Ein "barockes" Werk von Manuel Ponce, fur Andres Segovia geschrieben. In Segovias Repertoire tauchte das Stuck allerdings immer unter dem Namen des Lautenkomponisten Silvius Leopold Weiss auf. Die Erstausgabe rekonstruiert die ursprungliche Fassung fur Gitarre solo.

ISBN 9781513459691. 8.75x11.75 inches.

Silvius Leopold Weiss (1687 1750) is known to guitarists as the greatest baroque composer for the lute, yet most are only familiar with the earlier portion of Weisss prolific output found in the British Library in London. Inspired by a forty-year friendship with the late Douglas Alton Smith - a major figure in the scholarly study of the history of the lute - guitarist, composer, and head of the guitar program at Temple University in Philadelphia, Allen Krantz explored the Weiss manuscripts found in other European cities, particularly the Dresden editions which contain the fifteen sonatas that Weiss produced from the late 1730s to the end of his life. Transcriptions of three of those fifteen late sonatas are featured in this book in modern standard notation along with the original lute tablature as found in the Sachsische Landesbibliothek - Staats- und Universitatsbibliothek, Dresden. While the baroque lutes tuning makes some works awkward or impossible on the guitar, the three works presented hereSonatas No. 35 in D minor, No. 42 in A minor and No. 45 in A Major are in their original keys which happen to be guitar-friendly. The authors generous and scholarly Preface provides thorough historical and performance notes for the music in this volume. While just three of Weisss 109 multi-movement lute sonatas are represented here, the importance of this publication cannot be overstated. It contains some of the greatest music of a masterful lutenist Weiss once faced-off with J. S. Bach on keyboards in a counterpoint improvisation contestnow made accessible to the modern classical guitarist.

German - English.

Silvius Leopold Weiss (1686-1750) is considered to be the most important lutenist of the Baroque. His works captivate the lute through their elegance and sublimity. The present work was originally in F minor. It is one of the few works of Weiss which when played on the guitar, retains its ease of playing and sound characteristics without having to resort to scordatura. Musically appealing and technically not too demanding, this work makes a most valuable addition to the guitar repertoire.