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De Fossa- Op. 11. Les Adieux
The tune on which this work is based is the famous Nel cor più non mi sento, a duet from Act 2 of Giovanni Paisiello’s opera La Molinara (1788). Nel cor più occupied one of the most prominent positions in the hierarchy of nineteenth century hit parade. The tune was arranged for many different instruments and instrumental ensembles, by literally hundreds of arrangers, Beethoven and Hummel being the most prominent among them. Guitarists are well familiar with the variations …
Ramon Carnicer i Battle (1789-1855) was a Catalan composer and opera conductor. As was common during the early nineteenth century, he often wrote arias and overtures to operas he conducted. In spite of a fairly prolific composing career, Carnicer is best known today as the composer of this overture to a Rossini opera, as well as the composer of the Chilean national anthem. Rossini’s famous opera The Barber of Seville was presented in Barcelona on July 10, 1818. Rossini used the famous o…
Most guitarist-composers in the early nineteenth century used popular operas as a source of inspiration. Some works are themes with variations, others are selected arrangements. In his extensive exploration of the operatic repertoire, François de Fossa borrowed from the works of the leading composers of his generation — Rossini, Sacchini, Méhul, Piccinni, Berton, Boieldieu and Dalayrac.
The title page of the original edition on which this is based is as follows:
Until the beginning of the 1980s, the figure of François de Fossa was mainly known by his relationship with Dionisio Aguado, a relationship that included de Fossa’s collaboration in producing the two Parisian editions of the Aguado Escuela, and the complete translation of one of them into French. The situation changed radically in 1981 with the publication by Editions Orphée of a monograph which not only revealed very interesting and decisive factors in regard to the guita…
Niccolò Piccinni (1728-1800) already had a successful career with his Neapo-litan opere buffe in Italy before he moved to Paris in 1776. He was invited there by Queen Marie Antoinette. It is in Paris that he wrote Didon which was first performed in 1783 and it became one of his most successful operas, partly because of the lead singer, Mme de Saint-Huberty, a prima donna at the time. Another factor of its success was the libretto written by Jean-François Marmontel who had col…
Until the beginning of the 1980s, the figure of François de Fossa was mainly known by his relationship with Dionisio Aguado, a relationship that included de Fossa’s collaboration in producing the two Parisian editions of the Aguado Escuela, and the complete translation of one of them into French. The situation changed radically in 1981 with the publication by Editions Orphée of a monograph which not only revealed very interesting and decisi…
This edition is based on an early nineteenth century edition published in London by Paine & Hopkins who was active in London from 1821 to 1836. Another composition by Hummel published by Paine & Hopkins, the Rondo Villageois Op. 122, was entered at Stationary Hall on August, 31, 1831. Presumably, the present work would have been published in the same time frame. The piece is an arrangement of selected numbers from Hummel’s two Serenades, Op. 63 and 66. We do not know, and …
The music of Johann Nepomuk Hummel (1778-1837) is becoming increasingly well known through recordings, performances and research, including the recent appearance of the first full-length biography in English. Once known primarily for his trumpet concerto, there has been a growing interest in a wide range of his output, especially works for piano and chamber music for diverse combinations of instruments. Hummel was a prodigy who traveled in lofty musical circles from a very young age, forming …