SKU: DZ.DZ-4319

ISBN 9782898522369.

The Suite for guitar aims to blend tradition and modernity through the use of a language with a neobaroque imprint.
The canonical utilization of the fixed dances of the Suite (Allemande, Courante, Sarabande and Gigue preceded by an introductory Prelude) serves as a clear reference to the corresponding Baroque model characterized by alternation between slow and fast movements.
The style, on the other hand, appears to be moderately dissonant, yet still focused on a well-defined tonal framework. A personal use of both dissonances and modulations is intended to enhance the auditory experience while maintaining a strong connection to a specific tonal center (E), which serves as a stable reference point in the organization of the musical material.

La Suite pour guitare vise à mêler tradition et modernité à travers l’utilisation d’un langage à l’empreinte néobaroque.
L’utilisation canonique des « danses fixes » de la Suite (Allemande, Courante, Sarabande et Gigue précédées d’un Prélude introductif) sert de référence claire au modèle baroque correspondant caractérisé par une alternance entre mouvements lents et rapides.
Le style, en revanche, semble modérément dissonant, tout en restant centré sur une structure tonale bien définie. Une utilisation personnelle des dissonances et des modulations vise à améliorer l’expérience auditive tout en maintenant une forte connexion à un centre tonal spécifique (E), qui sert de point de référence stable dans l’organisation du matériau musical.

SKU: HL.14011053

UPC: 884088433604. 7.75x11.0x0.43 inches.

Purcell Society Volume 31. Full Score.

SKU: IS.G6763EM

ISBN 9790365067633.

This sonata (WeissSW No. 25, Dresden) is one of a new series of eight sonatas by Silvius Leopold Weiss arranged for the first time for guitar and published by Metropolis Music. Sonata XXIX comes from a set of tablature manuscript volumes in the Sächsisches Landesbibliothek in Dresden (Ms. Mus. 2841-â?V-â?1). There are five volumes with a total of 34 sonatas of Weiss for solo lute. The sonatas are ordered by key and further sorted by size or complexity. Sonata XXIX comes from Weissâ??s middle â??productiveâ?? period, around 1720. The Sonata has seven movements: Prelude, Allemande (andante), Passepied, Bourée, Sarabande, Menuet, and it ends with a Gigue. There is another copy of this Sonata, known as Suite XIX, in a London Manuscript (British Library Ms. Add. 30387). The London version does not include a Prelude, and the Sarabande is completely different. The other movements are similar to those in the Dresden Manuscript. The Sonata in this Edition is based on the Dresden Manuscript. The purpose of beginning a lute sonata with a Prelude is to introduce the specific key and the harmonic design of the sonata. However, not every sonata in the Dresden and London manuscripts has a Prelude. About one third of the 34 Dresden Sonatas opens with a Prelude, but only six of them may be considered truly integral to the sonata. The other preludes are composed in a rather â??rudimentaryâ?? style, as a model for the less experienced lute player to improvise on the central key and theme. The Prelude in this particular Sonata cannot be regarded as integral. It has been added later, either by the compiler of the volumes or perhaps by Weiss himself. Originally, the Sonata is written in G minor, a key not often used by Weiss, but considered appropriate for playing the lute. With the guitar, however, the key is rather awkward. For ease and effectiveness of playing, I have transposed the Sonata a minor third lower to E minor. To create more concordance with the baroque tuning of the lute, the G string is lowered by a semitone to F sharp. I suggest using a capodastro to achieve the original pitch. Based on the present standard of A at 440 Hertz, the capo should be placed at the 3rd fret. However, during Weissâ??s lifetime, it was more common in many parts of Germany to use a standard of A at 415 Hertz -â? a semitone lower. So, to hear the pitch heard by Weiss and his contemporaries, the capo should then be positioned at the 2nd fret.