The Charnber Music

Niccold Paganini(1782 - 1840)

Sonata Concertata(M.S. 2)

for Guitar & Violin

Urtext edition with facsimile of the original manuscriptsEdited by Giuseppe Gazzelloni

Contents

IntroductionCommentaryFacsimile of the autograph manuscriptsUrtext setting of ttre Sonata concertata (M.S. 2)

First published 1990 bv Chanterelle Verlas.@1990 by'Michael Macmedken, Chanterelle Verlag,

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 means

without the prior perir ission in wrifine of the Publishers.' Co'ver desisn 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. Research has now established thathis inter-est in the guitar was not fanciful, nor a passing whim; on thecontrary, this instrument was his constant companion and afavourite medium for composition. Various contemporary ac-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 Zanide Ferranti, his compositional style remained distinctive anddoes not reveal their influence. Fuller details on this subiectand on his guitar notation are conrained in 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, full of crossings outand often dilficulttoread, Furthermore, inmany cases itisin-consistent; even iilentical passages are differently notated:

Ghiribizzo No. 3 (M.S. 43): Volrz

In the autograph manuscripts there are few expression signs.Fingering is almost completely absent; in fact, left hand indi-cations are rare, while there are none at all for the risht hand.The precise )ength of slurs is often difl icult to determ ine, par-ticularly when they are wrilten transversally from rhe biss.The problem often lies in determining which note is the lastcovered by the slur:

Ghiribizzo No. 3 (M.5.4}:Valtz

In common with other 19th century guitar music, parallelvoices often employ only one slur, This is placed either aboveor below,

Minuetto d.edicato alla Signora Dida (M.S. 104)

Or io ino l nn ta t inn .

5 . i

For the presentedition, all indications in squarebrackets andall dotted slurs are editorial additions, as are thebar numbers

Played:

Editorial Policy and PracticeTIte Chanterelle Paganini series of music for and with guitaraims to present the composer's works in an integral andaccurate edit ion. This is the l lrst attempt to do so inJorporat -ing current musicological procedures.

All catalogue numbers refer to the Moretti - Sorrento Cata-logue,z whosenumbering system is prefixedby the letters M.S.

The original autograph text has been adopted for the presentedition. Nothinghas been added, taken a way or altered in anyway including note duration. ltre direction of some stems hasbeen changed to give a clearer reading.

Sonata No. 2 (M.S. 84): lMinuettoj

Original:

0. i 2. i i

Engraved:

Origi n al:

Played:

musical text which, in common with much early 19th centuryguitar notation, considers only the rhythmic aspect of notevalues (determined by stemming requirements). Usually thesenote values do not indicate a satisfactory musical d,tralion,which must be established by the player. This process should

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.

ai

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 gtitatand violin (M.S. 2) is in the Biblioteca Casanatense in Rome,call mark 5624. It consists ofa score and a separate violin part,both in oblong format.

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

Sonata lConcertata p[er] Chittona, e Violino / Ded,icatoalLa Sig." Emilia Di Negro I d.a Niccold Paganini / Par-tittura .'Ihe movements are listed as follow s: Alle Spiritoso,Adagio / [a]ssai / fE]spressiuo, Rondeau I Allegretto conbrio Scherzando-

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

Sonata p[er] Chitara, e Yiolirc I Ikd.imta lA ModamigellaEmilia d.i Negro / 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.tq concertatd (M.S. 2) in the Biblio-teca Casanatense. This consists of two oblong 6 page fasciclescontaining the guitar and violin parts respectively: the musicoccupies 4 pages in each. ltre copyist (perhaps by associatingit with the Grar?d Sonola M.S. 3)i has modified the title on thefront-page (identical for both parLs). It teads: Sonata / PerChitarra con dccornp.to d.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.a Ttte violin andguitar parts are titled respectively: .|y'' 15 d.uetti per Violino /e Chitarra di PAGANINI / VIOLINO and N' 15 duetti perViolino I e Chitarra di N. PAGANINI / CHITARRA.

TIre fundta conceltolo is dedicated to the Genoese noblewomanEmilia D Negro,s who 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 lo 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 expressive cant a b i Ie form -

Giuseppe GazzelloniLatina, 1989

Notes

1. Niccold Paganini,The Complete Solo Guirar 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 Rosa Moretti e Anna Sorrento (Comune di Genova, 1982).

3. The original title ofthis work is: Grazd Sonata I d Chittarra SolaI Con'Accompagnanento di Vialino I Composta da I Niccoli,Paganini I Partitturd See Niccold Paganini, Grand Sonata (M.S.3), editedby Giuseppe Gazzelloni, Chanter€lle Verlag (ECH 0O2),Heidelbery, 1989.

4. Apart from the Duerro alrcady mentioned, this collection also in-clude s ms. copies o f Se i Duettini fot violit\ and guitar (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 solo guitar is also dealicated to her, SeeNiccold Paganini, ?,h€ Complete Solo 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 for the same instruments (guitar and violin) and therespective mss. contain obvious similarities in handwriting. Inaddition, both sources sre certainly \i/ritten on the same type ofpaper. See introduction to Niccold Paganini, 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 termsonata also appears as a title inother works ofPaganini.Usu ally this i s employed in its et)rmological meaning (ie piece to 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.

"rtCtl # /, r'?

COMMENTARY

Syrnbols and Abbreviationer

SVS\?Arabic numetalsRoman numeralsOrig.ms.Cas.cf.

eg:G 26.iv 48.ii.iii vs

Allegro Spiritoso

\r 5U

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

lhe musical text ofthis edition adheres faithfullv to the auto-graph manuscripts ofthe score (guitar and violint and theseparateviolin part, Certain slurs, expression marks, 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 score and the violin part are reported in the Com-mentary.

there are many appoggiaturas and acciaccaturas in theautograph manuscripts ofthe Sonota concertdtq. (M.S. 2). Insome cases they are barely legible. Given the special nature ofPaganini's handwriting, it is ofl,en difficult ro esiablish whetherhe really wanted to specifically distinguish the appoggiaturafrom the acciaccatura: both fi 'equently appear inioniistent)vin oneorotherform even in identical or symmetrical passageswithin the same piece.

ltrefollowing examples are taken from the Sona.ta concert..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 theyappear in the autograph manuscript. Any variants are noteilin the Commentary.

Allegro Spiritoto

-G 8.i. i i ,88.i i i , 112.i. i i . Orig.: the exact placingofthe slur isnot 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 beenadded in accordance with 142.i VP,

- v 46.i. i ivs, 48.i. i i vs, 52.i. i ivs, 60.i. i ivp, 60.i ivs. 84.i i. i i iVS & VP, g2.ii.iii VS, 141.ii.iii.iv VP, 154.i.ii VS & Vp.1?4 VS & VP. Orig.: the exact placing of the slur is notclear.

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

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

V S 1 6 2 . i i i - i vj

V P 1 6 2 . i i i . i vN

Ad.tg io .t ssdi E spressiD o

vs 22. i i i

tr

Rondeau Allegretto con brio Scherzand.o

V P 6 0 . i i ' . i v

vs 38. i i i

VS & VP 12 vs 97

r61.i. Orig.: Paganini has scored out the G# (on the 2nclline) and the B (on the 3rd line) purposely leaving 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-l-it--------1-----f---T- f

-Ft-p

- G

. G

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

172. Orig.:

-Y 7r.iv-72.olrs.: ##+vsF

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.: see preceding 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 172 VS & VP. Orig.:

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

VP

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

Adag io as e ai 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, followingmodern 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.:

See preceding note.

- V 10-11-12.i. Orig.: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

l

I

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 ornamentis written without the transversal line.

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

- V 27.ii VP, 85.ii YP. Orig.: in 27.ii (above the 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.i i VS. Odg.:

, , t l l, U n F ' F

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

- V 53.i. Orig.:VS

-v

- G

63.ii vs & vP, 64.ii vs & vP, 66.ii vs & vP, 75.ii vs &VP, 82.ii VS & VP, 85.i VS & VP, 112.ii VS. Orig.: theouarter-note rest is dotted.dg.i. Orig.: theornamentis written without 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)accidentals have been employed without removing theabove-mentioned alterations.

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

-V 94.i i VS. The ornament is not in ms.;ithasbeen added inaccordance with 9.i i VS & VP.

- V 97.i. Orig.:VS

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

r' r,t ttLEEt '-

a - +

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

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

- V 58. Orig.:VS

VP

VP

^J r r )qFHll+

:

#-r-" f t "

- G 61.i. Orig.:

The acciaccatura also appears in 12.i VS.