably studied with Vidal LHoyer (1768-1852) was a Career military Royalist. Guard of the Royal Family. Vacated to Hamburg and Russia when Shit hit the Fan. Came back to Paris in 1812. Most of works is for 5 string guitar, up until op. 27, after that, writes for 6 string guitar. Wrote chamber works. Friends with Carulli Shafted by French Revolution. Lost financial stability, badly injured his hand. Played with nails. Completely Classical. Gets a post in Corsica, but never the post he wanted. Eventually Dies in Paris. Was knighted. Wrote for Royal Family (Czar Alexander I) while in St. Petersburg. We know his history, because of Military Records, which stop in 1826, and there are no more publications after that. De Fossa Pretty much all chamber music. Military man, Friend of Aguado, transcribed Haydn into guitar Duets. Translates Aguados method into French Spent time in Cadiz. Was known as the Haydn of the guitar We see this in military Letter Correspondence with his sister. Spanish GEN II Sor (1778-1839) Primarily wanted to be a composer. Dancer as well, treatise on dancing. Barcelonian. Worked for Duchess of Alba, who patronized Goya. Studies in Monastery, worked in Madrid. Contact with Moretti. In Paris, then goes to London. Writes Cinderella Ballet there. Makes good money, allows him to travel to Moscow, St. Petersburg. Impresses Czarina Elizabeth, she dies, not able to patronize him further. Death March for Czar Alexander I. Castro took everything rough, and Published it. Meissonier publications are dramatically altered, Op. 1-33 Important works, Op. 9 Mozart Variations, Op. 14 Grand Solo, Op 15 sonata, Op. 22 sonata (dedicated to Manuel Godoy, lover of some Royalty) , Op. 25 sonata. Study opuses, Meissonier pushes him to make Easier pieces. General public couldnt handle his work. Op. 59 Elogie, Souvenier of Russia, dediated to Napoleon Coste. Later works not well known till recently. Meissonier owned rights to the published works up to 1728 in Paris with, these later works were published after his death by Puccini, and Sor had the rights to these. Like modern day Record Contract.

Method Book, 1830, last publication. Not so much a method book, rather an Apology. Only student was Coste. Aguado (1784-1849) Comes from a Very wealthy family. Mamas boy. Doesnt leave Spain until after she dies, inherits huge estate. Knew Sor. Guitar guy performer first, then Composer. Great friends with De Fossa Very Generous. Gave a ton of stuff away when he died. 1820 publishes Escuela in Madrid, republished in 1826, Paris 1825 to Paris. Wrote Rondeau Brilliantes for De Fossa, taught in Paris. Performer, chamber works. Accounts of his playing are non-showy, poetic nature. Pedagogue. Didnt write a whole lot of performance work. Did study works, designed for pedagogy. Meticulous and detail oriented. Invented the Tripodium. Wrote some fandangos. Learned from Padre Basilio. Influenced by Moretti. Worked with Lacote, owned several. Records of his methods being shipped out widely. Died of Pneumonia. Painter and Drafter. Important Cities of Guitar building/Playing : Spanish Cadiz : (Sanguino invented Fan Bracing, Juan Pajes), Sevilla: (Benedid,, fixed frets, nuts) , Madrid, Barcelona Italian Fabricatore, Naples French Paris: Lacote (Sor, Aguado, De Fossa, Carulli) German Vienna : Staufer (made guitars for Legnani, specific Legnani model) Martin (whom immigrated to USA) English Luiz Panormo Baroque 5 course guitar was European as a whole. In France, 5 string guitar pops up, easier to string. Spain, 5 course guitar evolves into 6 course guitar, which is what Sor may have started out on, Boccherini composed for the Benevente family. That goes into 6 string guitar. Baroque guitar was primarily strummed instruments and eventually develops into the plucked, single string instrument to leave the chord/dance music.