FESTE LARIANE GUITAR PDF

Learn & play tab for rhythm guitar with free online tab player, speed control and loop. Download Feste Lariane guitar pro tab Instruments: rhythm guitar. Feste Lariane by Luigi Mozzani (). Mozzani guitarist Louis was a great performer, teacher, composer and instrument maker. He was. Find composition details, parts / movement information and albums that contain performances of Feste lariane, air with variations on AllMusic.

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This is an updated version of my article with the same title published in Gendai GuitarNo.

The main argument in my article was that Mozzani plagiarized a piece published festd by Luis T. In the course of updating this article, I have added to it a great deal of new information, some of it unearthed by myself, some of it supplied guitae me by Charles Duncan and Peter Danner. T his article deals with the question of plagiarism in guitar literature. In the early part of the nineteenth century, authorship of tunes was rarely mentioned in publications of guitar arrangements of these tunes.

When a tune has not survived the ravages of time, quite often the feshe is taken by scholars to be the original composition. The problem we are dealing with in the present article is different in nature. Late nineteenth century guitarists, quite often, took the work of others, changed it a little bit, and published the result as their own composition. Let me tell you a story. I learned to play the guitar some forty five years ago from Mrs. Esther Bromberger, the leading guitar teacher in Tel-Aviv at the time.

Bromberger was a student and disciple of Luigi Mozzani, the teacher of such festd notables as Mario Macafferi, Maria Rita Brondi and many others. Luigi Mozzani was one of the leading guitarists in Italy during lariame latter part of the nineteenth century and the early part of the 20th.

Feste lariane, air with variations for guitar

After running me through the early Carulli-Carcassi preliminaries, Mrs. As in other guitaristic get-togethers, a guitar was soon produced and passed around the room. My success, as Makaroff used to describe his own playing Note 4was tremendous! When the wild applause died down, grant me license in a bit of exaggeration!

That is not so. The tune is called Peruvian Air and it is not by Mozzani. A long discussion ensued. I argued, but he insisted that I was wrong, and the matter was never settled. Deep down in my heart, I knew that I was right and that he was wrong.

My teacher told me that the piece was by Mozzani and teachers always tell the truth. What I did not know then, is that Papas had published the very same piece, with the title Peruvian Air, arranged by himself. Several years later, I chanced upon a copy of the Carcassi method, an American edition published in Boston by Oliver Ditson and edited by one G.

Feste lariane, air with variations… | Details | AllMusic

Much to my surprise, I found there a work titled Peruvian Air, arranged for two guitars by Santisteban. The first guitar part, was practically identical with my cherished Feste Lariane. I said to myself, arranged from what? From the Mozzani original, of course! There was one little problem though.

My teacher told me that Mozzani earned with Feste Lariane the first prize in a competition organized by the Milano based magazine il Plettro inand my copy of the Carcassi-Santisteban bore the copyright date of larian It seemed to me then, that because the same piece was published on both sides of the Atlantic in the same year, the question of rightful authorship cannot be determined with any accuracy.

Mozzani, Luigi – Feste Lariane

Basically, I learnt to do in my work what is now a popular political slogan: Some of the questions I ask are contained in the title of this article. I found out on several occasions that teachers sometimes do not tell the truth, that very often they are entirely ignorant, and that other authorities, such as some very famous concert guitarists, do not hesitate to dispense the most outrageous fibs from the pulpit of their concert stage.

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I also found fetse that Feste Lariane was not composed by Luigi Mozzani but by ,ariane else. As a composer Mozzani is not very prolific and as to quality, his main work [obra capital] is Feste Guitqr, an air with variations which was latiane in the First Competition organized by the review il Plettro of Milano, and published in its issue No.

It is made up of two sections of eight bars each, which determines one part. The one marked as op. The first part is as we described above, and the second part, the only variation, develops in an arpeggio of a reduced tremolo, a bass and two notes.

The work in question was published in Buenos Aires inand yuitar of Mozzani, we repeat, was published in Note 6 The plot thickens! According to Romolo Ferrari, Luigi Mozzani went to America at the inducement of a dishonest concert promoter who festee him as an oboe player, but soon left him to fend for himself. He supported himself as a guitar teacher and as player in a banjo trio.

With the worsening of economic conditions in the States at the onset of the Spanish-American War in Mozzani decided to return to Italy. Ferrari states that Mozzani stayed in America for a little over two years, which means that he came there sometime in This catalogue is printed on the back cover of several guitar works published by this California publishing house and bear copyright dates of through Schlam, New York, with a copyright date of Note 9 As was gutar at the time, the work was issued simultaneously for mandolin solo, mandolin and guitar, mandolin and piano, mandolin guitar and piano, guiitar mandolins, 2 mandolins and guitar, 2 mandolins and piano and, believe it or not, 2 mandolins, guitar and piano which is the version I happen to own.

The cover even contains a photograph of our composer. Sancho also published several mandolin and guitar pieces with the Boston publisher Jean White. Guitr have his Serenata Espanola. La Sevillana for 2 larkane and guitar, with a copyright date of During the nineteenth century it was not common for a publisher to issue works of a composer who resides in a different continent, unless the composer was a personality with universal reputation. Once Zani de Ferranti left the United States and went back to Europe, there were no more American editions of his music.

Thus, the majority of guitarists whose work was published in Pariane, were either local born, or immigrants who established themselves on a permanent basis. Note 11 The Estudiantina Figaro was formed in Note 12 It toured widely in Spain and Gutar, and according to P.

Bone, also toured South America and the U. On its dissolution, Sancho made his way to Buenos Aires, Note 13 where, as we already were told by Prat, he published forty pieces of guitar music.

Prat also reports that 15 compositions by Sancho were issued by the Parisian publisher Jacques Pisa who was active in the French capital ugitar to I rather doubt he also published Sancho. In aboutJacques Pisa, like many other guitar publishers and individual guitarists active then, donated many of his publications to the library of the Internationaler Guitarristen Verband, also known as the Internationaler Gitarristische Vereinigung. The catalogue of that organization, see note 15 below, does not contain any works by Sancho.

Most probably Prat confused Pisa with another Parisian publisher who did in fact issue 12 not 15 pieces by Sancho. That is a question which would need further research to be answered properly.

They may have even huitar in France at about fesfe same time, dealing with some of the same publishers. Did they know each other? Was there any possibility the one would have access to a composition by the other? But so far, I have not found any evidence to establish that. Peter Danner, a leading authority on the guitar in America, forwarded recently a reference from Cadenza magazine, Dec.

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From an article by J. Luigi Mozzani, who is also well known through the country. It was certainly a pleasure for me to hear him play the guitar, as he has improved at least a hundred per cent, since I last heard him in New York a few years ago. This someone else could have been a Spanish born guitarist named Luis T.

Here is this composition, currently in my private collection, and also in the Vahdah Olcott-Bickfrod Collection at the California State University at Northridge: The lariand variation and the use of a three finger tremolo by Mozzani instead of the larian two-finger variety, is akin to re-writes of chord studies by Carcassi and Carulli in different arpeggio patterns and examples of this are too numerous in the literature.

Every teacher prescribed such variations at one time or another to his or her students. It is noteworthy that Romero did NOT claim authorship and clearly stated that his version is an arrangement. One also notes that during his stay in Paris in the early years of the century, Luigi Mozzani donated some works to the library of the Internationaler Guitarristen Verband in Munich.

The catalogue of that organization, published in in Der Guitarrefreund, does not contain Feste Lariane in the list of publications received from Mozzani. In other words, we have no choice but to conclude that there is no way Luigi Mozzani could have been the original composer of the piece called by him Feste Lariane.

It still remains festee be established whether the original composer was Romero or Sancho, or perhaps someone else altogether. The tune itself may well be a popular Spanish melody or a Peruvian Air I wish Romero had made up his mind one way or the other!

A short time after the publication guitad this article inI received an ugitar from Charles Duncan, asking me if I knew more details, over and above those I mentioned in the article.

The reason for his inquiry was that he planned reste include the piece in one of his many anthologies and he was not quite sure who the original author was. His source was an early twentieth century German publication, edited by Erwin Schwartz-Reiflingen where the piece was attributed to Sancho.

Obviously, Duncan knew about the piece some details of which I was ignorant. He even knew what was the meaning of the title Peruvian Air. This is what he wrote me then, published here with his permission: Whoever wrote it grew up on Schubert, Feate, Mendelssohn, etc. By the s, a reaction set in lzriane the harmful effects of the drug became more widely perceived, and by the ls it was off the market.

The source of much, if not most, of the cocaine imported was Peru. By extension, Peru took on guitr a time in the popular imagination an exotic aura. Ladiane, for all to see, are the labels, the decorated bottles, the quaint advertisements, that proclaim time and again the Peruvian mystique. Having misplaced the letter in my files, I asked Peter if he still recalled the essence of it. This is what he sent me by E-Mail, reproduced here with his permission: The Romero and Papas are practically identical.

Papas does not credit Romero. Sometime in the mids, when I was putting that American anthology together, I attended a meeting of the American Guitar Society on the Northridge campus.