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Thematic Table of Contents Fee ie, gate igo dda fT" Qoee TRY s aa r r T ap eres page 10 Allegretto con moto PR EE gs Adagio cantobilr page 14 Larghetto ; pH) J v Allegretto page 17 ror Y wo 5 ror fF Etude N" 10 Allegretto moderato ra Reyer = = bea ia 20 rae On the provenance of the Ten Etudes by Giulio Regondi — III. The plot thickens. According to legend, Giulio Regondi presented some of his music to Marek Sokolovski during their meeting in London in 1865, The Ten Etudes may have been part of this gift. We now know that this meeting did in fact take place. On une 16, 1865, an announcement of a joint con- cert of Sokolovski and Regondi was published in the London Times. The concert was reviewed in The Orchestra, N° gi, June 24, 1865, ‘The legends concerning the putative gift of music made by Regondi to Sokolovski, repeated by writers such as Valerian Rusanoy, Fritz Buek and Vladimir, Mashkevich,} may have contained a small kernel of truth in them, but they did not adequately explain how these Ten Etudes came to Russia. The fact that 1, See: Giulio Regondl, Ten Etudes for guitar, a Critical Edition by Matanva Oohee, Editions Orohée, Inc... Columbus: PWYS- Marek Sokolovski performed some of these Etudes, until about 1872, would support the notion that indeed it was a copy of the Tin Etudes, given to him, by Regondi in 1865, that served as the source for the several copies of this music which circulated among Russian guitarists, The fate of Sokolovski’s original copy, which may or may not have been a Regondi autograph, is not known today. The Klinger manu- script was inherited by Yuli Mikhailovich Shtokman, (1837-1905) who published Eudes N° 3 and N°4in 1.904 and 1.905; respectively in the periodic public: tion of guitar music by the Freie Vewinigung zur Firderung guter Guitarrenusik in Augsburg. A sepa- rate manuscript of Etude N° J, perhaps copied by Shtokman, found its way to several people at the time? With the exception of Yadviga Kovalevskaya who published Etude N° 9in a Soviet anthology of guitar etudes in 1973, all the Russian-Soviet guitarists who came in contact with this music, — Fiodor Dmitriev, Piotr Isakoy, Sleptsoy, Vladislav Musatoy, Alexander Ivanoy-Kramskoi and his daughter Natalia Ivanova Kramskaya, and who knows how many others —had never made an effort to bring this important set of Etudes to the attention of world’s guitarists, Anew light on the origin of this music was unray eled recently with the discovery by Stefan Hackl of two volumes of manuscripts in the nachlass of the late Karl Scheit, now preserved at the Universitit fiir Musik und Darstellende Kunstin Vienna. The first vol- ume has this label on the binding Rea ate Ss Jann Mme. Sidney Pratten (Catherina Josepha Pelzer, (1821-1895), a well known guitarist and guitar teacher in England was on stage with the young Regondi in her youth. Josiah Andrew Hudleston (1799-1865) was among the most_ interesting figures of the nineteenth century British guitar world. es) The second volume contains copies of pieces by Sor, Carcassi, Giuliani, Aguado, de Fossa, Zani de Ferranti, Bobrowicz, Eulenstein, Huerta, Ciebra, Sassmann, Padowetz, L. Moretti and Regondi. The Regondi selections include: Eight studies for the G tar by Giulio Regondi, dedicated to J. A. Hudleston, 18 the Reverie, the Féte Villageoise and finally two unknown pieces by Regondi: Solo on Don Giovanni partly from Thalberg’s piece and Air varié de Vopera di Bellini “I Montecchi ¢ Capuletti” (sic) 5 » the rer and 2me Air vari The music seems to have been copied sometimes 77 (the paper on which this manu- between 1854-5 3. Frank Mott Harrison; Reminiscences of Madame Sidney Praten Guitarisee and Compose, Bornemouth 1899, 4. For further information on Hudleston, visit this site hep: /sewwhucdleston-music.co.uk 5, For further information on the Hudleston-Scheit collection of manuscripts, see: Giulio Regondi, Air sanif de pera di Bellini “I Capuleti ¢ i Montecchi”, Edited by Stefan Hackl, Editions Orphée, Inc., Columbus: 2007, Lam indebted to Dr: Hackl for providing this information, and to Gerhard Penn for making a script was copied is watermarked 1854) although it is not known when exactly it was composed. It should be noted that the attribution to Regondi, as, well as the allusion to a dedication of the Etudes to the copyist, are not, in and of themselves, primary evidence for either. At the same time, the fact that the manuscript also contains 4 of the 5 Regondi works which were published in 1864, the rerand 2me Air variée, the Reverie and the Fite Villageoise, would lend a great deal of credence to the assertions made by Huddleston. The two volumes remained in the possession of Madame Sidney Pratten and it is not known to meif'she ever did anything with this music, or even mentioned its exi times after her death, the volumes were sold, pre- sumably by an antiquarian dealer, to Karl Scheit. It is not known when exactly Scheit had acquired the volumes. Once again, it is also not known if during the time he possessed this music, Karl Scheit did any- thing with it or mentioned its existence to anyone ‘nce to anyone. Some- The importance of the Hudleston manuscript is, that it establishes the existence of eight of the Etudes, several years before the meeting between Regondi and Sokolovski, It stands to reason that in the intervening years, Giulio Regondi_ not only added two more etudes to the set, but also edited, amended and greatly improved the music, particu- larly in its aspects of harmony and voice leading. In my judgment, the Hudleston isan earlierversion, an initial sketch if you will, not quite ready for public consumption, which the composer improved by the time he presented this music to Sokolovski For this reason, as in our 1995 edition, the main sources for the current edition are the two manu- scripts that I found in Russia, the Klinger manu- script from ca. 1882, and the one copied by Yadviga Kovalevskaya in 1939. As T always suspected, there must have been other copies of the Ten Etudes circulating among Russian guitarists. One such manuscript which recently came to light was presented as an official gift to Andrés Segovia during his 1926 tour of the Soviet Union by Dr. Viktor Nikolaevich Finné (1875- .1930), secretary of the Leningrad Guitar Society. Th 195/1V 26 A monsieur A. Segovia / souvenir de Leningrad / Ap B. ®unne ¢ dedication, reproduced above, says: The orthography used, in both the format of the date (April 5, 1926), the text of the title, and in the Society’ rubber stamp, was the one currentin Russia before 1918, that is when the city was not yet renamed as Leningrad, but known in it’s tran tional name Petrograd. The manuscript itself, exe- cuted in an immaculate calligraphy, most certainly by a professional copyist, is almost identical to the Kovalevskaya manuscript, indicating that it was cop- ied from the same source as the one used by her. The Finné manuscript is now preserved in the Segovia Archives in Linares.6 As far as I know, Segovia never did anything with this music, or even mentioned its existence to any one. A fourth manuscript of the Ten Etudes that Ihave seen, was a copy made by Vladislav Mikhailovich Musatov (1903-1991). It was shown to me by his daughter Svetlana Usaliova in Moscow in 1997. Itis, now reputed to be in the M.I. Glinka Museum of Musical Arts in Moscow. I was not able to inspect this manuscriptin detail when I sawit, but [would not be much surprised if it happens to be another copy of the same basic “Russian” Regondi text. That these Ten Etudesactually came to light in full and are now an integral part of the guitar’s concert repertoire, is not so much the result of my search for them, but for theirsearch for me . Revision and editorial procedure: 1. I corrected several misprints reported by users,? andalso some discovered by me during a minute examination of the edition and its sources. 2. Thave now reached the conclusion that in son cases that Klinger made corrections and alter- ations to the etudes, he was right, while Kova 6. Tam indebted to Maestro Angelo Gilardino, the director of the Segovia Foundation, for providing me with a copy of the Finné Segovia manuscript. 7. My gratitude to Stanley Yates, Erik Stenstadvold and Stephen, Kenyon for taking the time to point out errors in the 1995 edi- levskaya must have copied a faulty source. I adjusted the text accordingly. In this edition, I left the harmony layout exactly as it is in the Klinger Ms. At the same time, I updated the notation of the several voices to refl- ect a more realistic separation and actual dura- tions, and also reduce the clutter whenever possible. ‘The Hudleston Ms, helped me to understand one serious error made by the Russian copyists. When preparing the 1995 edition for publica tion, Isensed a few spots in which the melody did not make sense, and so did a few other observ- ers, but not having any way of resolving these, and wishing to make a “critical” edition based on specific sources, I left them unmodified. The ‘one melodic error, copied by the Russian sources without modification, is found in Etude N° 2, measure 4g. The first note, indicated as an £¥° by all Russians copyists, is shown as an a by Hudleston. Considering the general melodic contour of the preceding and subsequent phrases, I believe now that this is what was intended by the composer. Another insight pro- vided by the Hudleston manuscript is in mea- sure 53 of the same etude. As noted in the 1995 Textual Notes, the c# grace note was crossed out by Klinger and replaced with a g#. In the context of a six-string guitar this made better sense, as the stretch from the bass G# to c# seemed exces- sive. Several of the Regondi pieces in the Hudleston volumes, particularly the Solo on Don Giovanni partly from Thalberg’s piece, were clearly intended to be played on an Sstring guitar. Hence, if the Etudes were also intended to be played on an 8string guitar, in all likelihood the bass note G¢ would have been played here as an open string, sounding for the full duration of the measure. Therefore, the c# grace note was restored here. T abandoned the distinction made in the 1995 edition between Klinger's fingering, the “origi- nal,” and my own editorial fingering. The cur- rent edition makes no such distinction. At the same time, I provided a generous amount of additional fingering. Matanya Ophee Etude N° 1 Revised and edited by Matanya Ophee Giulio Regondi ae hi (1822-1572) im Copyright © 2008 Editions Orphée, Inc., Columbus, OH, 43235, PWYS-17RE International Copyright Secured. Made in U.S.A. All Rights Reserved. — yy SS es ies rr ee = a a PWYSI7RE Etude N° 2 Revised and edited by Matanya Ophee Giulio Regondi (1822-1872) ") Hinge bareé wth se of Copyright © 2008 Editions Orphée, Inc., Columbus, OH, 43235 International Copyright Secured. Made in U.S.A. All Rights Reserved. PWYS17RE PWYS-17RE 10 Revised and edited by Matanya Ophee Giulio Regondi Allegro con moto (1822-1872) Copyright © 2008 Editions Orphée, Inc., Columbus, OH, 43235 PWYS.17RE International Copyright Secured. Made in U.S.A. All Rights Reserved. ul k x "il iy — 7 PWYS-17RE 13 Ble a7 [a tempo} —_ tJ ses eS: a pe i Ft 4 r Pp RE PRT ET a Etude N° 4 Giulio Regondi Revised and edited by Matanya Ophee as: ) Copyright © 2008 Editions Orphée, Inc., Columbus, OH, 4323 Int pyri r 48235 PWYS:17RE ight Secured, Mac I Rights Reserved, J— 5 AiG = = oe eee * ee pa 4i—4i Som = Ste Feet 7 = r 7 os ae Dal segno al Fin PWYS:17RE 17 Revised and edited by Matanya Ophee Allegretto me TJ@ Giulio Regondi (1822-1872) fi ——-—? 4 I ll “4 Copyright © 2008 Editions Orphée, Inc., Columbus, OH, 43235 International Copyright Secured. Made in U.S.A. All Rights Reserved. PWYS:17RE Etude N° 6 Revised and edited by Matanya Ophee Andante Giulio Regondi (1822-1872) ai Copyright © 2008 Editions Orphée, Inc., Columbus, OH, 43235 International Copyright Secured. Made in U.S.A. All Rights Reserved. PWYS17RE " dedi ine pe pete = 9 Eg ree TERR TF TT PWYS:17RE FF rR Ep dss o 2 4a: a8 zee eS Pie ers oF Dal segno al Fine PWYSI7RE 22 Etude N° 7 Revised and edited by Matanya Ophee Giulio Regondi Allegretto (1822-1872) Copyright © 2008 Editions Orphée, Inc., Columbus, OH, 43235 PWYS17RE International Copyright Secured. Made in U.S.A. All Rights Reserved. * Etude N° 8 Revised and edited by Matanya Ophee Giulio Regondi Allegretto con moto (1822-1872) ‘ben marcato la melodia eae x Th Pp Copyright © 2008 Editions Orphée, Inc., Columbus, OH, 43235 PWYS.17RE International Copyright Secured. Made in U.S.A. All Rights Reserved. PWYS.17RE PWYS.17RE 28 Etude N° g Giulio Regon Revised and edited by Matanya Ophee (2822-1872 Larghetto v ad = = SSeS = Up ty vie ely r PWYS-17RE International Copyright Secured. Made in U.S.A. All Rights Reserved. 29 Etude N° 10 Revised and edited by Matanya Ophee Giulio Regondi Allegretto moderato (1822-1872) ice as Solumbus, OH, 43235 Copyright © 2008 Editions Orphée, Inc. S.A. All Rights Reserved. PWYS-17RE International Copyright Secured. Made in lise. » ee ee = oi PWYS-17RE PWYS17RE “aged iy Matas Opi S nce they first came to light in 1987, the Ten Etudes by Giulio Regondi have become an integral part of the guitar's repertoire all over the world. They have been performed and recorded numerous times by several important guitarists and served as required pieces in international competitions. Their undisputed value was and still is, not only their unique artistic excellence as paragons of a compositional inspiration seldom seen in guitar music of the nineteenth century, but also their function as didactic material in many teaching pro grams, both private and public. The story of how they came to our attention was described in detail in my articles on their provenance ir the 1990 first edition, edited by John Holmquist, and in the 1995 Critical edition edited by myself. Since then a couple of heretofore unknown manuscripts of these Etudes were discovered, the most remarkable of these was a manuscript of the first eight Etudes, copied by J.A. Hudleston in 1857, presumably dedicated tc Huddleston by Regondi, presented as a gift to Madame Sidney Pratten, and eventually acquired by the late Kar Scheit. That manuscript was found in his nachlass by Dr. Stefan Hackl. This manuscript is a preliminary ver sion of eight of the Ten Etudes, and it provides us with a unique view into the composer's developing idea: about these Etudes and a clearer comprehension of their biography: The other manuscript, this time of the complete set of Tén Etudes, was found by Angelo Gilardino, at the time the director the Segovia Foundation, in the Segovia Archives in Linares. That manuscript was presented to Segovia as a souvenir of his visit to Leningrad in 1926, by the secretary of the Leningrad Guitar Society, Dr Viktor Nikolaevich Finné. It turned out to be an almost exact duplicate of the Kovalevskaya Ms. and provided no new insights, beside the realization that this music was in the possession of Andrés Segovia since 1926. The present edition is a revision of the 1995 Critical edition in which I corrected several misprints report ed by users, and also some discovered by me during a minute examination of the edition and its sources, the original Klinger and Kovalevskaya manuscripts. The Hudleston and the SegoviaFinné manuscripts were alsc considered. The edition has been thoroughly revised to reflect a clearer picture of the harmony and a bette depiction of the actual durations of the notes of the several voices. At the same time, a new layer of editorial fingering has been added, mainly to provide students and amateurs with an easier access to this music. Matanya Ophee Regondi’s portrait on the front cover is the only known photograph of the composer. It was taken by the London photographers Elliott & Fry sometimes in the mid-nineteenth century, probably as a promotional tool for the C. Wheatstone & Co, Lid., who were the makers of the concertina used by Regondi, We are indebted to Stephen Chambers, Dublin, for having made this photograph available to us. \ Q PWYS-17ER $17.95 ISBN 1-882612-86-8 49402826 SOLE SELLING AGENT THE THEODORE PRESSER COMPANY KING OF PRUSSIA, PA 19408 WW W.PRESSER.COM, Eprrions Oxpuge, INC. 1240 CLusview Biv. N. Couempus, OH 43235-1226 ‘WWW .EDITIONSORPHEE.COM