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La Catedral
La Catedral is perhaps Agustín Barrios's
best known and most played composition. Even though La
Catedral is one of Barrios's early works (written in
1921), it didn't assume a final form until the last years of
Barrios's life, when the Costa Rica (1939) and El Salvador (1943)
manuscripts were written. Throughout his career, Barrios evolved
how he played La Catedral, adding and
removing parts, changing fingerings, and renotating entire
movements. As a result, you will find that nobody plays it
exactly the same way, depending on which transcription they are
working from and how their preferences shape the bits they
incorporate or omit to create their own unique renditions. Part
of the joy of listening to or performing La
Catedral is the variety of arrangements and
interpretations it makes possible, providing something new to
discover each time it is played.
Für Elise by Ludwig van Beethoven
Für Elise is a posthumously published—and possibly
unfinished—work for the piano by Ludwig van Beethoven. The
original manuscript is now lost, but a copy was published in 1867
and the transcriber claimed the original was dated April 27, 1810.
The piece was dedicated to “Elise”, whose identity
has been much speculated upon but never confirmed. Even though
the dedication was not a title, it is how the piece is most
commonly known. The WoO number is a sequential catalog number
assigned to Beethoven's works without an opus number, making the
piece his 59th known work without an opus number. Despite having
been published long after his death, Für Elise is one of his most
popular works, even inspiring Wolf Hoffmann's solo on the title
track of Accept's 1985 album, Metal Heart.
Canarios
Canarios is a work for the five course
baroque Spanish guitar, published as part
of Instrucción de música sobre la
guitarra española. The source I used from the
Biblioteca Nacional de España was dated 1697; but the
first volume of the three volume set may have been published
separately in 1674 because I've seen that date
associated with Canarios in several
secondary sources. Although the notes of the five courses of the
baroque guitar are the same as those of the upper five strings of
today's Spanish guitar, the way the courses were tuned with
respect to one another was inconsistent. A course may have been
tuned an octave apart or in unison. When tuned an octave apart,
which string in a course was higher or lower would vary.
Furthermore, the lower two courses were sometimes tuned in unison
an octave higher (on today's guitar that would be equivalent to
tuning the open A string
to A on the second fret of the
open G string).
Wilson's Wilde and Wilson's Wylde
Wilson's Wilde is a lute piece of unknown
authorship often misattributed to John Dowland, likely because
the best-known version originates from the
so-called Dowland Lute Book, MS V.b.280 (olim 1610.1),
in which it is titled Willsons Wilde. It
is doubtful the Dowland Lute Book
belonged to John Dowland or his family, but his autograph
appears next to a number of his compositions in the book. John
Johnson's signature also appears next to other pieces in the
book. But no such attribution accompanies Wilson's
Wilde. The piece also appears in other lute books,
including one of the Holmes books—MS Dd.2.11, which I used
as the source
for Orlando
Sleepeth—where it is titled Willsons
Wylde. The version in the Holmes book is shorter,
but employs more interesting harmony. Therefore, I have
transcribed both versions from the original tablature, using the
Folger Shakespeare Library's MS V.b.280 (olim 1610.1) and the
Cambridge University Digital Library's MS Dd.2.11.
Fantasía by Alonso Mudarra
Fantasía que contrahace la harpa en la manera de Luduvico is a work composed by Alonso Mudarra for the vihuela
that was published in 1546. It is often referred to
as Fantasía X or Fantasía
10 because it is the tenth fantasy in the table of
contents of Tres libros de música en cifras para vihuela.[1] As is the case with much
older music, the piece doesn't have a proper title. Instead, the
title describes the type of piece—a fantasy—along with
a description that may set it apart from other works of the same
type. I say may because multiple works
may use the same descriptive text. For example, in the table of
contents of Tres libros de música en cifras para vihuela there are two works listed
as Otra fantasía (Another
fantasy) and two more listed as Otra
fantasía fácil (Another easy
fantasy). Such works can be distinguished from each
other by their folio numbers or by assigning to each a number
based on their order of appearance compared to other works of the
same type.