Dear members of the list, what I often wondered is that the stilistic changes round 1800 leading to the Viennes Classic did not inicate an absolute new concept of the performance on the guitar.
Some examples: Of course: the guitar developed the single stringing, double courses got out of fashion - though were in use in Spain for a long time. But what happened to the use of glissando, portamento? The general application of the guitar shows us, that Molitor or even Sor did apply fingering concepts similar to the lute (sometimes to the baroque guitar). From my point of view, this is shown in the use of fingerings perpendicular to the strings in contrary to the romantic style of Aguado and more Mertz using portamentostyle along the string - a manner most of the performers today may find appropiate to the Tarrega-generation. May be that the new style of cantabile (see Beethovens statement on Mozarts staccato or the tutors of Clementi) was the motivation to handle the guitar in a new, more expressive manner around 1840. The situation of the harp was similar to the situation of the guitar - both described as a decline around 1840 in Vienna. Beethoven states that cantabile-style inicated the differeniation between harp and piano music (many publications from the early classical period were altern. for harp or piano. The piano devoloped the legatostyle as well as the dynamical capabilities in a higher grade than the guitar or the harp). Is the decline a result of the stilistical changes during the Beethoven period? Regards, Michael Sieberichs-Nau ________ Michael Sieberichs-Nau Michel-Felder-Str. 10 A-6973 Höchst +43 / (0) 55 78 / 74295 [EMAIL PROTECTED] [EMAIL PROTECTED] http://sieberichsnau.at.tf http://evsn.gmxhome.de http://members.aon.at/gitarrennoten -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
