Mario Castelnuovo-Tedesco: Capriccio Diabolico E Tarantella Within the Problem of the Philological Analysis of the Editions for Execution Purpose (en Inglés)
Reseña del libro "Mario Castelnuovo-Tedesco: Capriccio Diabolico E Tarantella Within the Problem of the Philological Analysis of the Editions for Execution Purpose (en Inglés)"
Over the years we have been used to seeing guitar works that immediately adapt perfectly to the instrument because, with the maturity it has achieved, composers no longer consider it as a situational and exotic nuance in their repertoire but, rather, an important element like woodwinds or strings.Andrés Segovia was still on the rise and, with him, the guitar and his repertoire. Among the composers who wrote for his hands we find: Heitor Villa-Lobos, Joaquin Rodrigo, Manuel Ponce, Alexandre Tasman, Joaquin Turina and finally Mario Castelnuovo-Tedesco who, for the guitar, wrote among the most beautiful pages of his music.But the times were still not very mature and there was not a deep awareness of the possibilities and the limits of an instrument so young, so the first sketch of the music written for guitar (even by these great composers that often were not guitarists) were difficult if not impossible to perform and, even graver, not idiomatic.In this regard, Segovia answered that almost unscrupulously, improvising himself as co-composer of the passages dedicated to him, eliminating what he did not like and adding his own, often to the detriment of the composer's voice and expressive intentions.This led to the other performers unconsciously playing the music in versions heavily revised by Segovia as they were the only ones to be made public, thus ignoring the most genuine ideas that the composers wanted to express in his music.Two pieces are an icon of this Segovia modus operandi: the Capriccio Diabolico (Omaggio a Paganini) and the Tarantella whose manuscripts have been exhumed recently by Angelo Gilardino: teacher, guitarist, composer and friend of Mario Castelnuovo-Tedesco.
