Bidrag till gitarristiken Part I [Contributions to Guitar Studies]

by Daniel Fryklund


In memoriam Matanya OphŽe (1932-2017)


Translated from the Swedish by Jan Ring Ellis, revised and annotated by Kenneth Sparr


This translation of Daniel FryklundÕs important article/review of Josef ZuthÕs Handbuch der Laute und Gitarre was first published on line in Matanya OphŽeÕs Guitar and Lute Issues, which until recently has been available on his website. This website has unfortunately been closed down. As a tribute to two important researchers in guitar history, Matanya OphŽe and Daniel Fryklund, this article is now again available. My revisions and annotations are marked in red and has not been updated since this version first was published on line.


Kenneth Sparr, Stockholm, 5 April 2019


In 1926-28, a Handbuch der Laute und Gitarre in dictionary form (296 pages, 8vo) was published in Vienna. The author of the work was the Vienna lecturer Josef Zuth, who in 1919 wrote a doctoral thesis entitled ÒSimon Molitor und die Wiener Gitarristik um 1800Ó. Zuth had made himself quite a name in guitar studies: in addition to his own work, he published compositions for the guitar by e. g. Molitor and Schubert as well as a guitar journal. Shortly after the completion of his Handbuch, Zuth published an announcement in several journals in which he called upon experts to co-operate in a new work—an EnzyklopŠdie der Laute und Gitarre. This appeal did not go unheard, and Zuth was soon in position to begin to publish his enormous work which contained, in literature alone, over 30,000 entries. According to Zuth, the work should cover and contain the following:

á       Volume I: Biographical/Bibliographical Dictionary

Book 1: Tablature (all lute-like instruments)
Book 2: Modern notation up to the end of the nineteenth century
Book 3: nineteenth-twentieth centuries (modern times)

á       Volume II: Instruments and Makers

á       Volume III: Theory (Notation, Method, etc.)

Fryklund got in contact with Josef Zuth probably in the beginning of 1930. It seems as if Fryklund had offered his services to Zuth in his large encyclopŸdia project. A letter from Zuth to Fryklund, dated 30 March 1930, makes it clear that Zuth then had completed and copied out the first volume of the bio-bibliographical part of his encyclopŸdia. Another letter from Zuth, dated 5 February 1931, shows again how willingly Fryklund was prepared to share his research with others. Zuth complains that he was not able to offer anything in return (Қsterreichische Gelehrte sind arme TeufelÓ) other than to mention Fryklund as a contributor. Zuth also mentions that he had collected some 30,000 references for his encyclopŸdia. This letter possibly has provided Fryklund with the information in the beginning of his article.

After its publication Fryklund also sent his article ÒBidrag till gitarristikenÓ to Zuth, who thanked him in a letter dated 6 January 1932. In this letter Zuth also asks Fryklund if he was willing to translate Handbuch der Laute und die Gitarre into Swedish or French. Zuth also mentions that he had begun to make investigations about the mandolin. After a long and hard period of sickness Zuth died on 30 August 1932 and his widow announced this in a letter to Fryklund dated 6 November 1932. In her letter she suggested that Fryklund should get in contact with Adolf Koczirz, who was to complete the work of Josef Zuth. However this project was never realized. It would be interesting to know whether ZuthÕs 30,000 references still exists!

Time and energy permitting, Zuth intended to include also a (Kultur-) Geschichte der Laute und Gitarre. ZuthÕs Handbuch has actually only one predecessor, a work by Philip J. Bone of Luton, England: The Guitar and Mandolin, published in 1914. BoneÕs work is complemented with pleasant pictures and good examples of notation, and it offers a wealth of material about guitarists and their compositions. Its greatest drawback is that it lacks source references. However, the work is mandatory for researchers and it is often cited by Zuth, who occasionally reproduces BoneÕs information in literal excerpts. (Note 1) Fryklund himself wrote to Philip J. Bone in 1931 inquiring for a copy of BoneÕs work. In the letter he also informed Bone about his own work on the history of the guitar. Bone mentions in his reply to Fryklund that he also had a collection of guitar music including Òsome rare French worksÓ. He tells Fryklund that his book is hard to obtain and command as much as £5 sterling. In a later letter, dated 26 May 1931, Bone offers a copy to Fryklund at the price of £5. Both letters from Bone are in FryklundÕs private archive. However, they donÕt seem to have continued their correspondence.

In the Handbuch der Laute und Gitarre Zuth has created a work which makes an altogether excellent impression. The notes are comprehensive, clear and in most cases, exact.

Out of interest in ZuthÕs future EnzyklopŠdie, the author of this article has attempted below to contribute an addition to the ÒHandbuch"; in certain cases, this has involved correcting mistakes. In general, the present author has dealt with older aspects, even if many new ones which have come to light during recent years could have been included: for example, Maria Rita BrondiÕs work, Il Liuto e la Chitarra, which foreshadows Zuth, and which was published in 1926; and guitarist P[iotr] S[piridonovich] AgafoschinÕs Russian pamphlet Nowoe o gitare, which was published in 1928, etc. In 1934 Domingo PratÕs ÒDiccionario de GuitarristasÓ was published, another attempt to produce an encyclopaedia on the guitar. As was the case with Josef Zuth Prat obviously did not have any knowledge about Fryklund, his collections and his work on the guitar. Interestingly enough Fryklund had some correspondence with Prat much later. In FryklundÕs archive there is a letter from Prat, dated 14 September 1938, certainly an elevated piece of work! It seems as if Fryklund had requested a copy of PratÕs ÒDiccionarioÓ and also had sent Prat some of his articles and booklets. PratÕs letter must have been accompanied by a copy of his ÒDiccionario" as Prat wants Fryklund to confirm its delivery. The letter otherwise does not contain much of interest and the correspondence between Prat and Fryklund seems not to have continued.

The majority of the works mentioned in the following are in the authorÕs collection of guitar compositions, and the greatest strength of this collection are the French compositions which consist mainly of a few thousand works for voice and guitar (or lyre) from the end of the eighteenth century/beginning of the nineteenth century.

In this essay we have attempted to give our various contributions to guitar studies for various countries. As regards Denmark and Sweden, we have expanded the material to include the lutenists. The French material is so vast that we can only mention a small bit of it. We shall therefore produce a separate presentation in lexical form of guitarists in Paris, a form of presentation which should be the most suitable for both an extensive and a detailed contribution to ZuthÕs EnzyklopŠdie. The plan for the separate presentation of the guitarists in Paris was never fulfilled. Fryklund may soon have realised the amount of work which was needed to identify and obtain information about all these guitarists and arrangers for the guitar.

Towards the end of the eighteenth century and beginning of the nineteenth century, the guitar reached a popularity never before attained in most countries in Europe. The centre for the instrument was Paris, where the most famous guitarists were at hand, and where not only Frenchmen but also celebrities like the Italians Carcassi and Carulli and the Spaniard, Sor congregated. Pieces were composed not only for solo guitar, or two or three guitars or guitar with strings (especially the violin), wind instruments (especially the flute), or both or piano, but also nearly all popular songs, even opera melodies, were published with guitar accompaniment.(Note 2)

The reason for the emphasis at the time on guitar accompaniment was e. g. that in general the name of the arranger was given and those publishers who did not name the arranger are few: Imbault often deletes the arrangerÕs name; Sieber, occasionally.

Most of the leading guitarists in Paris participated in this enormous work: if they who composed the songs were not guitar virtuosos or teachers of the guitar, then they seldom arranged works for the guitar themselves.

This enthusiasm for the guitar expressed itself occasionally in music to words dedicated to the instrument: A Ma Guitare, Romance DŽdiŽe ˆ Madame Caccia. Musique et accompt de Lyre ou Guitare par A: M: Lemoine (chez Lemoine ainŽ):

™ Guitare enchanteresse
Source unique du plaisir
Quand sous mes doigts je te presse
Je ne forme aucun desir
Sois la maitresse chŽrie
Qui mÕenchaine pour toujours
Et que ta douce harmonie
Me tienne lieu des amours.

De tes cordes argentines
Quand jÕentends le son flateur,
Mon ‰me au tems de corines
Se transporte avec douceur.
De Sapho de Deshoulires
Tu prends le ton sŽduisant,
Et lÕon ne resiste gures
Quand tu peins le sentiment.

Mais il fait un coeur de flamme
Pour entendre tes accens,
Car tu dis rein ˆ lՉme
Des tres indifferens.
Pour eux ton charmant langage
NÕest que du son et du bruit,
Et je lis sur leur visage
QuÕamour ne leur a rien dit.

When the lyre guitar was flourishing in the beginning of the nineteenth century, accompaniment was generally written for guitar or lyre. Occasionally only the lyre was mentioned for the accompaniment, and was often awarded a certain superiority over the guitar through being placed before it when listing accompaniments. This popularity of the lyre at least contributed to its being used so often on signs or names of music shops: in Paris there were at least two shops called A La Lyre, and also A La Lyre Moderne, A La Lyre dÕOr (this name is also found in Rouen), and Aux Deux Lyres. And, like the guitar, the lyre was celebrated in both words and music.

Occasionally particular instructions were given for lyre accompaniment. LemoineÕs accompaniment for example is often equipped with the notes: ÒLes notes ayant un (8) se font ˆ lÕoctave en bas sur la lyreÓ, sometimes with the addition, Òou guitare ˆ 6 cordesÓ. Similar instructions occur also with DoisyÕs and GrumailleÕs accompaniments. This implies that the five-course or five-string guitar was the more common type in the beginning of the nineteenth century in France. The same type of notes are very common when the lyre is specified as instrument for the accompaniment. In the commentatorÕs collection there is also a ÒManche gŽnŽral de la lyre, la guitarre ordinaire y compriseÓ, printed by J. J. Hummel before 1814 where it is said: ÒLa sixime corde appartient exclusivement ˆ la LyreÓ.

In one or two cases songs occur without guitar accompaniment, but with woodwind instruments ad libitum, for example Air du Rossignol ChantŽ par Mme Albert. Avec Accompt de flute ad libitum. Paroles de Mr Etienne. Musique de Mr Lebrun. ArrangŽ pour la Guitare par Meissonnier. A Paris, chez M Pacini.

Le Vieux Berger. Ronde de ClŽon G*** mise en musique avec accompagnement de FlŸte ou de Flageolet, ad libitum, et dediŽe ˆ Madame la Vicomtesse Henry de SŽgur, Par Jh Vimeux ˆ Paris. V. Dufaut.

Le Printemps. Chansonette avec accompt de Hautbois obligŽ. Paroles dÕAuguste Duvivier. Musique de L. Clapisson. Accompt de Guitare par Jh Vimeux. Paris, chez Bernhard Latte.

Also the guitarists, which will be dealt with later, Colin in Douai and Houze in Mons have written compositions for voice, flute and guitar.

Sometimes for the arrangements specialists were chosen for each instrument, e. g. Six Airs Italiens, ArrangŽs pour Flute et Guitare par Tulou et Carulli, Paris, A. Meissonnier, where the famous flutist Tulou and Carulli arranged their respective parts.

Occasionally great freedom was permitted in the choice of the accompanying instrument as in Avis aux Belles. Paroles de Mr J. B. H. *** Musique et accompagnement de Lyre ou Guitare, de Flute ou Violon Par J. B. Bedard. ˆ Paris, Aux adresses ordinaires de Musique.

One of the compositions in our collection even has the accompaniment of Tambour de Basque: Le MŽdecin Turc. Romance ChantŽe par Mlle Pingenet ainŽe, Paroles de Villiers et Armand GouffŽ, Musique de Nicolo, Accompagnement de Guitare ou Lyre et Tambour de Basque ad libitum par Grumaille. Paris, Cherubini, MŽhul. The composer mentioned is certainly Niccol˜ Isouard (1775-1818), whose music often was used in these songs to guitar.

Occasionally the compositions contain notes of interest concerning publishers, e. g. the compositions La Gloire et LÕAmour. DediŽs aux armŽes franaises. Offert ˆ Monsieur le General CoŸtard, Baron de lÕEmpire. Paroles et Musique de MM. LefŽvbre Desveaux & Jardin. Chant. Lyre ou Guitare. The note mentions: ÒCedŽ en toute propriŽte ˆ Mr Meissonnier pour piano et guitare paris ce 1er Mars 1812. JardinÓ. A printed note referring to a ÒRomance de M Plantade arrangŽe avec accompagnement de Pianoforte dÕaprs celui de Lyre de le Moine par lÕEditeur. ˆ Amsterdam au Magazin de Musique, Kalverstraat 171Ó is also of interest: ÒCÕest par un accord particulier avec Mr Imbault Marchand de Musique que cette edition a ŽtŽ publiŽeÓ.

One can often detect the travels of compositions by means of the publishing notes. A piece in our collections with the stamp of Pleyel has had that stamp replaced by Frres, and finally one finds a note with the designation Anzon in Rouen, where the work obviously landed later.

Foreign publishers in Paris loyally used their countrymen as arrangers. This was often true of Antonio Pacini, who had Italian guitarists in Paris assisting with guitar arrangements.

One sometimes finds printed dedications in these French romances with guitar accompaniment. Of particular Swedish interest is that several of them are dedicated to Madame La Comtesse Caroline de Sparre. This can be exemplified by romances with music by Lo•sa Puget spouse of Gustave Lemoine who wrote the words to these romances. We have similar works in e. g. Album 1840, 1841 and 1843 published by J. Meissonnier. Who wrote the guitar accompaniment is not mentioned except in the 2e Album No. 5 Les Deux åmes, when Carcassi is mentioned. Compare under Puget in Zuth. Also FrŽdŽric BŽrat has celebrated La Comtesse de Sparre. From the Album 1841 we have Les Adieux. Paroles et Musique de FrŽdŽric BŽrat. Accompt de Guitare par J. Vimeux. ˆ Madame la Comtesse de Sparre. ˆ Paris chez Colombier. See also FŽtis. Moreover, Gustave Carulli wrote music in her honour: Gaston, LÕAnge de Foix. Romance. ˆ Mme la Comtesse de Sparre. Paroles de Mr E. Aucou‘te. Musique de G. Carulli. Accompt de Guitarre par Mce de Raoulx. Paris, chez S. Richault. The identity of Caroline Sparre cannot be established with certainty. There were several women with this name during the actual period. The most probable is Caroline Sparre, born Naldi and probably of French origin. She died in 1876 in Brizay. In 1823 she was married to the French count Louis Ernest Josef Sparre (1780-1845). He was of Swedish descent. Louis Ernest Josef served both Sweden and France. He became a French baron in 1811, Òequerry och brigadier-generalÓ with Napoleon I in 1812, Inspector General of the French cavalry in 1818 and also Pair de France in 1819. Cf. Elgenstierna, Gustaf, Den introducerade svenska adelns Šttartavlor VII, Stockholm 1932, p. 381.

Also a hand-written dedication in our collection is of interest, although it does not emanate from the guitarist but from the composer: ÒOffert ˆ son ami Monsieur Laflche par lÕauteur Ed. B.Ó in a work: Quand tu mÕaimais, romance. Musique de Edouard Bruguire. ArrangŽe pour la Guitare par Franois Molino. Chez Ph. Petit. This dedication refers namely to the connection between the Lyon-born composer BruguiŽre and J. A. M. Laflche, who was an active guitarist in that city (see below).

Romances with guitar or lyre accompaniment were often collected by their owners in so-called recueils factices, which stem from the latter part of the eighteenth century and beginning of the nineteenth, where the ownerÕs name is sometimes found on the volumes. Several of our volumes belonged to Mademoiselle Victorine Grenier (one volume also has the date: ce 4 7bre 1809). One of these volumes in folio format is of particular interest because it shows that she surely played the lyre guitar: Recueil dÕ Airs Pour la Lyre Appartenant A Melle Victorine Grenier de BŽziers. Similarly printed romances from various places have been bound together by booksellers to such Recueils factices; for instance two pleasing volumes: Etrenne Chantante ou Choix des plus Nouvelles, Ariettes, Romances et Vaudevilles. Avec Accompagnement de Guittare. DŽdiŽs Aux Dames. Pour lÕAnnŽe 1787. Paris. Goujon fils and the parallel volume for 1788,(Note 3) in which the title pages and the tables of contents have been engraved: the volume for 1787 contains 65 romances, most of them with guitar accompaniments by Ducray, and the volume from 1788 contains 60 romances with accompaniments by Gonnin and Le Moine amongst others. Most of the guitar works in the Fryklund collection is in fact in form of ÒrecueilsÓ, and many of them obviously come from the same sources, which is indicated by their similar bindings. In the Fryklund-collection there are 67 ÒrecueilsÓ with mainly music for voice and guitar. The mentioned Ducray could possibly be identical with Franois-Guillaume Ducray-Duminil (1761-1819) who is represented with a song in Journal de Lyre ou Guitare (see Fellinger p. 478).

Occasionally the romances are accompanied by catalogues which provide important information about the compositions. One catalogue accompanying romances with words and music by Alexis de GaraudŽ, the elder GaraudŽ, and accompaniment for guitar or lyre by others, contains a list of GaraudŽs romances with guitar accompaniments and also mentions three numbered works of GaraudŽ which were not detected by FŽtis and Eitner: Op. 7: 1r Rondeau. Op. 10: Cantique a voix seule avec des Choeurs. Op. 15: MŽthode de Chant dŽdiŽe aux Dames (cf. Op. 25 and 40 in FŽtis). See also below on catalogues of DoisyÕs and CarulliÕs compositions.

In France a large part of the songs published at the end of the eighteenth century and especially those at the beginning of the nineteenth century were made public complete with guitar (or lyre) accompaniment in journals, which also occasionally published compositions for guitar solo. In ZuthÕs Handbuch we have found from this period only two such journals named, the one published by Vidal, the other, by Porro.(Note 4)

Journal de guitare par Vidal. Chez Decombe luthier Md de Musique Quai de lՎcole No 14. PropriŽtŽ de lՎditeur. Our issues contain songs with accompaniment of guitar or guitar and violin. According to Mendel the Journal de guitare appeared from 1778. In addition to this journal mentioned by Zuth, Vidal published the following—not mentioned by Zuth: The issues of Journal de guitare were probably published c. 1800-1806. See Devris I p. 54. It is not mentioned in Fellinger.

Recueil Periodique DÕariettes Avec Accompagnement de Guitare MlŽes dÕAirs variŽs dŽdiŽ A Madame la Presidente De Meslay par M. Vidal. GravŽ par Mlle Lepreux. A Paris. 12 numbers. 172 pages. oblong 4to.(Note 5)

The collection contains a large number of arrangements or compositions by Vidal, amongst which are several for guitar solo or violin and guitar. The fourth number of the journal gives the following information about the publisher: ÒLÕauteur Mtre de Guitare rue Faydeau Hotel Daufin No. 20.Ó In the last issue in our series (1786) Vidal announces a new series: ÒLe premier Cahier du Journal de Mr Vidal pour 1787 Paro”tra au commencement de janvier. Ce journal sera composŽ de 12 Cahiers pour lÕannŽe. Les Ariettes, Outre lÕaccompagnement de Guitarre, Auront un accompt de violon ad Libitum, sŽparŽ de journalÓ. See also Fryklund, Musikbibliografiska anteckningar, p. 27-28.(Note 6)

Journal de Guitare ou de Lyre par P. Porro. A Paris chez lÕAuteur, rue J. J. Rousseau No. 14. On the title page of No. 24, the 17th annual volume , there is: ÒCe Journal sera ComposŽe ˆ lÕavenir de 72 No. pour lÕannŽeÓ. We possess numbers belonging to the 17th and the 18th annual volumes (cf. Eitner: Ò14 BŠndeÓ). These numbers contain songs with guitar or lyre accompaniments, but also solo pieces for these instruments. The Recueil Periodique and Journal de Guitare ou de Lyre are not mentioned in Fellinger. From the publisherÕs address it seems probable that the issues of Journal de Guitare ou de Lyre were published in c. 1807-1815. See Devris I, p. 134.

In addition to VidalÕs and PorroÕs Journals, we have in our collection several journals in this genre and from the same time which are not mentioned in ZuthÕs work:

Journal de Guitarre ou Lyre par Les meilleurs Auteurs PubliŽ ˆ Paris par P. et I. I. Le Duc. We have numbers 19, 25, 31 and 34 of this journal. They contain compositions for song, with guitar or lyre accompaniment, one with music and accompaniment by J. Mees, one with accompaniments by the same and two with accompaniment by J. B. Barrois. This is probably the Journal de Lyre ou Guitare mentioned by Fellinger p. 254 and published in 1807-1808. It seems as if the issues in FryklundÕs collection are from the first annual volume. J. Mees is probably identical with Joseph Henri Mees (1777- c. 1856).

Three journals were published by A. Meissonnier:

Journal de Lyre ou Guitarre, RŽdigŽ par Meissonnier. Chaque numŽro de ce Journal sera composŽ de deux Romances franaises, un air italien et une piece pour la Lyre ou Guitare. ComposŽs par les meilleurs Auteurs. Il para”tra un numŽro tous les premiers de chaque mois. On sÕabonne ˆ Paris, chez Meissonnier, Rue Bergre No. 5. The songs have lyre or guitar accompaniments, often by Meissonnier himself. We have several numbers from the annual volumes 3, 4, 7 and 9. Amongst the solo pieces for lyre of guitar there are several ÒThema variŽsÓ by Mauro Guiliani.

Journal de la Lyre Moderne, RedigŽ par Meissonnier. With the same programme as the foregoing. From this Journal we have only No. 15 containing a romance for lyre or guitar, with words by Favart and music by Plane.

Le Troubadour des Salons Journal de chant avec Accompagnement de Lyre ou Guitare. RŽdigŽ par M. M. Romagnesi et Meissonnier. Chaque Livraison de ce Journal contiendra trois Romances ˆ une ou deux Voix et des Pices pour la Guitare composŽes par les meilleurs Auteurs. Il para”tra un Livraison tous les premiers de chaque mois. On sÕabonne ˆ Paris, au Magasin de Musique de A. Meissonnier, Boulevard Montmartre No 25. Most often A. Meissonnier provided the accompaniments to the songs himself. Our numbers are from the annual volumes 4, 7 and 17. According to Fellinger Journal de Lyre ou Guitarre was published c. 1815 to c. 1827. Journal de la Lyre Moderne is not mentioned by Fellinger nor by Devris II. The composer Plane could be identical with Jean-Marie Plane (1774- after 1827). Le Troubadour des Salons was according to Fellinger published c. 1812 until c. 1828.

Romagnesi has also published his own journal for voice with accompaniments by guitar or piano:

LÕAbeille musicale, Journal de Chant, ComposŽ pour les jeunes personnes, par les Auteurs les plus estimŽs en ce genre, et publiŽ par A. Romagnesi. A. Paris, chez A. Romagnesi, Editeur de Musique, Rue de Richelieu, 87. The A. Romagnesi referred to here is the same as the previously mentioned Romagnesi who wrote the music for many romances in Le Troubadour des Salons, where the initial A was always included in the name. FŽtis, who mentions that lÕAbeille musicale existed between 1828-1839, has obviously given an incorrect first name for Romagnesi: FŽtis calls him Henri (even MendelÕs dictionary, after FŽtis, lists the same first name).(Note 7)

This incorrect information from FŽtis has caused Eitner problems—as in Quellen-lexicon VIII, p. 291—and Eitner has expressed doubts as to whether he should attribute the music for certain songs to A. or Henri Romagnesi.(Note 8) According to Fellinger p. 865, LÕAbeille musicale was published in 1828-1839. Only a few issues of this journal seem to be preserved. A. Romagnesi is of course identical to Antoine-Joseph-Michel Romagnesi (1781-1850), an assiduous publisher and arranger of songs to guitar accompaniment.

Le MŽnestrel is not mentioned by Zuth, but nonetheless a journal which appeared in Paris for the first time in 1833, and was described as: Journal de Musique, publiant tous les dimanches une romance inŽdite, Avec Accompagnement de Piano ou Guitare. In the annual volume for 1837 there is an announcement: ÒA partir du mois de juin 1837, une importante mesure dÕamŽlioration a ŽtŽ prise ˆ lՎgard des romances pour guitare. La partie musicale de chaque numŽro se trouve rŽduite en un petit format, dont le prix a subi une diminution proportionelle. MM. les guitaristes peuvent sÕabonner ˆ ces petits formats ˆ rasion de 7 fr. par an pour Paris, 8 fr., pour la province, 9 fr. pour lՎtrangerÓ. In the first five annual volumes Carcassi alone wrote the guitar accompaniments, but in the sixth annual volume others such as Antoine Meissonnier and Joseph Vimeux began to contribute guitar accompaniments as well.

Le Menestrel Franais, Journal de Chant avec Accompagnement de Guitare. RŽdigŽ par les Meilleurs Auteurs. Ce Journal contiendra 48 Morceaux de Chant, des premiers Compositeurs Franais, Italiens et Allemands; Ils seront toujours variŽs, savoir: en Romances, Nocturnes, Chansonettes, BolŽros, Cavatines, Polonaises et Rondeaux. Il para”tra du 15 au 20 de chaque Mois une Livraison composŽe de Quatre Morceaux. On sÕabonne ˆ Paris, chez S. Gaveaux, Editeur de Musique et Md dÕInstrumentes, Au MŽnestrel Franais, Boulevard des Italiens et Passage de lÕOpŽra, No 2. Le MŽnestrel and Le Menestrel Franais are not mentioned in Fellinger.

Les Muses Lyriques(Note 9), Journal de Chant avec Accompagnement de Guitare ou Lyre, RŽdigŽ & PubliŽe par MM Lafont, premier Violon de la Chambre du Roi, et A... P... Ce Journal, composŽ de 48. Nos contenant chacun une Romance InŽdite, para”tra en 24 Livraisons de deux NumŽros, qui seront adressŽes Franches de Port aux Souscripteurs, le 1er et le 15 de chaque mois, sans que les Livraisons Žprouvent jamais un seul jour de retard. On souscrit A Paris Chez Mr Lafont, Rue Taitbout, No 9. We have the first annual volume of this journal, which contain a large number of compositions by Lafont for song and guitar. A. P. is identical with AimŽ Paris (cf. FŽtis). However, there is no music by Paris in our issues of the journal, but he has written the words to four pieces: 1, 19, 41, 42. C. Farcy was an active collaborator which is not mentioned in the handbooks. The term ÒhandbooksÓ seems to be used by Fryklund as a generic appelation for the various reference works previously mentioned by him. In the first annual volume it is mentioned that he wrote the music to certain pieces (most likely the guitar accompaniments are by him): 6, 15, 21-22. In other cases it is said that he wrote both music and guitar accompaniment: 19, 41, 43. Occasionally both words as well as music are by him: 7, 15. In 25-28 (Cantate) he has provided only the words. According to Fellinger Les Muses Lyriques was published in 1821. However Fellinger does not seem to know the composer AimŽ Paris. Farcy is probably identical with Franois-Charles Farcy (1792-?) mentioned by Fellinger.

SoirŽes Musicales ou Nouveau Recueil de Chant Avec Accompagnement de Guitare ou Lyre ComposŽ dÕAirs, Romances et Nocturnes de MM. Plantade, Romagnesi, Pradher, Jadin, Lambert, Zimmerman, Fabry Garat, Gustave Dugazon et autres Compositeurs distinguŽs. Les Livraisons se feront exactement les 5, 15 et 25 de chaque Mois. On souscrit ˆ Paris, chez Bressler, Rue de la Paix No 24. We have number six of the second annual volume which contains a romance with music by Romagnesi and guitar accompaniment by Meissonnier Jeune.

FŽtis mentions a Journal des Troubadours which Pacini published together with Blangini. We have several numbers of this journal, all containing songs with accompaniment of guitar or lyre. Our numbers have different publishers: A. Meissonnier, de Momigny (both for the second annual volume), and LŽlu. According to FŽtis, the Journal des Troubadours was so successful that Pacini decided to become a music publisher.

Le Troubadour Ambulant, Journal de Guitare ComposŽ de Soixante Feuilles, Choisies dans les Ouvrages Nouveaux, des auteurs les plus distinguŽs. On sÕabonne A Paris, Chez Mr Pacini, Compositeur et Professeur de Chant, Rue Favart, No. 12. It has a somewhat varying title page representing a guitar-playing gentleman. We have several issues without years (probably the first annual volume), but also issues belonging to the 5th and 6th volumes. In our examples the guitar (or lyre) accompaniments are written by Valentin Castelli, Meissonnier Jeune, Julia Piston and J. Vimeux. According to Fellinger SoirŽes Musicales was published in c. 1820—c. 1821. In Fellinger only one volume of Journal des Troubadours is mentioned. This volume was published c. 1813 by LŽlu. A journal with the same title for piano or harp and published by Momigny is mentioned by Fellinger p. 260-268. Le Troubadour Ambulant was published in 1817-1828. See Fellinger pp. 537-555.

Eitner mentions one Castro, Òein zu Paris lebender Guitarrist, der am Ende des 18. Jhs. ein ÕJournal de Musique pour la guitare, redigŽ par CastroÕ, 16 Nrn., herausgab.Ó The Castro mentioned by Zuth, who in 1825 Òauf welcher er zur Freude der Damen die grosse Trommel imitiertÓ was probably the some person. We have examples of no less than four journals published by Castro:

  1. Journal de Chansonettes Italiennes, PubliŽes Avec Accompagnement de Guitare, Par S. Castro. A Paris. We have the issues 13-24, some of which have guitar accompaniments by Castro.
  2. Journal de PiŽces du chant Espagnol, Par divers Auteurs, PubliŽes Avec Accompagnement de Guitare, Par S. Castro. A Paris. We have the issues 13-24, and most of the compositions therein are by Castro, some are arranged by him.
  3. Journal de PiŽces de Musique pour la Guitare. TirŽes de divers Auteurs Espagnols & autres; PubliŽ Par S. Castro. A Paris. We have two issues which contain solo pieces for guitar by Sor and Federico Moretti.
  4. Journal de Musique étrangre Pour la Guitare ou Lyre, RedigŽ Par Castro. A Paris. We have one issue which contains solo pieces for the guitar by Castro as well as by the Spaniards Soto,(Note 10) Laporta and J. Arizpacochaga.(Note 11)

Fellinger mentions only Journal de Musique étrangre and dates the journal to c. 1808. No information is given about Castro as publisher in Devris.(Note 12)

Even the French provinces have produced journals for the guitar. In Rouen, the Journal de Lyre aux Emules dÕApollon, RŽdigŽ Par J. Mees, Professeur et Editeur de Musique. Ce Journal contiendra 52 Nos—on sÕabonne ˆ Rouen, was published. We have most of the issues of the first annual volume, which contain compositions for voice and lyre or guitar, and one solo for lyre by Frederic de Magalon. In this Journal Mees has written several compositions and accompaniments, and for one piece, he also wrote the words.(Note 13)

La Lyre Franaise was produced in Douai: Òce Journal qui para”tra pŽriodiquement est pour Piano Harpe et Guitare. on sÕabonne chz lÕAuteur ˆ Douay et chz tous les Marchands de Musique.Ó The numbers in our collection contain LÕExil du Troubadour. Recueil de Romances. Musique dÕAl. Meurger. Each romance has a guitar accompaniment. In one of our last issues the publisher is given: ÒM. Meurger auteur de ce Journal ayant eu ˆ se plaindre du peu de soin quÕon avait apportŽ ˆ la gravure de ses derniers Nos, previent ses abonnŽs quՈ compter de la quatrieme livraison son Journal sera gravŽ ˆ Paris.(Note 14) Journal de Lyre aux Emules dÕApollon and La Lyre Franaise are not mentioned in Fellinger. Could Al. Meurger be identical with the Alphonse Meurger le Jeune, by whom music was published in Journal de Lyre ou Guitare and Le Troubadour ambulant? A good overview of most of the guitar journals can be found in Fellinger. From this bibliography it is however clear that the holdings of these journals in libraries are indeed very incomplete. The journals in the Fryklund collection was obviously not known to Fellinger and subsequently not included in Periodica Musicalia.

Several amongst the most important articles in Zuth on the French guitarists in Paris we have been able to extend with addenda—e. g. those concerning Doche, Gatayes, Lemoine, Antoine and Joseph Meissonnier. ZuthÕs title for Antoine MeissonnierÕs "MŽthodeÓ does not completely agree with the title of the example in our collection: "Nouvelle MŽthode simplifiŽe Pour la Lyre ou Guitar—par Meissonnier Proffesseur de Guitarre et de Lyre. A Paris, chez SieberÓ (cf. FŽtis). We have also seen another ÒMŽthodeÓ by Meissonnier: MŽthode ComplŽte pour La guitare par A. Meissonnier.(Note 15)

We have several compositions for voice and guitar or lyre accompaniment by Jean Baptiste BŽdard (Eitner mentions concerning songs only Ò1 Chans. Einzeldruck [br. Mus.Ó).

Charles Doisy has written several compositions, particularly for the guitar. A good overview of his music is given in a couple of catalogues which accompany his work. In these catalogues it is revealed that he composed or arranged in addition to guitar solo, duets for 2 guitars and for guitar with violin, viola, cello, flute, hautbois (or clarinet), bassoon, choir or piano, as well as trios for 3 guitars, and for guitars with violin and viola. Furthermore, he has written 2 concerti for guitar accompanied by 2 violon obligŽs, viola and cello. One such concerto is an arrangement of ViottiÕs Concerto No. 18. See: ÒUn fondo desconocido de mœsica para guitarra: ¿Los papeles de D. Antonio Chocano?Ó Por Luis Briso de Montiano. Another copy is in the collection of Matanya Ophee, olim the collection of Alexander Ivanov-Kramskoi. Also in the catalogues there are several Recueils dÕairs with music by Doisy (we have also numerous guitar accompaniments by him to songs by others published by his own publishing company), and the ÒPetite mŽthode de GuitareÓ which according to Zuth was announced both Òsans airsÓ and Òavec des airsÓ. Otherwise, in the catalogues there are various other mŽthodes by Doisy; for example for Clarinette, Violon, Flžte-traversire, Flžte-ˆ-bec, Galoubet and Flageolet. FŽtis and Eitner amongst others call Doisy Doisy-Lintant, a designation that has arisen out of misunderstanding: Doisy and his colleague Lintant were closely connected, and Lintant dedicated to Òson confrŽreÓ Doisy ÒTrois Duos concertans pour deux guitareÓ. See also Plouvier below. Prat, p. 109, repeats the mistake of Eitner to combine Doisy and Lintant, but raises some doubts concerning them being one and the same person. Prat says that Charles Doisy died in Paris 1807. Devris I, p. 59, is more uncertain on this point giving DoisyÕs death to 1806 or 1807.

Charles Lintant, Òartiste du ThŽ‰tre FeydeauÓ, Òprofesseur du guitareÓ, has arranged accompaniment for guitar or lyre to songs by others, particularly for FrŽres Gaveaux, but also for Janet and Naderman.(Note 16)

One should note especially ÒRecŸeil de Romances de Lamparelli ArrangŽes Pour la Guitarre par Le Cen. Lintant, Professeur de cet Instrument. Paris, Naderman. Our romances are numbered 1-11 in 2 volumes. They are presumably the same romances by Lamparelli which FŽtis states have piano accompaniments (Òonze recueils"?). Our recueils are so much more notable since Eitner could only give information about one romance by Lamparelli (piano or harp accompaniment) in "Mailand ConsÓ. Zuth mentions that Lintant wrote Òeine kleine GitarrschuleÓ (Paris, Lemoine) and FŽtis, a ÒMŽthode suivie dÕun abrŽgŽ des principes des accords fondamentaux pour apprendre ˆ faire un accompagnement; Paris, G. GaveauxÓ (cf. Eitner). We have a MŽthode by Lintant which belongs to a different type and which is not mentioned in the literature: Nouvelle MŽthode Pour la Guitare, Avec un supplement pour la Lyre DŽdiŽ ˆ Mdlle Aurore de Bellegarde par Lintant, Artiste du ThŽatre des Arts et Professeur de Cet Instrument. Paris, Frres Gaveaux. This MŽthode contains also romances, both compositions and arrangements by Lintant. We have those indicated by Zuth as Ò 10 Airs var.Ó : Dix Airs VariŽs Pour Guitare ou Lyre Par Lintant. Paris, Cherubini, MŽhul. According to Prat, p. 179, Lintant was born 1758 in Grenoble and died 17 March 1830.

Jean Baptiste Phillis is represented in our collection by a particularly large number of accompaniments which he wrote for lyre or guitar(Note 17) to othersÕ compositions for Pleyel (cf. Zuth: ÒIn einem Druck von Pleyel, Paris (Nationalbibl. in Wien, Nr. 9315) ist Ph. mit Liedbearbeitungen zur Gitarre vertreten.Ó); we also have lyre or guitar accompaniments by Phillis written for CherubiniÕs and SieberÕs publishing companies. We would also mention here a ÒNouvelle mŽthode de lyreÓ by Phillis which is referred to in MareschalÕs "PlagiatÓ (see our article on the lyre guitar, p. 32-33), and this ÒmŽthodeÓ is probably identical to that mentioned by FŽtis: Nouvelle methode pour la guitare a six cordes, Paris, Pleyel. The article mentioned is FryklundÕs ÒStudier šver lyragitarrenÓ in (Svensk tidskrift fšr musikforskning 9/1927, pp. 117-148). About MareschalÕs ÒPlagiatÓ, see also Matanya Ophee, ÒHommage au beau sexeÓ (Gitarre & Laute 10/1988, Heft 2, pp. 15-24). As Ophee points out Stephen BonnerÕs book on the lyre guitar, The Classic Image, Harlow 1972, would have gained a lot if its author had known about FryklundÕs research and collection. A ÒPhillis, preÓ is mentioned in: Rondo dÕune folie chantŽ par Elleviou, musique de MŽhul arrangŽ par Phillis pre, pour Guitare ou Lyre. Paris, Pleyel. A ÒMlle Phillis ainŽÓ is mentioned as singer in: Air de Maison ˆ vendre ChantŽ Par Mlle Phillis ainŽ. Paroles de Duval, Musique de Dalayrac. Accompagnement de Guitare Par Lemoine. Paris, Imbault. Both these works are also in the Fryklund collection. Whether ÒPhillis preÓ, ÒPhillis ainŽÓ and Jean-Baptiste Phillis is the one and same person cannot be established. According to Prat, pp. 245-246, Phillis was born in Bordeaux 1753 and died in Paris 23 December 1823. PhillisÕ Nouvelle mŽthode Pour la Lyre ou Guitarre six cordes . Oeuvre 6e. A Paris Chez Pleyel is in the library of Musikmuseet, a copy which probably originally came from the Fryklund collection. In the book can be found a delightful engraving of a lyre guitar by Ory with the text: Les meilleures Lyres et Guitares se font chez Ori, Luthier ˆ Paris rue St. Eustache No. 27.

B. Pollet—in FŽtis and Zuth: Jean Joseph Benoit Pollet—wrote music and accompaniment for guitar or lyre for several songs and also arranged accompaniments for these instruments to song compositions by others. He was also a music publisher, not mentioned by FŽtis, who however, mentions that his son Òse fit marchand de musiqueÓ. We also have several romances with guitar accompaniment which were published by Pollet in Paris, Rue St Dominique, No 970, and which have the autograph signature A. Pollet, and belonged to Charles Franois Alexandre Pollet (see FŽtis and Zuth).(Note 18) On Jean-Beno”t-Joseph, dit Beno”t, Pollet (Òle jeuneÓ) much information is given in Devris I, pp. 131-133. Pollet was born in BŽthune in 1755 and died in Paris 16 April 1823. Beno”t Pollet had an elder brother, Charles-Franois-Alexandre Pollet (Òa”nŽÓ).

Concerning Joseph Vimeux Zuth indicates only that he published two compositions for guitar by Schott in Mainz. However, Vimeux seems to have been a particularly popular composer in his time and he wrote a large number of compositions for guitar solo, for piano and guitar and especially for voice and guitar, for which in certain cases he has written the lyrics. An endless number of song compositions for which other composers have written the music, have been provided with guitar accompaniments by Vimeux, amongst which are whole series of melodies from operas or opŽras comique.

In his Handbuch Zuth mentions the method which Salomon wrote for the harpo-lyre (cf. Fryklund, Studier šver lyragitarren, pp. 27-28), and precedes the name Salomon with the initial M. (as do FŽtis, Mendel, Riemann, etc.). This M. is most likely an abbreviation of Monsieur (cf. for example above, M. Vidal for B. Vidal in the title of VidalÕs Recueil PŽriodique). In his MŽthode, Salomon calls himself J. F. Also another guitarist, GuichardÕs, Christian name has been the subject of discussion. FŽtis claims that his name is Franois and not Jean-Franois. We would however counter that on a song composition with music and guitar accompaniment by Guichard, published by FrŽre, the initials J. F. appear and it would seem probable that FrŽre, who according to FŽtis also published a Petite MŽthode de guitare by Guichard, should know his first name. According to Prat, p. 159, Francisco Guichard was born in Mans in August 1745 and died in Paris 24 February 1807.

The instrument maker, Marchal is listed in Zuth,(Note 19) but Zuth does not mention his rare pamphlet on the lyre guitar, the instrument discovered by Marchal: Plagiat dŽnoncŽ aux musiciens et aux amateurs des lyres nouvelles, inventŽes par Mareschal, Luthier ˆ Paris. 15 pp. 0,20 X 0,125 (concerning this brochure see Fryklund, Studier šver lyragitarren, pp. 20, 32,33). The only known copy of the brochure is in the library of the Brussels Instrument Museum. Matanya OpheeÕs article mentioned above contains a full facsimile of it.

Amongst guitarists in Paris represented in our collection but not found in Zuth are several which are not included in FŽtis, Eitner or Bone. Of these we would here mention Defrance, Òprofesseur"; Lami, Òartiste de lÕOpera Buffa"; "professeur"; Julia Piston Mlle, ÒprofesseurÓ, who wrote accompaniments for guitar or lyre to song compositions by others; Henry, author of a guitar method; and Maurice de Raoulx, ÒprofesseurÓ. We have the third edition of HenryÕs guitar method, Methode Pour la Guitare DivisŽe en deux Parties ComposŽe et DŽdiŽe A Sa Fille par Henry. Op. 21 3me Edition. A Paris, chez Janet et Cotelle. A Nismes, chez Longuet. Engraved, titlepage, pp. 1-145. 4to. Who, then, is this Henry, whose guitar method obviously had such a large public? There was a BŽnigne Henry, ÒprofesseurÓ, who wrote the music and accompaniment for the lyre and guitar, and accompaniment only to several songs for Corbaux, and it is quite reasonable to presume that he is the author of this MŽthode. That Corbaux also published a romance with music by BŽnigne Henry, for which Gatayes wrote the accompaniment for guitar and lyre: Le Bonheur des champs possibly seems a bit strange, but this can be due to the fact that another specialist than the author of the guitar method could have been trusted to write the guitar accompaniment for his composition.(Note 20)

Maurice de Raoulx was teacher of the guitar to Duchess de Berry; in a composition for voice and piano in the authorÕs library, he calls himself ÒGuitariste de S.A.R. Madame Duchesse de BerryÓ. Raoulx has composed for 1 and 2 guitars as well as for voice and guitar, and has written guitar accompaniments to othersÕ songs. A Fantaisie for the guitar on a theme of Rossini which is in the authorÕs collection is op. 32. The mentioned Gatayes is of course identical with Guillaume Pierre Antoine Gatayes (1774-1846). The number of individuals who were active arranging guitar accompaniment in France during this period exceeds 200.

Like Eitner and Bone, Zuth omits ƒtienne Jean Baptiste Pastou. However, FŽtis cites several compositions for guitar by Pastou, with the last opus number being 10. In our collection we have Opus 14: Nouvelle Retraite Espagnole suivie dÕune Savoyarde et de quatre morceaux faciles et ˆ effet Pour Guitare Seule DŽdiŽes ˆ son Elve Madame Schenling et ComposŽs Par B. Pastou Fondateur de lÕEcole de la Lyre Harmonique, Professeur dÕHarmonie, de Violon, de Guitare, etc. A Paris chez Bernard Latte. Titlepage pp. 2-19. 4to. We also have: Les deux noblesses. Chansonette en forme de Ronde. Parolesde Mr Firmin AinŽ. Musique et accompagnement de Guitare Par B. Pastou. ˆ Paris, Chez Hentz, Jouve.

Zuth mentions Trille Labarre but not ThŽodore Labarre, who is included in FŽtis and Bone (under Trille Labarre) but nor in Eitner. We have song compositions by ThŽodore Labarre, who was primarily a harpist. To one of these compositions he also wrote a guitar accompaniment. Bone mentions several other songs with guitar accompaniment written by him which were published by Schott in Mainz. ThŽodore Labarre lived 1805-1870, according to Fellinger p. 1019.

In our collection there is a Nocturne, ˆ une ou deux voix, for which J. E. FlŽchŽ wrote words, music and guitar accompaniment. This J. E. FlŽchŽ is obviously the same as J. A. FlŽchŽ listed in FŽtis and Eitner. Like the composer of the above-mentioned Nocturne, J. A. FlŽchŽ had Pacini as publisher. As with Zuth, Bone also omits FlŽchŽ. He has often been confused with J. A. M. Laflche, teacher of guitar in Lyon, who is not mentioned by Zuth or Eitner, but is by FŽtis and Bone (under Lfleche!).(Note 21)

Rigondi, by whom we have guitar accompaniments to otherÕs songs. He could possibly be the same as the Regondi mentioned by Zuth, a virtuoso on the guitar and melophone, about whose birthplace there is disagreement—Lyon or Genoa. In HeyerÕs Katalog, IV, No. 1071, Regondi is said to have produced an Albumblatt which is presumed to be a variation for melophone, and which is now in the authorÕs library.(Note 22) Giulio Regondi was probably born in Geneva in December 1822. Concerning the question of the melophone and the concertina see Douglas Rogers ÒGiulio Regondi IIIÓ (Guitar Review 97, 1994, p. 15).

Occasionally guitarists are listed with initials. Some of these are easy to decipher: for example, B. P. as to several accompaniments for lyre and guitar indicates the publisher and composer Benoit Pollet; likewise A. R. on a guitar accompaniment by the same publisher and composer, A. Romagnesi means the same; and Edouard D. (once, in a misprint, Erouard D.) of whom we have two guitar accompaniments for otherÕs songs, one published by Cochet, probably corresponds to E. Dhauterive, who also wrote guitar accompaniments for Cochet.

Other signatures however, we have not been able to interpret—for example M. G., L. H., Paulin R., J. B. C. V., Une victime des Passions 1829, etc.(Note 23)

As mentioned earlier, the leading Italian guitarists resident in Paris were Carcassi and Carulli. We will only take up part of Matteo CarcassiÕs activities, which encompassed music for songs and guitar accompaniments. Carcassi published songs with A. Meissonnier, for which he wrote both the music and guitar accompaniments, such as: Il faut partir. Nocturne ˆ deux voix. Paroles de Mr Le Comte de Messence. Musique et Accompagnement de Guitare Par Matteo Carcassi. Occasionally Carcassi was his own publisher: Adieu ma Laure. Romance. Paroles de Mr ***. Mise en Musique avec Accompagt de Guitare, et dŽdiŽe ˆ Mr Thenot. par Matteo Carcassi. ˆ Paris, Chez lÕAuteur, rue Chantereine no 21. PropriŽtŽ de lÕauteur. However, Carcassi was mainly active as an arranger of guitar accompaniments for songs for which others wrote the music. In this capacity he arranged song pieces for his compatriot, the music publisher Pacini, for e. g. his journal Le Troubadour ambulant, Journal de Guitare and the journal Le MŽnestrel (see above). He also wrote guitar accompaniments to RossiniÕs songs SoirŽes musical (12 issues from Troupenas) and many guitar accompaniments to songs from opŽras comiques (even also from some other operas), mainly for Troupenas, but also for Brandus, Delahante, Grus, and Richault. Examples of the various operas which Carcassi arranged we would like mention: Adam La Reine dÕun jour; Le Brasseur de Preston. Auber, ActŽon, Gustave ou Le Bal MasquŽ; Le Cheval de bronze; Le Domino noir; Le Lac des fŽes; Les Diamans de la couronne; Le Serment; Lestocq; Zanetta. HalŽvy Le Val dÕAndorre. HŽrold La MŽdecine sans mŽdecin; Le PrŽ aux clercs. Labarre. LÕEspirant de marine. Puget (Lo•sa), Le mauvais oeil. Just the series from these operas encompasses more than 160 issues. Cf. Zuth.

Zuth mentions several editions of Ferdinando CarulliÕs famous guitar method, to which in the following we would add a few more. Carulli has also arranged a large number of accompaniments for guitar or lyre, or only guitar, especially for Pacini, but also for many other publishers in Paris such as Boieldieu jeune, Gaveaux (in Le MŽnestrel Franais), Janet et Cotelle, Launer, LŽlu, Naderman, Petibon, Petit, Richault. Carulli also arranged guitar accompaniment for his son GustaveÕs SŽrŽnades, published by Bernard Latte.

Otherwise, by Ferdinando Carulli we have several compositions, especially duets for 2 guitars.(Note 24) We have the following duets from Op. 1: Trois Petits Duos Nocturnes Pour Deux Guitares (with Carli), to Op. 333: the arrangements by A RomagnesiÕs 12 Favourite Romances for one or two guitars (with A. Romagnesi). In addition we have guitar duets published in Paris by Aulagnier, Cotelle, Janet and Cotelle, Le Duc, LŽlu, Victor Dufaut, and Pacini. Occasionally the publisher of the composition printed notices of great interest. Carli adds the following NB to Op. 57: Trois petits duos DialoguŽs Pour deux Guitares: Ces Trois Duos devrait portŽs(Note 25) le No. 96 par ce quÕils ont Žte composŽs aprs lÕOp. 95. mais lÕediteur pour remplir la Lacune de la Collection il y ˆ(Note 26) mis lÕOp. 57. The duets from Carli—who published no less than 29 opus numbers of CarulliÕs duets—are accompanied by several catalogues covering CarulliÕs compositions also published by Carli. These catalogues are of exceptional interest and contain information about a large number of compositions for guitar or lyre solo, duets for 2 guitars or for guitar in combination with violin, viola, flute or piano; trios for 3 guitars (op 255), or for guitar with flute and violin (Op. 119, 123, 149); or violin and viola (Op. 103); concertos Op. 140 for Òdeux Violins, Alto et Basse obligŽs deux Haut-Bois, Deux Cors et Contre Bass, ad libitumÓ (cf. ZuthÕs information); and Op. 207, 208 for guitar, violin, viola and bass or guitar and piano. Many of the compositions in these catalogues are not mentioned by Zuth. However, mentioned by Zuth (after Eitner) in the catalogues there is MŽthode complte de guitarre ou lyre, Op. 27, which opus number Zuth queries with an exclamation mark. Op. 27 is in an older catalogue from Carli: MŽthode seconde Ždition, revue, corrigŽ et augmentŽe par lÕAuteur; in a later catalogue, the 4th edition has the same opus number: Methode complte 4e Edition revue, corrigŽ et augmentŽe, par lÕAuteur, et enrichie de son portrait. In the same catalogue, the 5th edition is Op. 241: 5e Edition et nouvelle MŽthode. Zuth points out that Carulli dedicated Op. 10 to his student Gragnani.(Note 27) However, Op. 46 is also dedicated to him: Trois Grand duos Pour deux Guitares, ComposŽs, & DŽdiŽs Ë son Ami Filippo Gragnani par Ferdinando Carulli. An unusual dedication is that which appears in connection with Op. 5: Grand duo Concertant pour deux Lyres ou 2 Guitares ComposŽ par Carulli DŽdiŽ ˆ Monsieur Cezar de Trogoff par Meissonnier Proffesseur de Lyre ou Guitare Prix 4f 10c. A Paris, chez Aug.te Le Duc et

Otherwise, we have guitar duets by Carulli dedicated to Òson Ami Paolo AdvocatiÓ (Op. 62), ÒMonsieur HeilmanÓ (Op. 90), and ÒMonsieur Rougeon Desrivieres AmateurÓ (Op. 34). A dedication to Carulli appears in the Ouverture du Calife de Bagdad, Musique de Boieldieu, ArrangŽe pour Lyre ou Guitarre. Avec Accompagnement de Violon obligŽ et DediŽe ˆ son Ami Carulli Par Le Moyne, Professeur. The copies of CarulliÕs opuses 1, 34, 46, 57, 62, 90, 103, 119, 123, 140, 149, 207, 208 in FryklundÕs collection are not mentioned in Torta. The Grand duo Concertant dedicated to CŽzar de Trogoff, opus 5, is a bit of a mystery. According to TortaÕs catalogue there are at least three different works with opus number 5 and none of them is the Grand duo Concertant. Only one work with a similar title can be found with Carulli as composer and that is his opus 328, of which no copy has been located. Obviously Torta did not know of FryklundÕs ÒBidrag till gitarristikenÓ as it is not mentioned in the bibliography and the lacunae in TortaÕs catalogue are probably also due to the fact that many of these works in the Fryklund collection cannot be found in the catalogues of the Music Library of Sweden.

Zuth also includes a few other Italians in Paris who are included in our collection. For example, Borghese or Borghesi(Note 28) —certainly denoting the same person—of whom we have accompaniments for guitar (or lyre) to several songs with music by others, published by Mme Duhan et Cie, and H. Berton, and who is certainly identical with the Italian immigrant to Paris, A. Borghesi (Zuth) and Antonio Borghese (FŽtis and Eitner). By Luigi Castellacci, who was one of the most appreciated teachers of guitar in Paris (cf. Zuth and FŽtis) we have several accompaniments for guitar, published by his compatriot Pacini, e. g. Preux chevalier. Romance. Paroles et Musique par J. NiŽpce and Douze Contre-Danses Nouvelles Pour deux Guitares ComposŽes Par Lugui(Note 29) Castellacci. Op. 33. ˆ Paris, Chez Richault. Title page. Guitar I: 6 pp. Guitar II: 4 pp. Folio. Also Merchi would be numbered amongst the Italian guitarists in Paris. He published many works for guitar, of which the majority have disappeared. Unknown to FŽtis, Eitner, Zuth and Bone is Op. 6 in the authorÕs collection: Recueil dÕairs Avec accompagnement de Guitarre Par Musique et Tablature dŽdiŽ A Monsieur De Rochebrune Conseiller du Roy Commissaire au Ch‰telet par Mr Merchi. IVe Livre de Guitarre. Oeuvre VIe. Paris, LÕAuteur. 2 title pages, p. 1 preface, pp. 2-27, oblong folio. Francesco Molini who was also a leading Italian guitarist in Paris has written guitar accompaniments to several songs, with the music by others, for example: LÕEcho des salons. Journal de chant, 1ere AnnŽe. For his Nouvelle mŽthode complette pour Guitare ou Lyre, see Fryklund, Studier šver Lyragitarren, p. 19. Merchi is probably the same as Giacomo Merchi, born in Brescia, established in Paris from 1753 where he also died in 1793. See Devris II, p. 118. In FryklundÕs collection housed at Musikmuseet the following work by Merchi can also be found: Le guide des ecoliers de guitarre—Par Mr. Merchi. / Ve livre de Guitarre. Oeuvre VIIe.—Paris, LÕAuteur, rue St. Thomas du Louvre, du c™te du Chateau dÕEau, chez le 1er Menuisier, le second Escalier aprŽs la Cour au 1er Et aux adresses ordinaires de Musique. Francesco MoliniÕs real surname was Molino. Born in Ivrea 1768, he went to Paris in 1819 and stayed there until his death in 1847. See Molino, Francesco, Opere scelte per chitarra a cura di Mario DellÕAra. Ancona 1993. Introduzione. LÕEcho des salons is mentioned in Fellinger, p. 822, but only a few issues have been located and not this one in FryklundÕs collection.

Sola has written one guitar accompaniment in our collection: Le Retour, Romance, Musique de Mr F. Pa‘r, Accompagnement de guitare par Sola, professeur de chant. A Paris, chez Pacini. That Sola was Italian has been confirmed beyond all doubt. The guitarist mentioned in Zuth, Charles Michel Alexis Sola, who was born in Turin and who seemed to have stayed some time in Paris: ÒAbout the end of 1810 he visited Paris where he published other compositions and was esteemed as a performer and teacher of the guitar and fluteÓ (Bone). This Sola also taught singing and published a large number of compositions in Paris (see FŽtis). In 1817 he moved to London. In the following one work is named: Instructions for the Spanish Guitar, dedicated to him by J. Mollino. Bone also mentions a brother of this Sola, Alfreddo, Òa vocalist of reputeÓ. About Sola see Button, pp. 11-12. Button has not included FryklundÕs ÒBidrag till gitarristikenÓ in his bibliography in spite of the fact that FryklundÕs article also contains interesting information about the guitar in England which is omitted in Button. MollinoÕs Instruction is in the Fryklund collection, but kept in Musikmuseet, Stockholm.

Zuth does not include Antonio Francesco Gaetano Saverio Pacini, born in Naples in 1778, who came to Paris in 1804 where he died in 1866. In Paris Pacini was greatly favoured as a singing teacher, even by such prestigious persons a Òla marŽchale BernadotteÓ. He also often signed himself Professeur de Chant in his publications. He lived partly at Boulevard des Italiens 11, partly Rue Favart 12. His compositions were published simultaneously by both Pacini and Bochsa.(Note 30) Pacini often wrote the guitar accompaniments himself to his own and otherÕs compositions for his own publishing company, but he also relied on others such as Carulli, Meissonnier Jeune, and Vimeux. The latter has, for example, written guitar accompaniments for Ballade. Mise en Musique par A. Picini, et chantŽe par C. A. Boulanger dans Marie Tudor, Drame de Victor Hugo. A Paris, chez Pacini. About Pacini (1778-1866) as publisher much information can be found in Devris II, pp. 332-334. ÒLa marŽchale BernadotteÓ is probably DesirŽe Clary, wife to Jean-Baptiste Bernadotte, who in 1814 became king of Sweden under the name of ÒKarl XIV JohanÓ. As Jean-Baptiste became ÒmarŽchalÓ in 1804 one can assume that PaciniÕs teaching of DesirŽe must have occurred some time between 1804 and 1814.

Certain other names of guitarists omitted in the literature, can indicate Italian origins:

Amantini. Our collection includes: Barcarole ˆ la Venitienne ChantŽe Par Elleviou dans lÕOpera de Michel-Ange. Paroles de Delrieu, Musique de N. Isouard Accompagnement de Guitare Par Amantini. PropriŽtŽ de lÕAuteur (Isouard).

Castelli, Valentin. We have one guitar accompaniment by Castelli: Je ne le dirai pas. Romance ˆ deux voix. Paroles et Musique de Felix Bodin. Accompagnement de Guitre (sic!) par Castelli. A Paris, chez Pacini. We have also two romances, published by Pacini to which Castelli has written the music and presumably also the guitar accompaniment.(Note 31) Compare the Italians with the name Castelli in Eitner. The supposition of CastelliÕs Italian origins can be further strengthened by the fact that he had Pacini as publisher. Castelli is also represented by compositions and guitar accompaniments in Le Troubadour ambulant, 2e AnnŽe (1818), 10e Cahier, 3e AnnŽe (1819), 4e Cahier, 6e AnnŽe (1822), 1er Cahier where his name is ÒCh: Valentin CastelliÓ, and 4e Cahier the same year, 7e AnnŽe, 6e Cahier. He is also represented in Journal dÕApollon 1ere AnnŽe (c. 1820), 12e Livraison. See Fellinger pp. 538, 539, 542 and 605. The work in FryklundÕs collection is not be found in Fellinger.

Cerruti, W. Compare the Italians with the name Cerruti in Eitner. We have: Ombra adorata aspetta Rond— di Giulietta e Romeo Musique de Zingarelli ChantŽ au ThŽ‰tre de la Cour devant Leurs MajestŽs par Crescentini—Accompt de Lyre ou Guitarre par W. Cerruti. 2e AnnŽe du Journal des Troubadours. In Le Troubadour ambulant 1ere AnnŽe (1817), 7e Cahier, a composition by Cerruti is to be found: Rondo pour la Guitarre ou Lyre. See Fellinger p. 994.

Mariscotti, L. Compare in Eitner the Italian name Marescotti. We have: Barcarole. Paroles italiennes. Musique avec accompagnement de Guitare. Par L. Mariscotti. A Paris chez lÕAuteur, rue de la Grande Truanderie No 2.

Seroni, Tito. Presumably an Italian immigrant to Paris. Also with the name in French form: Tito SŽron. We have two works by Seroni, which puts us in the position to reveal both his address in Versaille: Avenue de St Cloud, No 55, and a date of his stay in Paris (1834)—the latter because of a dedication, which to all appearances was written in France: 1. MŽthode RaisonnŽe de Guitare dŽdiŽe ˆ ses Žlves et ˆ MMrs les Professeurs par Tito Seroni. Se vend a Paris Chez Bressler—A Versailles, Chez Pfeiffer,—LÕAuteur. 4to. Title page, 52 pp. With the authorÕs own signature. Includes a dedication to Lydia A. Nicholson, le 2 Septembre, 1834. In the introduction it is mentioned that: Je conseille, et recommande aux amateurs de se servir de Guitare dite ˆ la Sagrini, ou Guitare tierce, ainsi nommŽe parce que on peut la monter ˆ une tierce au dessus du diapazon. This method also contains some duets for 2 guitars. 2. Bataille de Campillo de Truxillo ou Fantaisie guerrire pour Guitare DŽdiŽe ˆ Madame la Comtesse Armand de Houdet™t et ComposŽe par Tito Seron. PropriŽtŽ de lÕAuteur. ˆ Paris, au Magazin de Musique de A. Meissonnier—A Versailles, Chez lÕAuteur, Avenue de St. Cloud, No 55. 4to. Title page. 9 pp. Also this work has the authorÕs autograph signature and a written dedication: A Miss L. Nicholson de la part de lÕAuteur T. S. The MŽthode RaissonnŽe is kept in FryklundÕs collection at Musikmuseet in Stockholm.

Volpato, ÒprofesseurÓ, by whom we have 2 guitar accompaniments for otherÕs song compositions, published by Pacini. Volpato is not mentioned in the handbooks. Presumably he was originally from Italy—volpato—is a genuine Italian word, and the Italian Pacini was his publisher.(Note 32) In Le Troubadour ambulant, 9e AnnŽe (1825), 9e Cahier, a composition by Volpato can be found: La Berceuse, Nocturne ˆ deux voix. See Fellinger, p. 548. The "PertosaÓ mentioned in the footnote is probably identical with F. Pertosa with works in Journal des Troubadours. See Fellinger p. 382.

Finally, we would list a few compositions in our collection, published in Paris by Italians totally unknown to the authors of the handbooks:

Fabricatorello, Giuseppe (Griseppe in the following work is assuredly a printing error.) We have: Duettino Per due Chitarra. Musica del Signor Griseppe Fabricatorello. Appendix to Journal de Lyre ou Guitare by Meissonnier.

Paradyso, by whom we have Cavatina. Paroles de Mr D. ***. Musique et accompt de Guitare Par Sigr de Paradyso.

Finally, we have a piece published in Paris by another Italian: Rondo Suivi dÕun air varies(Note 33) pour Lyre ou Guitare. Composed by Luigi Moretti. Appendix to MeissonnierÕs Journal de Lyre ou Guitare. This Luigi Moretti is possibly the same as the one mentioned by Zuth.

The foremost Spanish guitarist who emigrated to Paris was Ferdinand Sor, who was born in Barcelona in 1778 and died in Paris in 1839. We have: O vous que Mars rend invicible, Romance, ChantŽe dans les Trois Sultanes, Par Melle Nadeje Fusil, Orpheline de Wilna, Mise en Musique avec Accompt. de Guitare, Par F: Sor. A Paris, Au Magasin de Musique de A. Meissonnier. A receipt by Sor in our collection is of interest as one discovers that Pacini was also his publisher, and that one opus 22 was composed by him, which is not mentioned in the handbooks: ÒJe declare cŽder en toute proprietŽ ˆ M. Pacini lÕoeuvre 22 dont le titre vingt quatre Pieces progressives pour la Guitare. Paris le 8 aout 1832. Ferdinand Sor.Ó See also FŽtis, Eitner, Zuth. The latter does not include the Žtudes and exercises which Sor composed for SalomonÕs harp-lyre (see Fryklund, ÒStudier šver lyragitarrenÓ, p. 17).(Note 34) O vous que Mars appeared in Le Troubadour des Salons 17 AnnŽe, 10e Livraison. The copy in the Fryklund collection is not listed in Brian Jeffery, ÒFernando Sor - Composer and GuitaristÓ, Second Edition, London 1994. Nor does Jeffery refer to the autograph letter from Sor to Pacini. Moreover, the Fryklund article itself is not listed in the bibliography either. On the other hand, Fryklund seems to have been unaware of an other unique work by Sor in his own collection: Mon dernier mot Romance Paroles de Mr. P.A. Vieillard Mise en Musique et dŽdiŽe ˆ Monsieur A. Panseron. Par F. Sor.—Paris, Chez Savaresse Sarra. This work probably dates from 1828-35. The present annotator discovered this work in 1994. Cf. Kenneth Sparr, "Ein unbekanntes franzšsisches Lied von Fernando SorÓ, Gitarre & Laute 26/1994, Heft 4 pp. 39-43; ÒEn okŠnd sŒng av Fernando Sor i SverigeÓ, Gitarr och Luta 27/1994 nr 4 pp. 23-25; ÒAn Unknown French Song by Fernando Sor in SwedenÓ, Soundboard Vol. XXII, No. 1 pp. 39-43; ÒUna canzone sconosciuta di Fernando Sor in SveziaÓ, il Fronimo nr 93 1995 pp. 37-40. FryklundÕs collection also at least contains the following works by Sor: Vingt quatre exercises trs faciles & soigneusement DoigtŽs pour la guitare composŽs par Ferdinand Sor. Op. 35. Liv. I-II Bonn, N. Simrock PN 2768, 2770; MŽthode pour la guitare Guitarre-Schule von Ferdind. Sor. Bonn, Simrock, Paris bei dem Verfasser PN 2810. (The MŽthode is kept at Musikmuseet); Oeuvres Pour la Guitare composŽes par Ferdinand Sor Op: 60 Introduction ˆ lÕEtude de la Guitare Frankfurt s/m, Fr. Ph. Dunst PN D. 543

We would also mention here a Spanish composition, published in Paris, and currently in our collection: La vraie retraite espagnole. ƒxŽcutŽe par la Musique du RŽgiment dÕUltonia ˆ Girone. ComposŽe pour la Guitare et dŽdiŽe ˆ Mr C. Deschateaux, par Fresco, Chef de Musique au 1er Terzio des Volontaires de Girone. Paris, A La Lyre Moderne, Rue Vivienne No 6. This Fresco is also omitted from the handbooks.

Amongst foreign arrangers for the guitar who moved to Paris the Bohemia-born oboist, composer and publisher, Karl Bochsa can be mentioned. He is represented in our collection by an ÒAccompagnement. de Lyre ou Guitare par Bochsa preÓ, to: ÒCouplet du prince de Catane, Chante par Mme. Boulanger Paroles de Mr. Castel. Musique de Nicolo de Malthe. A Paris, Chez Bochsa pre, Auteur Editeur de musique et Md. dÕInstrument (sic!), rue Vivienne No. 25Ó. Karl Bochsa is certainly identical with the publisher Charles Bochsa (pre), born in Bohemia in 1760 and active as publisher in Paris from 1812 until his death in 1820. He was followed by his son Nicolas-Robert-Charles Bochsa (fils). More biographical information about Bochsa can be found in Devris I, p. 34. To the work mentioned above can be added the following works by Isouard with accompaniment by Bochsa pre in the Fryklund collection: Couplet du franais ˆ Venise ChantŽ par Mme. Boulanger Paroles de Mr. Justin. Musique de Nicolo Avec Accompagnement. de Lyre ou Guitare par Bochsa pre. A Paris, Chez Bochsa pre, Auteur Editeur de / musique et Md. dÕInstrument, rue Vivienne No. 25; Rondeau du franais ˆ Venise chantŽ par Mr. Paul Paroles de Mr. Justin. Musique de Nicolo avec Accompagnement. de Lyre ou Guitare par Bochsa pre. A Paris, Chez Bochsa pre, Auteur Editeur de musique et Md. dÕInstrument, rue Vivienne No. 25. The address shows that these works were printed in the period 1812-1815.

Finally, we would call attention to a guitar accompaniment by one Wagner: Tonio ou Le Chasseur des Alpes, romance. Paroles de A. Isnard. Musique de E. Merle. Accompt de Guitare par Wagner. Paris, chez Schonenberger. It is possible that this guitar accompaniment comes from some Paris Wagner—e. g. Charles Wagner, pianist and composer, born in 1816. However, the time when the romance was published corresponds to Richard WagnerÕs Paris visit, 1839-42, during which he found himself in very straitened circumstances and felt forced to Òmusikalische Handlangerdienste zu tun, allerlei Arrangements untergeordneter Art fŸr die Musikverleger zu machen, franzšsische Romanzen zu komponieren, fŸr die Tagespresse zu schreiben usw.Ó (cf. RiemannÕs Lex. and also FŽtis, Biogr. Univers.)

Also outside of Paris we find many guitarists in France, especially in Lille, where no less than six of the following guitarists seem to have been active: Cuviller, Cuvillon, Desjardin, Laurent, Vanderghinste, and, the signature S. H. Of the others mentioned, 3 came from Douai: Colin, Meurger (see above) and Warocquier; one from Dijon: Bruet; one from Lyon: Laflche; one from Rouen: Mees (see above); and one perhaps from Boulogne or Dunkerque: Brunet.

These guitarists are not included in the handbooks, with the exception of the aforementioned Laflche, and possibly Colin, whose personal background is not clear. We list in alphabetical order the following:

Bruet, N., ÒMd de Musique et dÕInstrumens, ˆ Dijon, Rue dÕArtois No 5Ó. We have 2 romances, published by his own company, for which he wrote both music and the guitar accompaniment: A mon Amie; and Est-ce ainsi quÕon oublie. N. Bruet seems to have been active at this address in 1825. See Devris II p. 441.

Brunet, L. We have : Six Divertissemens ˆ lÕEspagnole pour Guitare DŽmontŽe --- par L. Brunet. OpŽra 5. A Boulogne Chez Pillement ˆ Dunkerque Chez Pillement et Fils. It is possible that Brunet was a guitarist in Boulogne or Dunkerque. The publisher Pillement is not mentioned in Devris.

Colin, P. Has written music and accompaniments for guitar or lyre to a great many romances (we have over 20 in our collection from the beginning of the nineteenth century). He seems to have published them himself: ÒSe Vend chez les Prinicipaux Mds de Musique, A Paris. et chez lÕAuteur, a Douay.Ó We have not come across ColinÕs name as a guitarist in any other connection. FŽtis suggests 2 brothers Colin, whose Christian names begin with Pierre; thesewere however Parisians. In Le Troubadour ambulant, 9e AnnŽe (1825), 6e Cahier, 11e AnnŽe, 9e, 10e and 11e Cahier a A. Colin is mentioned as composer. See Fellinger pp. 548, 553, 554.

Cuviller, F. (spelled in the subsequent composition as Cuvillier): Soyez Sensible, Air de Mozart, ArrangŽe pour deux Guitares suivi de deux airs variŽs Pour Guitare seule dŽdiŽs ˆ Mr. Floris Zilof par F. Cuviller. A Lille, Chez Bohem

Cuvillon, ÒprofesseurÓ (cf. Cuvillon in FŽtis). We have: Aux jeunes amantes. Paroles de M*** Musique et Accompt de Guitare par Cuvillon Professeur. A Lille, Chez Bohem. One could possibly think that Cuvillon and Cuviller, both of whom published with Bohem in Lille, were the same person. A printing error with the two last letters in the name could easily have happened on one or other of the 2 compositions cited here. The publisher Bohem was active in Lille from c. 1819. See Devris II, p. 444.

Desjardin, LŽopold. We have: 1. Hommage A La FidŽlitŽ, Paroles de F. Hay Mises en Musique avec accompagnement de Guitare par L. Desjardin. A Lille, chez les marchands de Musique. 2. Nocturne A Deux Voix. Paroles de Mr Moulas Mises en Musique avec accompagnement de Guitare par LŽopold Desjardin. A Paris, chez les Mds de Musique, ˆ Lille chez LÕauteur. Desjardin is also represented with two songs i Le Souvenir des MŽnestrels 5e AnnŽe 1818. See Fellinger p. 446.

Laflche and Lafleche. We have 2 songs with music and guitar accompaniment with the following information: ÒA Paris, Chez tous les Mds de Musique. A Lyon, Chez Arnaud ƒditeur Md de Musique et dÕInstruments Rue Gentil No 1Ó (the one with ArnaudÕs stamp). It would seem that Arnaud in Lyon was the main publisher and it is clear that the composer is the above-mentioned J. A. M. Laflche, guitar teacher in Lyon. We also have 3 romances, published by Pacini, with music and guitar accompaniment by Laflche. In Journal dÕEuterpe, 6e AnnŽe (1818), 7e Livraison is a song by A. M. Laflche. See Fellinger p. 360. F. Arnaud was active as publisher between 1821 and 1830 in Lyon. See Devris II, p. 445.

Laurent, A., from Lille. In our collection there are 2 romances: 1. Ma Philosophie. Paroles de M*** Musique et Accompagnement par A. Laurent. ˆ Lille, chez lÕAuteur et les Mds de Musique. 2. Gonzalve. Romance Chevalersque ˆ une ou deux voix. Musique et Accompt Par A: Laurent. A Paris, chez tous les Mds de Musique.

S. H. By this signature we have: La blonde Sylvie. Paroles Musique et Accompagnemet [sic!] de Guitare par S. H. Offr Gendrie Royale. A Lille, chez Bohem

Vanderghinste, P. seems to have resided in Lille to judge from a composition: Les Effets du Retour. Romance. Paroles de Mr C. H. Barlet, Musique et accompagnement de Guitare, Par P. Vanderghinste. Ë Lille, chez Vanderghinste-Mas. We also have two other compositions of his where he has written the guitar accompaniment.

Warocquier, A. J. Our collection contains: Le Lendemain. Chansonette. Paroles de Mr Le Noble. Mise en Musique avec accompt de Guitare par A. J. Warocquier. A Douai, chez lÕAuteur.

We can mention several Belgian guitarists represented in our collection. Bone does not mention any of them, Zuth only mentions Plouvier. The compositions mentioned below were all published in Brussels, except for those by HouzŽÕs and StevensÕÕ, who were generally published in Mons, and some of NacherÕs publishing companyÕs compositions which appeared in Tournay. Plouvier and Stevens worked for a time in Paris, and ThollŽ died in Paris in 1823 after a transient life. Several compositions by Plouvier and ThollŽ were published in Paris. We list: Cirez, Armand, ÒprofesseurÓ. We have: Air dÕOedipe ˆ Colone. Musique de Sacchini. Accompagnement de Guitare, par Armand Cirez Professeur ˆ Bruxelles. ˆ Bruxelles, Chez Terry. HouzŽ, Amand, wrote in Mons several compositions for voice and guitar. We have pieces belonging to collections 1, 4, 5 and 6, published by his own company: A Mons, chez LÕauteur rue de la Biche No 9. HouzŽ also wrote similar compositions for P. Nacher in Tournay. Nacher, P. Music publisher both in Tournay (earlier?) and in Brussels Òau bureau du Journal lÕEuterpe rue de lÕEmpereur No 14Ó.(Note 35) He arranged for his own publishing company guitar accompaniments for songs with music by Donizetti, HalŽvy, Meyerbeer and others. Plouvier, Pierre Joseph, who was born in Ghent, but went to Paris as a guitar teacher in about 1804. In DoisyÕs catalogue it is stated that Plouvier was DoisyÕs Ҏlve et successeurÓ. Plouvier began his publishing career already when in Paris (cf. FŽtis), which is evidenced by a song: Guitare confidente (music by Mozart, and guitar accompaniment by Plouvier), where the publishing information is: A Paris, Chez Plouvier, Rue Mandar No 5, Et ˆ Bruxelles, Rue de lÕImpŽratrice, No 1258.—PlouvierÕs Op. 1 mentioned by Zuth is dedicated to Doisy, Òpar Plouvier son ŽlveÓ. This is announced in DoisyÕs catalogue concerning Op 2: Plusieurs Pices variŽes et non variŽes, pour Guitare, avec accompt de Violon non-obligŽ.(Note 36) In addition we have PlouvierÕs accompaniments to songs by other composers, published by his own company in Brussels where he later moved: A Bruxelles chez Plouvier et Cie au magasin de musique, dÕinstruments et Cordes de Naples, montagne de la Cour No 672. A few of our examples have the notation 1ere, 2e, 3e annŽe and belong to a journal published by Plouvier. An issue from the first year gives the following information: Il para”t 6 Nos par mois. Le prix de LÕabonnement est de 18 francs pour LÕannŽe, franc de port pour tout le Royaume. Concerning the compositions for the guitar, see also FŽtis. Pierre-Joseph Plouvier died in 1826. The works mentioned by Fryklund are probably the following: 1. Les croisades ou le boristhne. Romance. Paroles de Mme. dÕHervilly. Musique de J. Struntz. ChantŽe par Mr. Lavigne Accompt. de Guitare par Plouvier. A Bruxelles, chez Plouvier et Cie. Montagne de la Cour No. 672. [c. 1826]. Journal des Amateurs. Recueil de Chant 3e AnnŽe. The composer is Jacob Strunz (1783-after 1845). 2. Rose ou il sÕagit de bien voir la chose air ChantŽ par Lavigne. Musique de Mr. Bayal, AvouŽ. Accompt. de Guitare par Plouvier. A Bruxelles chez Plouvier et Cie. au magasin de musique, dÕinstrumens et Cordes de Naples, mont Vaudeville Sur LÕarrive du docteur agne de la Cour No. 672. [c. 1826] Journal des Amateurs. Recueil de Chant 3e AnnŽe. About PlouvierÕs activities as publisher see Devris I, p. 130. Fryklund speculates in his footnote if Plouvier had a son, "P.J. Plouvier filsÓ, but Devris suggests that they are one and the same person.

Stevens, Jean Baptiste. FŽtis mentions inter alia his compositions for the guitar. We have: La Lanterne magique. Paroles de Mr H. Delmotte. Musique et Accompt par J. B. Stevens. A Mons, chez lÕAuteur. Instruction: ÒGuitare avec capo-dÕastro ˆ la 3e case."

ThollŽ, Thomas. Born in LiŽge, died in Paris. See FŽtis and Eitner. In our collection there is Toujours toi. Romance avec accompagnement de Guittare par ThollŽ. A Paris Chez Ice Pleyel. Another work by ThollŽ in the Fryklund collection is: Gall. Paroles de Mr. de Piis. Musique et accompt. de Guitare par ThollŽ. Ignace Pleyel.

In the foregoing we have dealt with several Italian guitarists who resided in Paris, and Italian guitar compositions which were published in France. In the following we will list English, Danish and Swedish editions of CarulliÕs guitar method and the Swedish editions of GiulianiÕs. With reference to PaganiniÕs quartets for violin, viola, guitar and cello, Op. 4 and 5, Zuth mentions the Milan edition, 1821.(Note 37) However, he does not include a later edition of these quartets, published by Richault in Paris, "dŽdiŽes aux AmateursÓ, of which we have a copy.(Note 38) Otherwise, we would summarily mention here the Italian guitarists Pettoletti and Piantanida, who are of certain interest to even us in theNordic countries. Two compositions by Pietro Pettoletti have Scandinavian motifs: Op 11, Divertissement facile (Thme suedois) p. 2 Guit.; op. 12, Fantaisie (Air national norvŽgien). Several of his works have been published in Sweden: Mes Souvenirs, Divertissemens, pour une & pour deux Guitarres, composŽs par Pierre Pettoletti. Oeuvre 6e. Imp. Lithogr. chez Gjšthstršm & Magnusson ˆ Stockholm. Variations pour la Guitarre, composŽes par P. Pettoletti, & dŽdiŽes ˆ Monsieur le Baron Troil, Son Elve. Oeuvre 7e. Lith. chez Gjšthstršm & Magnusson ˆ Stockholm.(Note 39) Six Variations faciles & agrŽables sur lÕair de La Tyrolienne pour la Guitarre, composŽes par P. Pettoletti. Oeuvre 8. Lith. chez Gjšthstršm & Magnusson ˆ Stockholm. In our collection we have a programme from a concert in Copenhagen Òpaa det kongelige HoftheaterÓ [in the Royal theatre], 13 December 1826, given by ÒBr¿drene Joachim and Pierre Pettoletti [the brothers...]Ó, Òunder Anf¿rsel af Hr. Concertmester Thiemroth og underst¿ttet af det kongelige Capel og Jomfruerne Zrza og Wulff [under the auspices of the Concertmaster Thiemroth and assisted by the Kongelige Kapel and the young ladies Zrza and Wulff].Ó This programme is of interest because one then understands that the brothers Pietro and Joachim played concerts together. About the guitar pieces, the programme states: ÒConcerto for Guitar, med Accompagnement af Orchester af Carulli, udf¿res af Joachim Pettoletti [with orchestral accompaniment by Carulli, performed by Joachim Pettoletti]"; ÒPotpourri for 2 Guitarrer, comp. af Guilliani udf¿res af Br¿drene Pettoletti (Note 40) [Potpourri for 2 Guitars, composed by Guilliani performed by the Brothers Pettoletti].Ó ÒConcerterende Variationer for 2 Guitarrer, comp. af Guilliani, udf¿res af Br¿drene PettolettiÓ. Joachim Pettoletti also played a concerto for violin by Libon.(Note 41) Bone and Zuth mention in addition to these two Pettolettis, a third: C. G. Pettoletti. On the brothers Pettoletti and particularly on Joachim Pettoletti see Kenneth Sparr, "Magazin fšr Guitarre-spelare. 1. Joachim Pettoletti, ÕSix Walzes instructivesÕ (Gitarr och Luta 28/1995, Nr 4, pp. 17-22). For a more detailed study on the Pettoletti family in Denmark and Sweden see also a forthcoming history of the guitar in Denmark written by Erling M¿ldrup. Piantanida, G. B. by whom C. C. Lose in Copenhagen has published two romances which we have in our library: ÒDÕo te vient cette fleur charmanteÓ and ÒTu le veux doncÓ, oblong 4to, each have a title page and 2 pages. Both are set for Voce, Guitarre and Pianoforte. Piantanida has also published two other works through Lose for song and piano: Sei Ariette Italiane composte e dedicate a S:A:R: Carolina Principessa Reale de Danimarca e Norvegia da Giovan Batista Piantanida; and: Six Romances franaises composŽes e dediŽes ˆ Son Altesse la Princesse Julianne de Philipsthal par G:B: Piantanida (the above-mentioned two romances are not found in these collections). Who then is this Piantanida? That G and B are first name initials should not be doubted since they are found on all these compositions. Furthermore, one could suppose that the compositions should be ascribed to the violinist Giovanni Piantanida, who according to Eitner also should be denoted as Giovanni B. Eitner also enters ÒfraglichÓ [questionable] Six Romances franaises, the only one of the above he mentions under Giovanni. But this Giovanni (B.) Piantanida whom Eitner refers to have lived between 1705 and 1782 approximately, and thus all references vis these compositions to this person are untenable considering the times and the two ÒdŽdicacesÓ. The Copenhagen compositions however fit well from the point of view of time with that Piantanida who according to FŽtis and Eitner lived between 1768 and 1836, and whose first name was Gaetano, and who according to FŽtis, resided several years in Denmark. FŽtis also records the two above-mentioned song collections and ÒQuelques morceaux de chant dŽtachŽs, gravŽs en AllemagneÓ under Gaetano. There have been many musicians with the name Piantanida: FŽtis lists 2 and Eitner, 7. It would appear that lexicographers have mixed them up to a greater or lesser extent. Concerning the source of the compositions by Piantanida published in Copenhagen, we feel at present able to claim that his first name initials are G. B., and with some surety claim that his first name is Giovanni Batista (compare the composition above with this name and EitnerÕs information about Giovanni B.), that he was not the same as the violinist Giovanni Piantanida, named in FŽtis and Eitner, and that it is very possible even likely that this G. B. Piantanida—considering the great interest shown to him by a Danish publisher, and which he in turn showed in Denmark by dedicating his compositions to a Danish princess—resided some time in Denmark. Zuth does not mention any Piantanida. Amongst the Spanish guitar books, we would mention the one discussed by Zuth, the second edition of: Arte de tocar la guitarra espanola por mœsica, compuesto y ordenado por D. Fernando Ferandiere, profesor de mœsica en esta corte. Segunda edicion. Madrid, 1816. The second edition which was unknown to FŽtis and Eitner is of interest since through the foreward we can discover a hitherto unknown work by Ferandiere which he printed in Malaga as early as 1775: Prontuario Musico, — Arte de tocar el Violin. FŽtisÕ claim that Ferandeiro is the correct spelling of the name is false. This book from the Fryklund collection is now kept in the library of Musikmuseet, Stockholm. Concerning Sor(s), see the foregoing. (Note 42) In connection with Portugese guitarists, we would only make a few additions to ZuthÕs article on Antonio da Silva Leite. Zuth indicates, as does Bone, that Estudo de Guitarra appeared in 1796; however, it was the second edition of the guitar method which was published that year. The first came out in 1795. The second is similar to the first edition except for a few changes in the title. Zuth has combined the first editionÕs title with the second editionÕs year of publication! Zuth records, after Bone, LeiteÕs Ò6 Sonaten fŸr Git. mit Viol. und 2 Tromp ad.lib.Ó without date. Joaquim de Vasconcellos gives in the Supplement to FŽtis Biographie Universelle the Portugese title of the work: Seis Sonatas de Guitarra com accompaghamento da Rabeca e duas Trompas ad libitum, and the date, 1792. Some biographical information on Silva Leite can be found in Prat, p. 177. As Fryklund was always very careful, not to say pedantic, it is odd that he doesnÕt discuss the difference between the Portuguese ÒguitarraÓ and the Òviol‹oÓ, which easily can lead to confusion. The portuguese ÒguitarraÓ is more related to the English guitar and cister than to the guitar and has a different tuning. Antonio da Silva LeiteÕs works mentioned by Fryklund is intended for the Òguitarra InglesaÓ which is a forerunner to the Òguitarra PortuguesaÓ. For a more detailed information on Silva LeiteÕs works, see "F‡bricas de Sons. Instrumentos de Mœsica Europes dos SeŽculos XVI a XXÓ, Lisboa 1994, pp. 19-21.

Concerning German guitarists, we have several additions concerning those composers named by Zuth. Neither Eitner nor Zuth mentions the second edition of BornhardtÕs "AnwiesungÒ: Anweisung die Guitarre zu spielen uud(Note 43) zu stimmen von Bornhard. 2te vermehrte Auflage. Mainz, B. Schott u. Sšhne. 4to, 15 p. Without date (our example has a written dedication in English, October, 1832). We also have songs with guitar accompaniment by Bornhardt, published by Cranz and Ludwig Rudolphus in Hamburg - Eitner, who mentions several of BornhardtÕs songs, lists none from this publisher. In our autograph collection we have even a letter from Bornhardt to his publisher, Simrock in Bonn, dated Braunschweig, 13th October, 1816. In this letter he writes about a manuscript ÒLieder der GeselligheitÓ which we could not discover in the handbooks; however, one should not exclude the possibility that the manuscript received another title and went to another publisher: ÒFerner habe ich ein Manuskript unter dem Titel: Lieder der Geselligkeit fŸr fršhliche Zirkel mit Begl: der Guitarre oder des Pianoforte vollendet, welches 25 Platten stark ist,—fŸr jedes Instrument einzeln, und fŸr beyde zusammen gebraucht werden kann. Die Texte sind neue launige Gedichte, Trink- und Tischlieder, und was sich sonst fŸr den geselligen Zirkel eignet. Diese Samlung wŸrde sehr gut als ein Neujahrsgeschenk etwa in einem farbigen Umschlage erscheinen kšnnen. Zum Honorar verlange ich 4 Ldor und 6 Exempl: [Furthermore I have completed a manuscript with the title Songs Communal for a Merry Company, with accompaniment of guitar or pianoforte, which will take 25 plates... can be for each instrument alone and for both together. The text consists of new, lighthearted poems, drinking and eating songs—what else is appropriate for a merry company. This collection would suite as a New Years gift for example, in colourful covers. As payment I would demand 4 Ldor and 6 Exempl...]—Ó The copy of BornhardtÕs ÒAnweisungÓ is kept in the library of Musikmuseet, Stockholm. Zuth does not mention Albert Gottlieb MethfesselÕs Liederbuch: Gesellschafts-Liederbuch fŸr Guitarre. Eingerichtet nach dem Commersbuch von A. Methfessel. Zweite verbesserte und vermehrte Auflage. Leipzig, Hamburg und Itzehoe, Verlag von Schubert & Niemeyer. We have: Zweite verbesserte und vermehrte Auflage, oblong 8vo, title page, 162 pp. In our autograph collection we also have a letter, Rudolstadt, 12th September, 1816 (the year is unclear) from Methfessel to the publisher Simrock, in which he offers him a new work. This work we have not found noted in the literature: ÒAm besten entscheidet wohl das Publikum, und ich sehe, es wird, mir gŸnstig, entscheiden. Ist dieses, so werden Sie vielleicht nicht abgeneigt seyn, beiligendes Werkchen, einen Pot-pourri fŸr Pianof. u. Gitarre von mir in Verlag zu nehmen. Es ist hauptsŠchlich fŸr Dilettanten, also fŸr den gršsseren Theil des Publikums—Der, in VerhŠltnis der Pagenzahl gewiss billige Preis, den ich auch nun in Bezug auf meine Zufriedenheit mit unserem neusten GeschŠft so billig setzen kann, ist 6 Louis dÕor. Zwei deren kšnnen Sie mir in Musikal. abtragen [the public will be the best judge, and as far as I can see they will be positive. If this is so, you perhaps will not be too reluctant to publish the enclosed little work, a potpourri for pianoforte and guitar. It is mainly for diletantes, i.e. for the largerst part of the audience—The price is certainly cheap in relation to the number of pages, and I can make it so low because I am so pleased with our latest enterprise, 6 Louis dÕor. Two of these you could keep in exchange for music.]Ó The entry in ZuthÕs Handbuch for Methfessel includes: Òeine anziehende Schilderung von M. als Gesellschafter und GitarrsŠnger in L. Spohrs Selbstbiographie [a charming depiction of M. as a society person and guitar singer in L SpohrÕs autobiography].Ó Spohr made these observations in the spring of 1819 when he and 4 ÒRudolstŠdterÓ, amongst them Methfessel, journeyed from Frankfurt am Main to Mannheim and Mainz, during which journey Methfessel "durch den Vortrag humoristischer GesŠnge, die er meisterhaft mit der Guitarre begleitete, die ganze Gesellschaft in die fršhlichste Laune versetzte [put the whole company into the best mood through his masterly performance of humourous songs].Ó In this connection it might be of interest that we have an album page, dedicated to Spohr by Methfessel: ÒRudolstadt: Am 9 Dec. 1819"; ÒDas HerzÓ, a lovely poem in 4 stanzas with music, which comprises an epilogue to their companionship. MethfesselÕs note reads: ÒDa Sie mich bisher immer heiter sahen, so muss ich Ihnen wohl zeigen, dass ich auch eine ernsthafte Physognomie annehmen kann: bei ihrem Abschiede von uns; doch bin ich, vergnŸgt u. betrŸbt, immer Ihr treuer Freund Albert Methfessel [As you so far have seen me merry, I have to show you that I also can put on a serious face at your departure from us—although I remain both pleased and sad. Always your true friend, Albert Methfessel.]" One finds signs of MethfesselÕs popularity also in a letter in our collection from Frederik Kuhlau to ÒHerrn F. Peters, Bureau de Musique, LeipzigÓ (Copenhagen, d. 4ten Aug. 1829), in which Kuhlau expresses his desire to dedicate to Methfessel his Op. 106: ÒDer Zweck meines heutigen Schreibens ist erstlich: Ihnen Dank zu sagen fŸr Ihre mir in Leipzig erwiesene gŸtige Aufnahme, und zweitens: Sie zu bitten dem Titel der von mir componirten 6 Gedichte von FouquŽ folgendes hinzufŸgen: Òin Musik gesetzt und seinem Freunde Albert Methfessel gewidmet von etc."—Ich hoffe diese Dedication wird den Absatz dieses Werkchens (wenigstens in Hamburg) befšrdern, da Methfessel dort ein sehr geachteter Gesanglehrer ist. [The intention of my writing today is first of all to thankyou for your nice reception of me in Leipzig, and secondly, to ask your permission to add the following to the title of the six poems by FouquŽ: Òset to music and dedicated to his friend Albert Methfessel etc."—I hope that this dedication will assist the initiation of this small piece (at least in Hamburg) as Methfessel is a very treasured song teacher there.]" By Johann Andreas AnschŸtz we have: Recueil de Chansons avec accompagnement de la Guitarre. Auswahl der vorzŸglichsten GesŠnge aus Opern und anderen Werken der ersten TonkŸnstler fŸr die Guitarre eingerichtet von J. A. Anschuez. No 8. A Bonn, chez N. Simrock. 4to. We have issue No. 8 which contains songs nos. 43-48 (pp. 122-138). This collection is mentioned neither by FŽtis nor Eitner, and not especially by Zuth. Friedrich Wilhelm Arnold edited a Pfennig-Magazin fŸr Gesang und Guitarre herausgegeben von einem Verein rheinlŠndischer TonkŸnstler, redigiert von Dr. F. W. Arnold. Cšln. Verlag von Gaul & Tonger 1834. 4to We have the first volume, 1834, 52 issues, 208 pages, which contains songs with accompaniment of guitar and also solo pieces for guitar, including compositions by Arnold himself. By dÕAymard we have in our collection a Romance avec accompagnement de guitare, dŽdiŽe ˆ mesdemoiselles Auguste et Louise de Griesheim. Par DÕAymard, professeur de musique vocale et de guitare. Brunswick 1804. Se trouve ˆ Brunswick chez Alexandre Pluchart, imprimeur-librairie. Oblong folio, titlepage, 2 pp. Introduction for violin or flute. Cf. Zuth, where dÕAymord is assuredly a printing error. Amongst known German composers who wrote for the guitar and who Zuth does not include in his work are Friedrich Silcher, and the BrŸnn-born, Franz Lauska. In catalogue 39 from LengfeldÕsche Buchhandlung in Cologne there are entries (Nos. 1035 and 1036) for German and foreign Volkslieder with accompaniment for piano and guitar by Silcher, Op. 22, 25, 28, 39, 54 and 57, published in TŸbingen by L. F. Fues. From our collection we can add: III Lieder aus der Frithiofs-Sage, I Frithiofs Abschied, II Ingeborgs Klage, III Kšnig Rings Drapa mit Begleitung des pianoforte und der Gitarre in Musik gesetzt und Herrn Hofkaplan GrŸneisen hochachtungsvoll gewidmet von Fr. Silcher. Op. 29, TŸbingen, bei Heinrich Laupp. Oblong 4to. Titlepage, pp. 2-9. By Lauska we have: Der junge Krieger. Lied: Aus Wolken tritt der Mond mit mildem Glanze; fŸr Forte-piano & Guitarre von Lauska. Hamburg, bey Rudolphus, Altona bey Crantz. Oblong 4to, title page, 2 pp. This composition and its publisher could not be found under Lauska in either Eitner or FŽtis. We have also a few older compositions for voice and guitar by Germans who are unknown, not only in ZuthÕs Handbuch, but also in other music literature: Quodlibet fŸr eine Singstimme mit Begleitung der Guitarre. Aus vierzig Piecen zusammengestellt und leicht eingerichtet von Adolph Rendle. Augsburg, Verlag Von Anton Bšhm. Folio, title page, 8 pp.; and FŸnf Lieder mit Begleitung der Guitarre in Musick gesetzt und FrŠulein Sophie Hoos ergebenst zugeeignet von Adam Struth. Frankfurt a/M, bei Fr: Ph: Dunst. 4to, title page, pp. 2-11. In the library of Musikmuseet is a method for the guitar which may have belonged to the Fryklund collection. It seems to be the only extant copy of Joseph KŸffnerÕs guitar method. Unfortunately it lacks the titlepage but the foreword is dated 1826 and signed by KŸffner. It was probably published by B. Schott in 1826. The plate number is 2469. This work is not listed in Matthias Henke, ÒJoseph KŸffner II. Thematisch-bibliographisches Verzeichnis der Werke Joseph KŸffnersÓ. Tutzing 1985.

When one examines ZuthÕs articles concerning English guitarists, one discovers that he—like most contemporary researchers in the area—has not had access to Robert Bruce ArmstrongÕs imposing and rare work: Musical Instruments. The second part of this work, English and Irish Instruments, published in 1908, treats the English Guitar, and all English inventions of guitar-, harp- and lute-like instruments at the beginning of the nineteenth century as well as compositions for these instruments. Because of his ignorance of this work, Zuth has omitted to mention R. L. Downes, Òprofessor of music and Cheltenham and BathÓ who composed and arranged for C. WheatstoneÕs Regency Harp-Lute, as well as John Parry, who published an instruction book for the same instrument. For Angelo Benedetto Ventura (a printing error in Zuth has produced the first name Aug.), Zuth mentions his instrument inventions, but not his compositions or arrangements for harp-lute and Imperial harp-lute Òwith accompaniments for the Pianoforte and Spanish GuitarÓ (see also Eitner). Following Eitner, Zuth cites several works by Thomas Bolton, but in Armstrong we find even others, e. g. Instructions for Harp-Guitar and Apollo Lyre, and arrangements for Harp-Lute or Harp-Guitar. Armstrong records among others Instructions for Playing upon the Harp-Guitar and Lute, by F. Chabran. This is obviously the same Chabran about whom Zuth says that he composed ÒfŸr die spanische oder die Harfen-LautengitarreÓ [for the Spanish or the harp-lute guitar]. However, should it be as Eitner and Zuth suppose, that the Italian violinist, Francesco Chabran (one also finds it spelt Chiabran and Ciabran) who was born in 1723—he went to Paris in 1751—in his old age at the beginning of the nineteenth century could write instructions etc. for these newly invented instruments. If this is the case, one would need to look at the latter part of his life in London not known to lexicographers (even his year of death is unknown). Thus one should ask oneself if it is possible that the Chabran who wrote these Instructions is identical with the violinist, but instead, a completely different person (Eitner also mentions one Charles Chabran, whose compositions were published in London). On Bolton and Chabran, see Button pp. 3-7. Mordaunt Levien, originator of the 7-string Guitar-Harp (in French instrument catalogues called Guitare-soleil) is mentioned by Zuth in this connection, but he does not mention that Levien published a method for his instrument, and also various compositions and arrangements. Zuth otherwise designates him as a ÒGitarrenmacherÓ [guitar maker] which is highly dubious. Probably he was only the inventor of the instrument and held the patent—inscriptions on his instruments often read: Inventeur et BrevetŽ. Notwithstanding that Levien took out a patent for his instrument in France in 1823 and the instrument was occasionally decorated with Bourbon heraldry, he is hardly French (Kinsky in his catalogue calls him Òein franzšsischer GuitaristÓ), but English. His Christian name Mordaunt is genuine English and he worked in London as a music teacher and had already by 1818 worked on improvements to LightÕs Harp-Guitar, and received an award from the Society of Arts for an Òimproved instrumentÓ. The earlier type had 8 strings with a pegbox reminiscent of the pedal harp. Armstrong had never seen an instrument of this category, nor a reproduction of the whole instrument. Thus he was forced to reproduce a few parts of the Guitar-Harp, which are depicted in G. JonesÕ History of the Rise and Progress of Music, London 1818. However, there is a fine example of this 8-stringed Guitar-Harp in consul general ClaudiusÕ collection in Copenhagen which seems to be the only known example at present of the instrument. According to Zuth, LevienÕs first initial is L. He has taken this information from von LŸtgendorff who clearly supports his assertion with an inscription on the 8-stringed Guitar-Harp in ClaudiusÕ collection: L. Levien No 8 Pleasant Row Pentonville. In this case one should have reckoned with two Leviens: L. and Mordaunt (about Mordaunt, see Chouquet, Le MusŽe du Conservatoire National de Musique, Paris, 1884, p. 68, and ArmstrongÕs work). However, if one observes closely the reproductions of the above-mentioned Guitar-Harp in ClaudiusÕ catalogue, 1931, one cannot locate any L. preceding Levien. There is only Levien without Christian name. Given all this, it should be probable that it is one and the same Levien (Mordaunt) who first invented the 8-string and later the 7-string Guitar-Harp, and who according to Chouquet, received in France on the 6th October, 1825, Òun brevet dÕimportation et de perfectionnement pour cet instrument de forme conique.Ó Carl ClaudiusÕ collection is now housed in Musikmuseum, Copenhagen. Edward Light (c. 1747-1832), discoverer of several guitar-, harp- and lute-like instruments, is of course of great interest for a specialised work like ZuthÕs. However, since Zuth did not know of ArmstrongÕs work, his presentation is very scanty: he mentions only two of LightÕs musical works. For a more complete survey, we must refer to Armstrong, and our newly published booklet, Fšrteckning šver Edward Lights musikaliska verk [List of Edward LightÕs Musical Works]. In the latter there is firstly an exhaustive survey of LightÕs work which is in the authorÕs own collection, followed by a complete list of LightÕs now known musical works. LightÕs work as regards the instruments he invented is of course of interest to instrument museums, but they are especially rare. Thus for example in the Conservatory in Brussels which has one of the worldÕs best instrument collections there is not one of LightÕs printed works (the same is true for Fonds FŽtis in the Royal Library in the same city).(Note 44) Zuth mentions only one Light—Edward. However, there are in fact two other Lights: Richard and Thomas. Both wrote for the Harp-Lute, Richard Light even for the Dital-Harp (on the possible family relationship between these Lights, see the authorÕs booklet, p. 10). Following Eitner, Zuth informs us that Thomas Call published song compositions for "Organum, Harfe und GuitarreÓ in London, about 1760. ÒHarfeÓ should be Òharpsichord" and it should be pointed out that both Eitner and Bone state that the title begins with: The Tunes & Hymns as they are used, but in our copy Ò& HymnsÓ is omitted, which does not prevent Hymns from following Tunes and that the work, in a warning for reprinting at "Phillips in St. Martins CourtÓ on the second side of the title page, is called ÕÕTunes and HymnsÓ.(Note 45) One understands from the book title that Thomas Call was an organist and that he had Òhis lodgings at Mr. BennetÕs Stay Ware House near Great Turn Stile, Holbourn.Ó In our copy, the Òabout 1760Ó was changed to Ò1762Ó as year of printing in connection with a written reference: ÒSee Preface to ArnoldÕs Church Music ReformedÓ, a work which is also referred to in another note—"John Arnold mentions this work, page IX, in his Church Music Reformed, 1765Ó.

Click here for continuation in Part II.

End Notes

1. Unfortunately BoneÕs work is not available in bookshops, and inquiries to antiquarian bookshops, even English, have only had negative results. Return to text

2. Most of the French publications have the approximate format 27 X 18 cm. If any format in the following differs a great deal from this, mention will be made. Return to text

3. . Both have the 20 X 12 cm format. Return to text

4. Zuth claims also that Charles Franois Alexandre Pollet published a Journal until 1793. However, this was, according to FŽtis, Òun journal dÕairs dÕoperas pour le cistreÓ. Return to text

5. This Recueil Periodique is now very rare and is not mentioned by either FŽtis or Eitner. Return to text

6. By Vidal we have also Ariettes et Romances avec Accompagnement de guitarre par Mr Vidal. A Paris. Chez lÕauteur, Rue de Richelieu, prs la Comedie italienne, aux SoirŽes espagnoles, No. 99, oblong 4o. Return to text

7. A. Romagnesi is not mentioned at all by FŽtis. Return to text

8. Zuth has no entry for Romagnesi. Return to text

9. Compare Zuth: Muse Lyrique. Return to text

10. Spelling as in this issue. Return to text

11. The above-mentioned issue of the journal can be found in a volume, oblong folio, with the notation: Frizon, 1819, entirely devoted to Castro. In addition also CastroÕs compositions op 4: Plusieurs Petites Pieces pour la guitare—-—Par Castro, Professeur de guitare. A Paris. Title page, pp. 2-9. Also by Castro: Variations Pour la Guitare, A Paris, Nos. 40 and 41, both in three parts, each containing a title page and four pages of music. The volume also contains Trois Rondeaux pour la guitare ou lyre composŽs Par Mr FrŽderic Moretti, DediŽs ˆ son ami Castro Professeur de Guitare. Oeuvre IVe. A Paris. Title page, pp. 2-16. These compositions are completely ignored in the literature.

In addition we find some information about Castro and his compositions in this volume. S. Castro (de Gistau) was ÒProfesseur de guitareÓ in Paris, presumably originally from Spain. He was closely connected with Federico Moretti (see below), and he himself published all the above-mentioned works. His address in Paris seems to have been both Rue de la Michaudire 20 and Rue de Provence 14 (simultaneously). Op. 4 however which seems to be earlier than the others has the address Rue Neuve des Filles St. Thomas, No. 77, au coin de la rue de la Loi. In addition to the above mentioned volumeÕs elegant compositions or arrangements by Castro, we also have two guitar accompaniments by him for romances by P. DÕAlvimare. Return to text

12. Re LÕEcho des salons, Journal de chant, in which amongst others Francesco Molino has written guitar accompaniments, see the following. Return to text

13. Also by Mees we have a composition Les ƒtrennes, Duo Concertant pour Lyre ou Violon, composŽ et dŽdiŽ A M. Martin, Par J. Mees, Professeur. Op. 12. A Rouen, chez lÕAuteur. 8o. Title page, pp. 2-17. Return to text

14. Re PlouvierÕs Journal in Brussels, see below. Return to text

15. In these instances the name is spelled as in FŽtis with two nÕs. Zuth spells it with one. Return to text

16. In the article on Lintant Zuth spells Naderman with two nÕs. However, the members of NadermanÕs family spell it with only one. Return to text

17. Phillis was also a teacher of the cithern. In a print from 1787 he is described as ÒMaitre de Guittare et de SixtreÓ. Return to text

18. On p. 243 Bone has incorrect Christian names for the brothers Pollet. Benoit Pollet (see also below) is called Jean Pollet, and Alexandre Pollet, Charles Pollet. Return to text

19. Concerning a remarkable lyre guitar by Marchal in the authorÕs collection see Fryklund, Studier šver lyragitarren, pp. 12-14. Return to text

20. A guitarist Henri is mentioned by Zuth in the article on Sola: ÒDie AmZ gedenkt 1815 der Gitarrspieler Sola und Henri in GenfÓ. Return to text

21. Concerning Laflche, see above and below. Return to text

22. Zuth has a long article on the melophone. Consequently one would have expected a mention in the Handbuch of the French melophone virtuoso Louis Dessane, who like Regondi, had great triumphs during his concert tours (cf. e. g. FŽtis, Biograph. Univers). Zuth has however omitted Dessane. NB. In our autograph collection we have a letter from Dessane to G. E. Anders which deals with the melophone. Return to text

23. Compare the following S. H. in Lille. Return to text

24. The following compositions by Carulli are in quarto format. Return to text

25. Sic! Return to text

26. On op. 61 Zuth has Ph. before Gragnani; on p. 123, Filippo. Return to text

27. ÒOp. 5Ó is not printed but written in. Return to text

28. have come across the spelling Borghesy a few times. Return to text

29. A printing error for Luigi. Return to text

30. Concerning PaciniÕs activities as publisher of the Journal des troubadours and Le Troubadour ambulant, see above. Return to text

31. See also Le Troubadour ambulant above. Return to text

32. Also Pertosa, who wrote several accompaniments for guitar or lyre to othersÕ songs in the Journal des Troubadours, published by the Italians Pacini and Blangini, and for Nicolo Isouard. Pertosa does not appear in the handbooks. He may also be assumed to have Italian origins: the name sounds Italian, and it would seem as if Pertosa belonged to the Italian music circles in Paris. Return to text

33. = variŽ Return to text

34. Concerning S. Castro and Federico Moretti who were born in Naples, but naturalized Spaniards, see above. Zuth does not mention MorettiÕs Italian origins or his military background in Spain—he ended up a major general. He died in 1838. Return to text

35. Often also given as No 15. Return to text

36. DoisyÕs catalogue also includes: Pice variŽe et concertante pour Harpe et Piano, Par P.J. Plouvier fils. Possibly the above-mentioned PlouvierÕs son. Return to text

37. Any Genua edition seems hardly to exist. Cf. FŽtis IV, p.417: Òces quatours furent publiŽs ˆ Gnes presque en sa prŽsenceÓ. Return to text

38. These Paganini quartets are very rare. Kinsky says in the Catalogue of HeyerÕs Museum IV, p. 443, that he could not locate them in the Royal Library in Berlin. Return to text

39. By ÒMonsieur le Baron de TroilÓ is most probably meant a member of the Finnish noble family von Troil, which also had members in Sweden. The lineage came to an end on the male side in 1880. Return to text

40. This is the way Giuliani is spelled in the programme. Return to text

41. At present there are several persons in Copenhagen with the name Pettoletti who might be relatives of the afore-mentioned Pettoletti. Return to text

42. We have not been able to check a notice in Carl Van VechtenÕs work, The Music of Spain, [New York, Alfred A. Knopf, 1918] where on p. 176 it is claimed that in the programme for FŽtisÕ second historical concert in Paris, eighteenth November, 1832, there was mentioned ÒVilhancicos espagnols, ˆ 6 voix de femmes, avec 8 guitares obligŽes, composŽs par Soto de Puebla et exŽcutŽs dans un concert ˆ la cour de Philippe II (1561).Ó For details on FŽtisÕ Concerts Historiques, also including information about the participations of guitarists such as Aguado and Sor, see: Robert WangermŽe, Franois-Joseph FŽtis Musicologue et Compositeur, Brussels, 1951.Return to text

43. Misprint: u instead of n.Return to text

44. Concerning Light Òals Erfinder und Barry als VerfertigerÓ [as inventor and Barry as maker] mentioned in Zuth, see the authorÕs above-mentioned booklet, p. 22. Return to text

45. The work contains a title page, pp. 1-14 music, followed by 27 hymns. 8o. Return to text

Annotations and Editorial content Copyright © 1997 by Kenneth Sparr. All Rights Reserved.