Classical guitar repertoire

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This article is a history of the classical guitar repertoire. For a longer list of compositions and composers who wrote for the classical guitar see List of composers for the classical guitar and List of compositions for guitar.

To a greater extent than most other instruments and ensembles, it is difficult to compose music for the guitar without either proficiency in the instrument or close collaboration with a guitarist. As a result, a large part of the guitar repertoire consists of works by guitarists who did not compose extensively for other instruments. Music prior to the classical era was often composed for performance on various combinations of instruments, and could be adapted by the performer to keyboard instruments, the lute, or the guitar. Since the beginning of the 20th century, however, a significant amount of music has been written for the guitar by non-guitarist composers.

Contents

[edit] Repertoire

[edit] Renaissance Era

See also: Renaissance art and Renaissance music

During the Renaissance, the guitar was likely to have been used as it frequently is today, to provide strummed accompaniment for a singer or a small group. There also were several significant music collections published during the sixteenth century of contrapuntal compositions approaching the complexity, sophistication and breadth of lute music from the same time period.

Main compositions and composers:

[edit] Baroque era

See also: Baroque and Baroque music

Baroque music describes an era and a set of styles of European classical music which were in widespread use between approximately 1600 to 1750 (see Dates of classical music eras for a discussion of the problems inherent in defining the beginning and end points). This era is said to begin in music after the Renaissance and to be followed by the Classical music era. The original meaning of "baroque" is "irregularly shaped pearl", a strikingly fitting characterization of the architecture and design of this period; later, the name came to be applied also to its music. It is associated with composers such as J.S. Bach, George Friedrich Händel, Antonio Vivaldi, and Claudio Monteverdi. During the period, music theory, diatonic tonality, and imitative counterpoint developed. More elaborate musical ornamentation, as well as changes in musical notation and advances in the way instruments were played also appeared. Baroque music would see an expansion in the size, range and complexity of performance.

Main compositions and composers for the baroque guitar:

[edit] Romantic era

The Romantic period (1820-1910) could be described as a backlash against the constrained, rigid musical forms of the classical period. Works were far more expressive, and music was thought to be intrinsically tied to other art forms. Program music was a very popular medium, and musical output was fueled by poetry, drama and painting. Innovations in harmonic vocabulary were also embraced, such as quartal harmony, while melodies were less constrained. Often melodies could move in leaps and bounds and cover a much larger range than classical melodies. The symphony orchestra also experienced further innovations in instrumentation and a general expansion. Concert grand pianos were also developed during this time period, allowing the piano to be heard amongst this huge orchestra. Finally, works were intimate and introspective in the romantic period, at least more so than during the classical period. Composers such as Chopin, Schubert, and others composed a number of smaller pieces, often evoking a specific character or mood, or giving the impression that the work was composed because the composer simply "felt like it" at the time.

The pianoforte was generally the rave instrument and many fine piano pieces translate well to the guitar.

Main composers of the early romatic era:

[edit] The Golden Age

The first 'Golden Age' of the classical guitar repertoire was the 19th century. Some notable guitar composers from this period are:

[edit] Modern era

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Some genres of modern music include atonal music, which rejects the tonal system of nearly all other musical styles, as well as aleatoric, which rejects the absolutism of the composer and allows the player to take an active role in how the piece is played. For example, in Leo Brouwer's Etude No. 20, he supplies a series of melodies that increase in length, and he invites the player to play each section of the melody as many times as he or she chooses. Regional styles are also prevalent in modern guitar music, such as the music of Latin America, where unique harmonies and fresh material can be found.

[edit] Guitarist-composers of the 20th century

[edit] Composers for the classical guitar

In the 20th century, many non-guitarist composers wrote for the instrument, which previously only players of the instrument had done. For a larger list of composers who have written for the solo guitar, see the list of composers for the classical guitar. Some of the more well-known are:

[edit] Contemporary classical guitar

See also: Selected contemporary repertoire for guitar
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Main compositions and composers:

[edit] Solo

[edit] Concertos

[edit] New perspectives for the classical guitar repertoire

Music for guitar in the 21st century.

[edit] Transcriptions

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[edit] Guitarists for whom many pieces have been composed

[edit] Reviewed compositions for guitar

See main article Reviewed compositions for guitar

[edit] References

  • Noad, Fredrick. "The Renaissance Guitar," "The Classical Guitar," "The Romantic Guitar". Compilations of notable repertoire for each era in standard musical notation.

[edit] External links

Free music scores

Midi

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