89095 Paganini Concert at A Intro

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The CharnberMusic

NiccoldPaganini(1782 1840)

SonataConcertata(M.S.2)for Guitar & Violin

Urtext edition with facsimile of the original manuscripts

Edited by GiuseppeGazzelloni

Contents

IntroductionCommentaryFacsimile of the autograph manuscripts

Urtext setting of ttre Sonata concertata (M.S. 2)

First published1990bv ChanterelleVerlas.@1990 y'MichaelMacmedken,ChanterelleVerlag,

D-6900 Heidelbers. W. Cermanv.All rights riiewed.

'

ltris edition contains new and original material and is strictly copyright,No oart ofit mav be reproduced in anv form or bv anv meanswithout the prior perir ission in wrifine of the Publishers.'

Co'verdesisn bv Jo Kniuf.Printed in the Ul( by York Print Ltd.

rsBN 3-89044-061-4

Chanterelle001

2

817

FXrsE.Rsirx li r;.ir',cliiNlti LIBR'ABI



INTRODUCTION

Paganini and the GuitarPaganini's interest in the guitar began to be seriously investi-gated when itbecame generallyknown how much he wrote forthis instrument. Researchhas now established thathis inter-est in the guitar was not fanciful, nor a passing whim; on thecontrary, this instrument was his constant companion and afavouritemedium for composition.Variouscontemporary c-counts praise his guitar playing, comparing it to his prowesson the violin. In spite of his contacts with leading guitarplayers ofthe day such as Carulli, Giuliani, Iegnani ind Zani

de Ferranti, his compositional style remained distinctive anddoes not reveal their influence. Fuller details on this subiectand on hi s guitar notation are conrained n the Chanteiellcedition of Paganini's Solo Guitar Works.l The edition alsoincludes a Bibliography and a listing of all Paganini's knownworks for and with the guitar.

Paganid's Guitar NotationDecifering Paganini's nervous, rapid handwriting presentsseveral problems, It is very compressed, ull of crossingsoutand often dilficulttoread, Furthermore, inmany cases tisin-consistent; even iilentical passagesare differently notated:

GhiribizzoNo. 3 (M.S. 43): Volrz

In the autograph manuscripts there are few expressionsigns.Fingering is almost completely absent; in fact, left hand indi-cations are rare, while there are none at all for the risht hand.Th e precise engthof slurs s oftendifl icult to determ ne, par-ticularly when they are wrilten transversally ro m rhe biss.The problem often lies in determining which note is the lastcoveredby the slur:

GhiribizzoNo . 3 (M.5.4}:Valtz

In common with other 19th century guitar music, parallvoicesoften employ only one slur, This is placed either aboor below,

Minuetto d.edicatoalla Signora Dida (M.S. 104)

Or io ino l nn ta t inn .

5. i

For the presentedition, all indications in squarebrackets anall dotted slurs are editorial additions, as are thebar number

Played:

Editorial Policy and Practice

TIte Chanterelle Paganini series of music for and with guitaaims to present the composer's works in an integral anaccurateedit on. This is the llrst attempt to do so nJorporing current musicological procedures.

All catalogue numbers refer to the Moretti - Sorrento Catlogue,zwhosenumbering system s prefixedby the letters M.

The original autograph text has been adopted for the preseedition.Nothinghasbeenadded, aken awa yor altered n away including note duration. ltre direction of somestems habeen changed to give a clearer reading.

SonataNo. 2 (M.S. 84): Minuettoj

Original:0.i 2. i i

Engraved:

Origi n al:

Played:

musical text which, in common with much early 19th centurguitar notation, considers only the rhythmic aspect of notvalues(determined by stemming requirements). Usually thesnote values do not indicate a satisfactory musical d,tralionwhich must be established by the player. This processshou

40.itt 44

12 F _at the beginning of each stave. Any variants with the manu

^ | _] - F scripts are detailed in the Commentary.ffii # I t i s u n d e r s t o o d t h a t t h e g u i t a r i s t w i | | i n t e r p r e t t h e o r i g i n a l

It is almost always possible to solve these ambiguities byanalysing and playing the problem passage.



also involve a correct separation ofthe voices.

For example:

Sonata No. 26 (M.5.84): Allegretto

Original notation:

Interpretation:

The Sonata concerta.ta fot groitat aad violin (M.S. 2)

The autogaph manuscript of the Sonota. concertatd for gtitat

and violin (M.S. 2) is in the Biblioteca Casanatense n Rome,call mark 5624. t consists ofa scoreand a separate violin part,

both in oblong format.

The score has twelve pages, ten of which are music. Its titlepage, eproduced n thefacsimile sectionofthis edition, reads:

Sonata Concertata p[er] Chittona, e Violino / Ded,icatoalLa Sig." Emilia Di Negro I d.aNiccold Paganini / Par-tittura .'Ihe movementsare isted as ollow s:Alle Spiritoso,Adagio / [a]ssai / fE]spressiuo, Rondeau I Allegretto con

brio Scherzando-

The separate eight page violin part has music on six of itspages.The first page reads:

Sonatap[er] Chitara, eYiolirc I Ikd.imta lA ModamigellaEmilia d.iNegro / d.a / Niccold Paganini / Violino.

The titles of the movements differ slightly from those on thescore. These are: AILegro Spiritoso, Adagio Espressiuo,Ron'deau Con Brio Scherzando-

There is also a manuscript copy (with the same cataloguenumber 5624) of the Sona.tqconcertatd(M.S. 2) in the Bibl io-teca Casanatense.This consistsof two oblong 6 page ascicles

containing the guitar and violin parts respectively:the musicoccupies4 pages n each. tre copyist (perhapsby associatingit with the Grar?dSonola M.S. 3) i has modified the title on thefront-page (identical for both parLs). It teads: Sonata / PerChitarra con dccornp.to .i Violino I Dedicata I Nla Sig.*Emilia Dinegro I Dol Sig.' Niccold Paganini- Details of theinstrumentation follows.

There is a further manuscript copy of the Sonato,concertqt<t(M.S. 2) in the Biblioteca del Conservatorio di Musica "N.Paganini" in Genoa. ltre composition is titled Duetto / perViolino e Chitarra I d.i Nicold Paganini and is part of acollection contained in two oblong volumes.aTtte violin andguitar parts are titled respectively : .|y''15 d.uettiper Violino /e Chitarra di PAGANINI / VIOLINO and N' 15 duetti per

Violino I e Chitarradi

N.PAGANINI

/CHITARRA.

TIre fundta conceltolo is dedicated to the GenoesenoblewomanEmilia D Negro,swho marrieil the Polish General Dombrows$sson on December 28th, 1803, and subsequently ailopted herhusband's name; her maiden name is used on the front page ofthe autographed violin part which dates the work to not laterthan 1803.6

TIte Sonata concerta o is in A major and has three movements,the first of which is developed completely in accordance withthe typical rules of early J.9th century Sonata.?

In contrast to the coeval Grand Sonato (M.S. 3), in which theguitar plays a predominantrdle with the violin essentially ac-companfng, in the Sonota concertato both instruments de-velop an effective articulate musical discourse,

Although the Sonata concerteta consists of tather concisernovements, it is of substantial and soljd construction. Paganini'sinexhaustible inspiration comes out clearly, His musicallanguage, rich in spontaneity and elegance, is intoned in adistinct expressivecanta b e form -

Giuseppe GazzelloniLatina, 1989

Notes

1. NiccoldPaganini,The CompleteSoloGuirar WorAs in 3 volumes),edited by Giuseppe Gazzello ,, Chanterelle Verlag, Heidelberg,1987 English and Italian t€xts).

2. CatoJoqo ternatico delle nusiche di Nicald Pagazizi, a cura diMaria RosaMoretti e Anna Sorren to (Comune di Genova, 1982).

3. The original title ofthis work is: Grazd Sonata I d Chittarra Sola

I Con'Accompagnanento di Vialino I Composta da I Niccoli,Paganini I Partitturd SeeNiccold Paganini, Grand Sonata (M.S.

3), editedby GiuseppeGazzelloni, Chanter€lle Verlag (ECH 0O2),Heidelbery, 1989.

4. Apart from the Duerro alrcady mentioned, this collection also n-clude ms. copieso Se Duettini fot violit\ andguitar (M.S.9), Du eDuerri forviolin and Suitar(M.S. 14 & 16)and Sei D.rerri for violinand guitar (M.S. 110).

5. Sonata No.34 (M.S.84) for sologuitar is also dealicatedo her, SeeNiccoldPaganini, ?,h€CompleteSolo Guitar Wor&s,op. cit., Vol. 2,ChanteE e Verlag (ECH 098).

6. The Sonata concertata (M,5.2) certainly dates fmm the sameperiod as the GrauL Sonata (M.S. 3). Both compositions areconceived or the same instruments (guitar and violin) and therespective mss. contain obvious similarities in handwri ting. Inaddition, both sources sre certainly \i/ritten on the same type ofpaper.See ntroduction to NiccoldPaganini, Grand Sonata (M.5.

3), op. cit., Chanterelle Verlag (ECH 002) and D. Prefumo,

Paganini e Ia chitarra, in "il Fronimo", no. 23, 1978,p.

?.

7. The ermsonat a also appearsas a title inother works ofPaganini.Usu ally this i semployed in its et)rmological meaning (ie pieceto beplayed), without any r€ference to the binary-trip artite form whichdistingubhes the frr'st movement ofthe 19th century Sonata.

ACKNOWLEDGEMENTS

The Editor and Publishers are indebted to the ltalian Govern-ment (Ministero per i Beni Culturali e Ambientali) and theBiblioteca Casanatense in Rome for their invaluable assis-tance in the preparation of this series.

/, r'?



COMMENTARY

Syrnbols and Abbreviationer

SVS\?Arabic numetalsRoman numeralsOrig.

ms.Cas.cf.

eg:G 26.iv 48.ii.iiivs

Allegro Spiritoso

\r 5U

Generial NoteeFor the present edition, the titles of the movements as theyappear in the scoreof the original manuscript have beenadopted.

lhe musical text ofthis edition adheres aithfullv to the auto-

graph manuscripts ofthe score guitar and violint an d th eseparateviolin part, Certain slurs, expressionmarks, accents,etc. appear in the violin part but not in the score (and viceversa). It was therefore neccessary to integrate these twoparts reciprocally to give one uniform reading. Variants be-tween the scoreand the violin part are reported n the Com-mentary.

there are many appoggiaturas and acciaccaturas in theautograph manuscripts ofthe Sonota concertdtq.(M.S. 2). Insomecases hey are barely legible. Given the special nature ofPaganini'shandwriting, it is ofl,endifficult ro esiablish whetherhe really wanted to specifically distinguish the appoggiaturafrom the acciaccatura: oth fi 'equentlyappear nioniistent)vin oneorotherform even n identicalor symmetricalpassageswithin the same piece.

ltrefollowing examples are taken from the Sona.ta oncert..ta(ms. Cas. 5624):

= guttar= violin= score(guitar and violin parts)= violin part in the score= the separate violin part= bar= beat= original (in the autograph ms.)

= manuscript= BibliotecaCasanatense= compare

= guitar, bar no. 26, lst beat.= violin, bar no. 48,2nd & 3rd beats

(violin part in the score).

For the present edition, the ornaments are engravecl as theappear in the autograph manuscript. Any variants are notein the Commentary.

Allegro Spiritoto

-G 8.i. i i ,88.i i i , 112.i. i i .Orig.: he exactplacingofthe slur inot clear.

- V 15.iv VP & VS, 142.i rr?. Orig.: the ornament is writtenwithout the transversal line.

- G 19.i. i i .Orig.:

- V 40.i VS & \T. The ornament is not in ms.; it has beeadded in accordancewith 142.i VP,

- v 46.i. i ivs, 48.i. i ivs , 52.i. i ivs, 60.i. i ivp, 60.iivs. 84.ii.

VS & VP, g2.ii.iii VS, 141.ii.iii.iv VP, 154.i.ii VS & Vp1? 4VS & VP. Orig.: he exact placing of the slur is noclear.

- G 52.iii, 152.iii.iv. Orig.: the ornament is written withouthe transversal line.

- V S2.iii.iv VS & 1?. Oris.:

V S 1 6 2 . i i - vj

V P 1 6 2 . i i . v

N

Ad.tg io .t ssdi E spressiD o

vs 22. i i

tr

RondeauAllegretto con brio Scherzand.o

V P 6 0 . i ' . v

vs 38. i i

VS& VP 12 vs 97



61.i. Orig.: Paganini has scoredout the G# (on the 2nclline) and the B (on the 3rd line) purposely eaving onlythe bass E and upper voice E (cf. 163.i).

70 VS & W. Orig.:

ffi-

dolce

,L ---=--\

ffiiJ-] _

dolce

-V 142.i.ii.Orig.:VS

-v

I l..fi '=_=--

Gf:::t-tl'i-_Jlf .:-l;-1-lit--------1-----f---T-f

-Ft-p

- G

. G

170.iii. Ornament is an editorial addition (cf. 68.iii).

172. Orig.:

-Y7r.iv-72.olrs.: ##+sF

w

- V 75.iv-?6.Orig.:vs

VP

- G 79.iv-80. Orig.: the positioning ofthe expression signs isnot clear.

- 83 S & VP, 135 S & VP. Orig.: there is only a bar line at theend of the bar.

- G 83.ii.iii. Orig.: the G (on the Znd line) has a natural sign.

- G 108.i.ii, l09.i.ii. Orig.: the slur is barely distinguishable.

-G 125. Orig.: a very faded indication, which seems to becresceru,o, appeata.

- V 125 VS. Orig.: seepreceding note. In 125 VP cresc. isclearly indicated.

- G 135. Orig.:

- V 148.iii VP. Orig.: the E (on the 1st line) has a #.

- V 150.iVS &VP. Orig.: the indication r/(in front ofthe bassD#) almost certainly refers to the two simultaneousnotes D* & B (on the 3rd beat). Cf. 48 VP.

- G 154.iii.iv. Orig.:

- V 154.iii.iv VS & VP. Oris.:

-V 162.iii.iv. Orig.;VS

!?

- V 172VS & VP. Orig.:



- V 177.iv-U8. Orig.:vs

VP

- 186 S. In the original Paganini has wrilten 187battute.Thereare really 186 bars (possibly due to his having countedthe 2nd time bar 82).

Adag io as eai Eeptu ceivo

- G 2.iii. Orig.: the exact positioning of the slur is not clear.

- V 2.iii VS. Orig.: G has an accidental #.

- G 3.i (1st & 2nd eighth-notes), 2.iii, l8.ii.iii, 34.ii.iii. Orig.:the ornament is written without the transversal line.

- G 7.i. Orig.:

As ftequently found in 19th century guitar music, theabove chord calls for the use ofthe LH thumb to stop theF on the 6th string. For the present eilition, following

modern technical practice, the chord has been revoiceilby substituting the A on the 5th stdng with a C, thusemploying a 1st finger barr6 at the lstfret to stop the F.

- G 8.iii. Orie.:

Seepreceding ote.

- V 10-11-12.i.rig.:VS

VP

-V l9.i. i i . Orig.:VS

VP

- V 20.i VS, 36.i VS. Orig.: the positioning of the slur is notclear.

- Y 22.ili. Otig.:vs

^ N-#1t6- 1r----T-

VP

- V 35.i.ii. Orig.:VS

VP

- V 38.iii. Odg.;vs

VP

+ l')--l- . - l -

l

, ,.---------.'- .------

='f P' PT

- c 4o.ii.orig.:

dolce

t Y f- -

r l 7 ,



- G 42.i. Orig.:

Rondeau Allegretto con brio Scherza,ndo

- V g.ii VS & VP, 53.i VS & VP, 97.i VS. Orig.: the ornament

is written without the transversal line.

-G 14.ii,27 i i, 47 i i,48.i i, 57.i i, 85.i, 99.i i, 112.ii.Orig.: hequarter-note rest is dotted,

- V 27.ii VP, 85.ii YP. Orig.: in 27.ii (abovethe eighth-noterest) there is the indication Fine. In fact, VP ends at 85.ii(lst eighth-note), after which Da Capo fin al Fine ap-pears.

- V 31.ii VS. Odg.:

, , t l l, U n F ' F

fS"---F-- -n-_

- V 53.i.Orig.:VS

-v

- G

63.iivs & vP, 64.iivs & vP, 66.iivs & vP, 75.iivs &VP, 82.iiVS & VP, 85.iVS & VP, 112.iiVS.Orig.: heouarter-note rest is dotted.dg.i. Orig.: theornamentis written wi thout the transver-sal line.

7l-72. Otig.:vs

-v

- V 93.i.Orig.:VS

\?

- 85 S. Orig.: key signature has 3 sharps (F#-C#-G#).This isreally superfluous as in the preceding section (51-84)accidentalshave been employed without removing theabove-mentioned alterations.

Also n 8.i VS the bass G# is an eighth-note.

-V 94.iiVS. The ornament s not n ms.;ithasbeen added naccordance ith 9.i i VS & VP.

- V 97.i. Orig.:VS

VP (12.i which corresponds o 97.i)

r' r,ttLEEt '-

a - +

VP (8.i which corresponds to 93.i)

^j t-)e-n--u -+l

- V 58.Orig.:VS

VP

VP

^Jr r )qFHll+

:

#r-" f t "

- G 61.i.Orig.:

The acciaccatura also appears in 12.i VS.

Documents

89095 Paganini Concert at A Intro