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Classical Guitar MIDI Library
last update - April 7, 2005
Limitations of Use:
All MIDI files are offered free of charge, but may not be posted on any other pages without the author's permission.
J.K. Mertz
(b. Pressburg 1806 - 1856)
Terzetten / für Violine (oder Flöte), Viola und Guitarre. / MODERNE, VORZÜGLICH BELIEBTE TONSTÜCKE / zur geselligen Unterhaltung. / 1. Divertissement über Motive der Oper: Der Prophet (Meyerbeer) von J.K. Mertz, Op.32
MIDI / MP3 (Flute, Guitar, Viola) [rough version]
Ivan Padovec (Johann Padowetz)
(b. Varazdin 1800 - 1873)
Variationen für ein Guitarre / componirt von / Joh. Padowetz (manuscript)
MIDI / MP3
Introduction und Variationen / über ein Original Thema / für ein / Guitarre / componirt / von / Johann Padowetz (manuscript)
MIDI / MP3
Poutpori / für die / Guitarre / über beliebte Motive aus verscheidenen / Opern / componirt / von / Johann Padovetz (manuscript)
MIDI / MP3
Phantasie / über Steyerische national Tänze für die Guitarre componirt / von Johann Padovetz (manuscript)
MIDI / MP3
Jose Marie de Ciebra
(b. Seville ? - d. ?)
One of the most unique aspects of Ciebra's guitar technique were the effects he created with his exceptionally long right hand fingernails. The Russian guitar enthusiast, landowner and lexicographer Nikolai Petrovich Makaroff (1810-1890) had some very interesting opinions on Ciebra as related in his Memoirs. The current selection is from Bone, but translations appeared in Guitar and Soundboard as well. "A Spanish guitarist named Ciebra was born in Seville but had lived in London and Paris for the past twenty years. Abroad, he had written a large opera which had proved a failure when produced. As a composer he proved to be very mediocre. It was true his music had originality and was quite different from anything written by Giuliani or Mertz. It was also true that the pieces were very melodious and sweet, more so when himself played them. Their main defect was an overall monotony in general and in details. The style was poor, and suitable only for dancing. The harmony was thin and pale, the tonality impossibly boring, the key never rising above two or three sharps. However, for the sake of a varied repertoire, which should include samples of different styles and manners, I learned two of his compositions. I enjoyed playing these; almost without exception, everyone, especially the ladies, liked them. I shall never forget the real furore [sic] they aroused when I played them on the boat during my trip abroad in 1875. Now I would like to say a few more words about Ciebra as a performer on the guitar. This was something which was most unusual and remarkable. As is the custom with almost all Spanish guitarists, he had grown very long nails on his right hand, which he held in an oblique position while playing, not perpendicularly, as guitarists usually do. Moreover, he did not actually strike the strings with the nail, but simply pressed it on the string, slipping off from the string on to the guitar. In this manner he was able to somehow draw remarkably tender, deep melodious sounds from the instrument, the equal of which I have never before heard from anyone - not even from the great Zani de Ferranti, who was known for the softness of his playing. The vibrato, when performed by Ciebra, was really divine - his guitar actually sobbed, wailed and sighed. Ciebra only showed these remarkable qualities in slow tempos as in largo, adagio or andante. The moment he had to play allegro or presto, the reverse side of the medal became evident. Then it became impossible to slip from the string to the guitar; instead it became necessary to strike the strings. This caused a disagreeable metallic sound, quite contrary to the velvety tones of his wonderful adagios. In a word Ciebra's performance could give his listeners the greatest delight for a few days, but not over any extended length of time since both his manner and his compositions became tiresome. When I returned home from Bruxelles, the news reached me that Ciebra had given a concert in one of Bruxelles' music halls but had not had much success, in spite of a large audience. I was sincerely sorry to hear that, since I consider him one of the most talented guitarists of his time." 1
Diabelli was known more for his publishing than his guitar music, but many of his compositions for the guitar as a solo instrument and in an ensemble are very distinctive, albeit a bit typical of the genre at the time. In 1818 he began his first publishing venture with Peter Cappi as his partner and in 1824 bought out Cappi to become owner of Diabelli and Company. By the time he sold his copyrights and business he had published over 25,000 works.1
A.T. Huerta (Trinity Francis Huerta y Caturla)2
(b. Valencia 1804 - d. Paris 1875)1
Huerta often referred to himself as 'The Paganini of the Guitar' and would shout "Je suis le Paganini de la guitare" during performances. 2 In route to a performance he was persuaded into accompanying some business men to America and after performances in the United States he traveled to Martinique and Cuba. While in Cuba his life savings were stolen by an artist acquaintance and, to add to the misfortune, lost his singing voice. This made it necessary to devote more energy to his guitar studies. He forced himself to study more seriously by shaving his head, eyebrows and half of his beard until he felt he was unequaled on the guitar. He returned to Europe and lived in London until about 1830. During that time he married one of his students, Angiolina Panormo, who was one of the daughters of the guitar maker Louis Panormo. She was a composer as well and had several songs with guitar accompaniment published. 1
Un Mosquito que Queda, Op. 1130 Variazioni (Tema di Paganini), Op. 70
Opus 70 won the international guitar composition contest of the Italian Guitarists Association (A.C.I.) held in 1954, as a result of which it was published by Berben.
Morishige Takei
(b. Totori, Japan 1890 - d. Tokyo 1947)
More information about Morishige Takei is available here.
In 1854 previous to his departure from Brussels Zani de Ferranti held farewell concerts. At that time this article appeared in the Brussels magazine Echo (as quoted in Bone): "Very frequently we have to complain of the deluge of concerts showered upon us regularly in Brussels, from the beginning of Lent until after Easter. Fortunately, we have occasionally some sweet compensation. We could now cite several, but for today we will confine ourselves to the farewell concert of Zani de Ferranti, professor at the Royal Conservatoire and first guitarist to the King. We have heard this very distinguished artist many times, and upon every occasion his playing was so brilliant and so varied that he revealed to us some new wonder quite unexpected. What Paganini is on the violin, Thalberg on the piano, Servais on the 'cello, Godefried on the harp, Ferranti is on the guitar. He is a discoverer. He has done in excess beyond his celebrated rivals in vanquishing the difficulties, which a helpless instrument in the hands of others offers - but in his hands the guitar is no more the instrument you know - it becomes possessed of a voice and a soul. Ferranti has found new effects, harmonious traits of extraordinary wealth and power. Add to all the secrets of his technique, a clearness, a broadness and admirable equality of tone, add the rapidity, the vigour, the neatness of fingering, and far above all, the inspiration, the rapture, the almost supernatural in the person, which evidences the true artist, and you will have but faint idea of the talent of Ferranti. Before you heard him, you could not imagine that the guitar was capable of such effects - the vigour, and at the same time the subtle fineness, the sweetness in the effects of mezzotint, in ethereal vaporous gradations of tone. The pieces which he composes are charming, and if Ferranti was not a virtuoso of the first rank he would shine among the composers. Is it necessary for us to remark that the success of the artist has been immense?"
REFERENCES
- Bone, Philip J. The Guitar and Mandolin, Biographies of Celebrated Players and Composers. London: Schott & Co. Ltd., 1972.
- Button, Stewart. The Guitar in England 1800-1924. New York: Garland Publishing, Inc., 1989.
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