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94841 Regondi Guitar Music_BL1_v1_Brilliant 26/02/2014 11:48 Page 1

94841

Regondi Complete Solo Guitar Music

Alberto Mesirca
94841 Regondi Guitar Music_BL2_v4_. 05/03/2014 16:43 Page 2

Giulio Regondi 1822–1872

Complete Solo Guitar Music

Compact Disc 1 47’56 Compact Disc 2 60’21

1 Feuille d’album* Ad libitum 2’28 Air varié de l’opéra de Bellini I Capuleti e i Montecchi
2 Rêverie – Nocturne Op.19 Larghetto – Più mosso 8’56 1 Andante con moto – Tema – Var.1 – Var.2 – Var.3 (Andante) – 10’52
3 Fête villageoise – Rondo caprice Op.20 Allegretto giusto 6’25 Var.4 (Allegretto vivace – Presto)

Premier Air varié Op.21 Solo on Don Giovanni (based on Thalberg)


4 Introduction (Larghetto) – Tema (Andante) – Var.1 – Var.2 – 9’14 2 Larghetto con moto – Tema (‘Là ci darem la mano’) – Var.1 – 9’50
Var.3 – Var.4 (Risoluto) Var.2 – Andante – Finale

Deuxième Air varié Op.22 Etudes


5 Introduction (Andante) – Tema (Andante) – Var.1 – Var.2 – 11’30 3 No.1: Moderato in C 2’53
Var.3 (Leggiero) – Var.4 (Larghetto) – Var.5 (Brillante) 4 No.2: Andante con moto in A minor 4’44
5 No.3: Allegretto con moto in A 3’41
Introduction et caprice Op.23 6 No.4: Adagio cantabile in E 6’56
6 Adagio – Allegretto scherzando 9’09 7 No.5: Allegretto in A 1’59
8 No.6: Andante in D minor 5’37
9 No.7: Allegretto in D 2’19
10 No.8: Allegretto con moto in G 4’07
11 No.9: Larghetto in E 2’38
12 No.10: Allegretto moderato in A 4’16

*First recording

Alberto Mesirca guitar


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94841 Regondi Guitar Music_BL2_v4_. 05/03/2014 16:43 Page 2

Giulio Regondi 1822–1872

Complete Solo Guitar Music

Compact Disc 1 47’56 Compact Disc 2 60’21

1 Feuille d’album* Ad libitum 2’28 Air varié de l’opéra de Bellini I Capuleti e i Montecchi
2 Rêverie – Nocturne Op.19 Larghetto – Più mosso 8’56 1 Andante con moto – Tema – Var.1 – Var.2 – Var.3 (Andante) – 10’52
3 Fête villageoise – Rondo caprice Op.20 Allegretto giusto 6’25 Var.4 (Allegretto vivace – Presto)

Premier Air varié Op.21 Solo on Don Giovanni (based on Thalberg)


4 Introduction (Larghetto) – Tema (Andante) – Var.1 – Var.2 – 9’14 2 Larghetto con moto – Tema (‘Là ci darem la mano’) – Var.1 – 9’50
Var.3 – Var.4 (Risoluto) Var.2 – Andante – Finale

Deuxième Air varié Op.22 Etudes


5 Introduction (Andante) – Tema (Andante) – Var.1 – Var.2 – 11’30 3 No.1: Moderato in C 2’53
Var.3 (Leggiero) – Var.4 (Larghetto) – Var.5 (Brillante) 4 No.2: Andante con moto in A minor 4’44
5 No.3: Allegretto con moto in A 3’41
Introduction et caprice Op.23 6 No.4: Adagio cantabile in E 6’56
6 Adagio – Allegretto scherzando 9’09 7 No.5: Allegretto in A 1’59
8 No.6: Andante in D minor 5’37
9 No.7: Allegretto in D 2’19
10 No.8: Allegretto con moto in G 4’07
11 No.9: Larghetto in E 2’38
12 No.10: Allegretto moderato in A 4’16

*First recording

Alberto Mesirca guitar


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Giulio Regondi: A Portrait His first recollection of himself was in a grand old house in Lyons, where he resided with a
by Simon Wynberg, from the Chanterelle Edition of Giulio Regondi's Concert Works for Guitar man who called himself his father; and who gave instruction in the Italian language. Dr George
Young, a physician of repute in London, and brother to Charles Young, the tragedian, was
It has often been said that the world knows nothing of its greatest men. This is hardly true travelling to Italy, but stopped at Lyons to take lessons and improve himself in speaking
with regard to the admirable musician and artist who has just left us. The world does know Italian. In the course of his study, Regondi constantly expatiated on the talents of his son.
something of Giulio Regondi, though by no means all it might have known. Man is the Dr Young heard Giulio play the guitar, and was both charmed and astonished. He advised
creature of circumstances; and circumstances were against him, otherwise he would have had a Regondi to take the boy to London. It was probably with this object in view that the poor boy
place among the most illustrious sons of art – a place for which he was fitted by supreme was made to practise five hours per day; while the father left home early and only returned to
endowments. Such a man should not ‘join the majority’ without the tribute which is his due, dinner late. The outward door of their apartment was kept locked to prevent the boy from
the more because, owing to the despotism of events, it was not paid during his life; and we leaving the house, where he remained always alone, and a neighbour, residing in a room
are, therefore, glad to present our readers with an article contributed by one of his personal adjoining theirs, was induced to watch and report on the boy’s practice. According to that
friends and most ardent admirers. The details that article communicates will not fail to be read report he was placed at the father’s bedside to make up whatever time he was said to have
with interest, especially by amateurs who were discerning enough to recognise, during his missed during the day.
lifetime, all the merit of the man. Dr Young used to describe Giulio, at that time, as having an intellectual head, with a
delicate, refined person; his feet well proportioned and shaped, but his hands were strong
and more vigorous than the rest of his body, probably from their having been so much used
So begins an extended biographical article on the life and musical contribution of
at a tender age.
Giulio Regondi. It appeared shortly after his death in The Musical World (25 May 1872,
The boy had not remembered having left the house, when a man appeared who measured
p.332), a journal that had chronicled Regondi’s successes over the 40 preceding years. him for a suit of clothes, in which he went to a public concert where he performed. On that
The account provides a great deal of information, much of which is reproduced verbatim occasion Regondi carried him arrayed in a velvet tunic, ornamented with gold, and a velvet
in this introduction. hat with white feathers. On looking at the audience from the back of the stage, the boy was
The ‘personal friend’, a Mme. Fauche, provides a predictably romantic account of too frightened to move, and Regondi took him and his guitar in his arms and placed them on
the guitarist’s early years of persecution and hardship. Born in Geneva in 1822, his a stool in the front of the stage. As soon as the piece of music was finished the house rose to
parentage and background were always a source of rumour and supposition. His father applaud and encore, upon which Giulio ran off the stage in alarm. With difficulty he was
was at one time a schoolmaster, and it was due to him that his son began a public caught and made to play again.
career as an infant phenomenon at the tender age of five.
Little is known of Regondi’s mother; there is a brief reference to her ‘being a native of Portions of the foregoing are possibly apocryphal, and perhaps when more extensive
Germany’ in The Harmonicon (June 1831, pp. 200–201). Of his youth, it is best to let research has been undertaken a less heart-rending story will emerge. The exploration of
Mme. Fauche continue… prodigies was by no means unusual, however, as many reports in German, French and

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Giulio Regondi: A Portrait His first recollection of himself was in a grand old house in Lyons, where he resided with a
by Simon Wynberg, from the Chanterelle Edition of Giulio Regondi's Concert Works for Guitar man who called himself his father; and who gave instruction in the Italian language. Dr George
Young, a physician of repute in London, and brother to Charles Young, the tragedian, was
It has often been said that the world knows nothing of its greatest men. This is hardly true travelling to Italy, but stopped at Lyons to take lessons and improve himself in speaking
with regard to the admirable musician and artist who has just left us. The world does know Italian. In the course of his study, Regondi constantly expatiated on the talents of his son.
something of Giulio Regondi, though by no means all it might have known. Man is the Dr Young heard Giulio play the guitar, and was both charmed and astonished. He advised
creature of circumstances; and circumstances were against him, otherwise he would have had a Regondi to take the boy to London. It was probably with this object in view that the poor boy
place among the most illustrious sons of art – a place for which he was fitted by supreme was made to practise five hours per day; while the father left home early and only returned to
endowments. Such a man should not ‘join the majority’ without the tribute which is his due, dinner late. The outward door of their apartment was kept locked to prevent the boy from
the more because, owing to the despotism of events, it was not paid during his life; and we leaving the house, where he remained always alone, and a neighbour, residing in a room
are, therefore, glad to present our readers with an article contributed by one of his personal adjoining theirs, was induced to watch and report on the boy’s practice. According to that
friends and most ardent admirers. The details that article communicates will not fail to be read report he was placed at the father’s bedside to make up whatever time he was said to have
with interest, especially by amateurs who were discerning enough to recognise, during his missed during the day.
lifetime, all the merit of the man. Dr Young used to describe Giulio, at that time, as having an intellectual head, with a
delicate, refined person; his feet well proportioned and shaped, but his hands were strong
and more vigorous than the rest of his body, probably from their having been so much used
So begins an extended biographical article on the life and musical contribution of
at a tender age.
Giulio Regondi. It appeared shortly after his death in The Musical World (25 May 1872,
The boy had not remembered having left the house, when a man appeared who measured
p.332), a journal that had chronicled Regondi’s successes over the 40 preceding years. him for a suit of clothes, in which he went to a public concert where he performed. On that
The account provides a great deal of information, much of which is reproduced verbatim occasion Regondi carried him arrayed in a velvet tunic, ornamented with gold, and a velvet
in this introduction. hat with white feathers. On looking at the audience from the back of the stage, the boy was
The ‘personal friend’, a Mme. Fauche, provides a predictably romantic account of too frightened to move, and Regondi took him and his guitar in his arms and placed them on
the guitarist’s early years of persecution and hardship. Born in Geneva in 1822, his a stool in the front of the stage. As soon as the piece of music was finished the house rose to
parentage and background were always a source of rumour and supposition. His father applaud and encore, upon which Giulio ran off the stage in alarm. With difficulty he was
was at one time a schoolmaster, and it was due to him that his son began a public caught and made to play again.
career as an infant phenomenon at the tender age of five.
Little is known of Regondi’s mother; there is a brief reference to her ‘being a native of Portions of the foregoing are possibly apocryphal, and perhaps when more extensive
Germany’ in The Harmonicon (June 1831, pp. 200–201). Of his youth, it is best to let research has been undertaken a less heart-rending story will emerge. The exploration of
Mme. Fauche continue… prodigies was by no means unusual, however, as many reports in German, French and

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English journals and newspapers clearly show. There were frequent prodigy seasons, He said that he had been sent for more than once to play with the Duc de Bordeaux, but
precocious children invariably being good box-office attractions. The following review whether in passing through Paris to England, or in England, is not known. He also said (to
appeared in the Figaro when Regondi was no more than seven or eight years old: the writer of this sketch) that, some years later, he became intimate with a gentleman who
professed to be the son of Louis XVI (who is thought to have died, and was buried in the
The musical matinée given yesterday by the young Jules Regondi was enchanting. The salons prison where the Royal family were confined). This intimacy led to a proposal that he should
of M. Pelsold were a very pleasing sight to the audience and, doubtless, to the interesting marry the pretender’s daughter, a proposal which gave him no little discomfort, until a letter
performer as well. Few concerts can have proved more satisfying for the enthusiast. The from the young lady explained that, from her father’s destitute state, she felt it her duty to
audience heard artistes of the first rank and the concert only lasted two and a half hours. accept an offer she had received, which would ensure him independence for life. On the
The young guitarist astonished everyone. He began with a concert solo, each movement of testimony of several professional gentlemen, who knew Giulio on his arrival in London, he
which was greeted with much applause. He then played variations on the march from ‘ALINE’ was not seven years old. Mr Charles Neate was one of those gentlemen, also the late Mr
as well as other variations composed by his father. In truth, he surpassed himself. Tomkinson. His success both in public performance and private society was complete.
Never before, perhaps, has the guitar been played with a greater grace. Under the fingers of
young Jules, the instrument seems to answer easily the kind of questions which usually remain Complete details of Regondi’s childhood tours are not yet known, but he arrived in
more or less unanswered. Until now, the neck of the guitar was only too similar to the deaf- London with his father in 1831 and it was here that he based himself for the remainder
mute’s arm which the Abbé Sicard might manipulate so as to produce intelligible sounds from of his life. The articles in The Harmonicon testifying to his talents are well known and
the afflicted arm. Today, it is rather like a large keyboard touched by skilful fingers bringing a follow the Figaro in their eulogies. According to both Mme. Fauche and the music
harvest of rich harmony and gracious melody. critic Richard Hoffmann, Regondi’s father now behaved particularly scandalously:
Young Regondi was called back 20 times, after which he was kissed, caressed and feted by
all the ladies. After the concert was over he ran into the garden, and with the wholehearted He (Giulio) believed there must have been several thousand pounds in the finds when Regondi
abandon of childhood began to play with a little cart loaded with lilacs. The adult had left England with his earnings. At the termination of one London season, Regondi gave Giulio
vanished and the child had taken his place in the body of this seven year old, moving, excited, a five pound note, and sent him to prepare for their ‘season’ at Brighton, which they had
running, jumping, and goodness knows what else. Gone was the artiste. There was only an regularly attended since coming to London. After waiting until his pecuniary resource was
ordinary little boy, smiling, playing, tossing his fair hair about and taking his part in games exhausted, without receiving any reply to many letters he had addressed to his father, the poor
with a pretty little girl and another child, just as he had done only half an hour before in a boy drooped and would have died from starvation but for the care and thoughtfulness of his
quartet of serious musicians. hostess. He was roused by her to the necessity of learning ‘how to live’. It was many years
after this event that Regondi wrote for money, saying he was dying! Giulio sent for him to
Carulli, Carcassi and the legendary Fernando Sor were all still performing at this London, where he spent the last years of his life.
time – Giulio therefore had high standards to meet. No stranger to the courts of
Europe, Mme. Fauche relates the following tale of a rather immature romantic The date on which Regondi (senior) absconded with his son’s earnings is not known,
experience with dubious royalty: but an article in The Musical World, by one Wellington Guernsey, refers to an ‘adopted

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English journals and newspapers clearly show. There were frequent prodigy seasons, He said that he had been sent for more than once to play with the Duc de Bordeaux, but
precocious children invariably being good box-office attractions. The following review whether in passing through Paris to England, or in England, is not known. He also said (to
appeared in the Figaro when Regondi was no more than seven or eight years old: the writer of this sketch) that, some years later, he became intimate with a gentleman who
professed to be the son of Louis XVI (who is thought to have died, and was buried in the
The musical matinée given yesterday by the young Jules Regondi was enchanting. The salons prison where the Royal family were confined). This intimacy led to a proposal that he should
of M. Pelsold were a very pleasing sight to the audience and, doubtless, to the interesting marry the pretender’s daughter, a proposal which gave him no little discomfort, until a letter
performer as well. Few concerts can have proved more satisfying for the enthusiast. The from the young lady explained that, from her father’s destitute state, she felt it her duty to
audience heard artistes of the first rank and the concert only lasted two and a half hours. accept an offer she had received, which would ensure him independence for life. On the
The young guitarist astonished everyone. He began with a concert solo, each movement of testimony of several professional gentlemen, who knew Giulio on his arrival in London, he
which was greeted with much applause. He then played variations on the march from ‘ALINE’ was not seven years old. Mr Charles Neate was one of those gentlemen, also the late Mr
as well as other variations composed by his father. In truth, he surpassed himself. Tomkinson. His success both in public performance and private society was complete.
Never before, perhaps, has the guitar been played with a greater grace. Under the fingers of
young Jules, the instrument seems to answer easily the kind of questions which usually remain Complete details of Regondi’s childhood tours are not yet known, but he arrived in
more or less unanswered. Until now, the neck of the guitar was only too similar to the deaf- London with his father in 1831 and it was here that he based himself for the remainder
mute’s arm which the Abbé Sicard might manipulate so as to produce intelligible sounds from of his life. The articles in The Harmonicon testifying to his talents are well known and
the afflicted arm. Today, it is rather like a large keyboard touched by skilful fingers bringing a follow the Figaro in their eulogies. According to both Mme. Fauche and the music
harvest of rich harmony and gracious melody. critic Richard Hoffmann, Regondi’s father now behaved particularly scandalously:
Young Regondi was called back 20 times, after which he was kissed, caressed and feted by
all the ladies. After the concert was over he ran into the garden, and with the wholehearted He (Giulio) believed there must have been several thousand pounds in the finds when Regondi
abandon of childhood began to play with a little cart loaded with lilacs. The adult had left England with his earnings. At the termination of one London season, Regondi gave Giulio
vanished and the child had taken his place in the body of this seven year old, moving, excited, a five pound note, and sent him to prepare for their ‘season’ at Brighton, which they had
running, jumping, and goodness knows what else. Gone was the artiste. There was only an regularly attended since coming to London. After waiting until his pecuniary resource was
ordinary little boy, smiling, playing, tossing his fair hair about and taking his part in games exhausted, without receiving any reply to many letters he had addressed to his father, the poor
with a pretty little girl and another child, just as he had done only half an hour before in a boy drooped and would have died from starvation but for the care and thoughtfulness of his
quartet of serious musicians. hostess. He was roused by her to the necessity of learning ‘how to live’. It was many years
after this event that Regondi wrote for money, saying he was dying! Giulio sent for him to
Carulli, Carcassi and the legendary Fernando Sor were all still performing at this London, where he spent the last years of his life.
time – Giulio therefore had high standards to meet. No stranger to the courts of
Europe, Mme. Fauche relates the following tale of a rather immature romantic The date on which Regondi (senior) absconded with his son’s earnings is not known,
experience with dubious royalty: but an article in The Musical World, by one Wellington Guernsey, refers to an ‘adopted

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father’ when Giulio was living temporarily in Dublin in 1834. Presumably Regondi, Mme. Fauche’s monograph, at ‘private houses’ where, for ‘an hour’s performance he
if indeed he was Giulio’s father, disappeared sometime before this. It was in Dublin constantly received a much higher remuneration in presents than the sum for which for
that Giulio met the dying poetess, Felicia Dorothea Hemans (known also to her wide which he was engaged (twenty pounds)’. He also ‘spent several days at the country seats
reading public by her maiden name, Browne). Guernsey, in the same article, relates how of the English aristocratic families’. It is said that Leopold of Belgium gave his watch to
Regondi after a recital, ‘so greatly was he delighted wi th him’.
After a lingering illness, one of the few visitors admitted to her room, after she became entirely In 1841 and 1846, the Allgemeine musikalische Zeitung recorded a number of
confined to it, ‘was that most gifted and gracious child’ as she described him (for such he then concerts by Regondi and Lidel, the most noteworthy being that on 31 March 1841,
was, both in years and appearance), Giulio Regondi, in whose wonderful musical genius she
organised by none other than Clara Schumann at the Leipzig Gewandhaus. There
had previously taken great delights, whilst his guileless and sensitive nature inspired her with a
Regondi played a Duo Concertante for cello and melophone (an instrument invented in
warm feeling of interest. The lines she addressed to him in the preceding year flowed from that
wellspring of maternal kindliness which was ever gushing within her bosom, and which made 1837 and related to the accordion). Thalberg’s Don Juan Fantasy (Op.14) arranged for
every child – still more every loving and motherless child – an object towards which her heart guitar was performed at a number of concerts, as was an arrangement of a Spohr violin
yearned with tender sympathy. The little fellow showed the greater anxiety during her illness, concerto (in a version for melophone). A concert in Dresden in October 1846, reviewed
and was constant in his spontaneous inquiries. Sometimes he would call to ask for her on his in the AMZ, provides evidence that Regondi performed, for a time at any rate, on an
way to play at the Castle concerts, or at some other evening party; and as he stood in the eight-string guitar, perhaps influenced by Luigi Legnani. Napoleon Coste was certainly
doorway, with his innocent face, his delicate form, his long fair hair streaming down his using a seven-string instrument by this time. The review goes on to praise Regondi’s
shoulders, and his whole air and bearing so different from the everyday beings around him, performance on the concertina, and describes the instrument’s capabilities and
one might almost have taken him for a messenger from ‘the better land’.
characteristics.
Regondi’s obituary in the Musical World mentions that he had also performed with
Guernsey has in fact ‘borrowed’ this passage almost word for word from The Works
Lidel at Darmstadt Frankfurt, Karlsruhe, Prague and Vienna, ‘playing repeatedly at the
of Felicia Dorothea Browne (Edinburgh, London 1839), which includes a biography by
Imperial Court, besides giving, with immense success, 12 concerts, in which the son of
the poetess’s sister. There follows a rather romantic, sentimental poem which, for the
Mozart also assisted’. His prowess on the melophone and, more importantly, the
curious, is reproduced in P.J. Bone’s The Guitar and Mandolin (see bibliography). The
concertina is of great significance, for it was the second instrument that Regondi
above sketch describes Regondi, as do all others, as a sensitive and enormously kind
popularised and properly established on the contemporary musical scene. He is one of
person. Mme. Fauche talks of his generosity and sympathy, Richard Hoffman of his
the few guitarists in the 19th century to have excelled on another instrument – albeit
‘gentle and winning disposition’.
the concertina. Patented in 1844, it was the invention of Sir Charles Wheatstone, now
While Regondi’s youth is replete with stories and vignettes, his later years are not as
best remembered for his scientific achievements, notably the development of
fully chronicled. He continued to give regular recitals in England and toured with the
‘Wheatstone’s Bridge’ (a device for regulating current). According to Mme. Fauche:
pianist Mme. Dulcken and the famous cellist Joseph Lidel. He performed, according to

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94841 Regondi Guitar Music_BL2_v4_. 05/03/2014 16:43 Page 8

father’ when Giulio was living temporarily in Dublin in 1834. Presumably Regondi, Mme. Fauche’s monograph, at ‘private houses’ where, for ‘an hour’s performance he
if indeed he was Giulio’s father, disappeared sometime before this. It was in Dublin constantly received a much higher remuneration in presents than the sum for which for
that Giulio met the dying poetess, Felicia Dorothea Hemans (known also to her wide which he was engaged (twenty pounds)’. He also ‘spent several days at the country seats
reading public by her maiden name, Browne). Guernsey, in the same article, relates how of the English aristocratic families’. It is said that Leopold of Belgium gave his watch to
Regondi after a recital, ‘so greatly was he delighted wi th him’.
After a lingering illness, one of the few visitors admitted to her room, after she became entirely In 1841 and 1846, the Allgemeine musikalische Zeitung recorded a number of
confined to it, ‘was that most gifted and gracious child’ as she described him (for such he then concerts by Regondi and Lidel, the most noteworthy being that on 31 March 1841,
was, both in years and appearance), Giulio Regondi, in whose wonderful musical genius she
organised by none other than Clara Schumann at the Leipzig Gewandhaus. There
had previously taken great delights, whilst his guileless and sensitive nature inspired her with a
Regondi played a Duo Concertante for cello and melophone (an instrument invented in
warm feeling of interest. The lines she addressed to him in the preceding year flowed from that
wellspring of maternal kindliness which was ever gushing within her bosom, and which made 1837 and related to the accordion). Thalberg’s Don Juan Fantasy (Op.14) arranged for
every child – still more every loving and motherless child – an object towards which her heart guitar was performed at a number of concerts, as was an arrangement of a Spohr violin
yearned with tender sympathy. The little fellow showed the greater anxiety during her illness, concerto (in a version for melophone). A concert in Dresden in October 1846, reviewed
and was constant in his spontaneous inquiries. Sometimes he would call to ask for her on his in the AMZ, provides evidence that Regondi performed, for a time at any rate, on an
way to play at the Castle concerts, or at some other evening party; and as he stood in the eight-string guitar, perhaps influenced by Luigi Legnani. Napoleon Coste was certainly
doorway, with his innocent face, his delicate form, his long fair hair streaming down his using a seven-string instrument by this time. The review goes on to praise Regondi’s
shoulders, and his whole air and bearing so different from the everyday beings around him, performance on the concertina, and describes the instrument’s capabilities and
one might almost have taken him for a messenger from ‘the better land’.
characteristics.
Regondi’s obituary in the Musical World mentions that he had also performed with
Guernsey has in fact ‘borrowed’ this passage almost word for word from The Works
Lidel at Darmstadt Frankfurt, Karlsruhe, Prague and Vienna, ‘playing repeatedly at the
of Felicia Dorothea Browne (Edinburgh, London 1839), which includes a biography by
Imperial Court, besides giving, with immense success, 12 concerts, in which the son of
the poetess’s sister. There follows a rather romantic, sentimental poem which, for the
Mozart also assisted’. His prowess on the melophone and, more importantly, the
curious, is reproduced in P.J. Bone’s The Guitar and Mandolin (see bibliography). The
concertina is of great significance, for it was the second instrument that Regondi
above sketch describes Regondi, as do all others, as a sensitive and enormously kind
popularised and properly established on the contemporary musical scene. He is one of
person. Mme. Fauche talks of his generosity and sympathy, Richard Hoffman of his
the few guitarists in the 19th century to have excelled on another instrument – albeit
‘gentle and winning disposition’.
the concertina. Patented in 1844, it was the invention of Sir Charles Wheatstone, now
While Regondi’s youth is replete with stories and vignettes, his later years are not as
best remembered for his scientific achievements, notably the development of
fully chronicled. He continued to give regular recitals in England and toured with the
‘Wheatstone’s Bridge’ (a device for regulating current). According to Mme. Fauche:
pianist Mme. Dulcken and the famous cellist Joseph Lidel. He performed, according to

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94841 Regondi Guitar Music_BL2_v4_. 05/03/2014 16:43 Page 10

Regondi, being shown the ingenious masterpiece, was asked what could be done with it. He Montecchi – conceivably the work composed by Mertz.
replied, ‘My son will bring out its powers if anyone can do so.’ The lad did indeed give it life. Catherine Pelzer, later wife of the flautist Sidney Pratten, performed with Regondi,
He did indeed study it! He published a ‘Method’ or ‘Guide Book’ which gave clear, concise rules especially in their youth. An account of a concert relates that ‘such diminutive
for pupils which no master since has been able to improve upon. It is not too much to say that
performers were “lost” on a large platform; so, to be seen as well as heard, they were
Giulio Regondi’s performance can never be equaled. All he did has died with him.
mounted upon a table.’ According to Bone (see bibliography), Regondi also performed
with the guitarist and viola player Konrad Adam Stehling. In addition to his musical
There is a wealth of surviving concertina music, much of it published, written or
skills, Regondi was a gifted linguist, speaking and writing fluent French, English and
transcribed by and for Regondi. In later years, the composers Bernhard Molique, Julius
Italian.
Benedict and Sir William Sterndale Bennett wrote for the instrument, and Regondi in
For the last 18 months of his life, Regondi suffered ‘a severe and painful illness’,
fact wrote much more music for the concertina than for the guitar. It is beyond the
according to Richard Hoffmann, who had stayed with Regondi in the past when
scope of this brief biographical sketch to enter into detail regarding the concertina
visiting London. He writes:
works; suffice it to say that many of the works are immensely demanding – often the
result of adaptations from the violin repertoire. His most famous solo was Les Oiseaux, … a certain hope of reprieve from the dread sentence of death was installed by his physician
‘which he used to perform so often to admiring audiences’. The most unusual or friends, by telling him that, if only he could obtain some of the American Condurango
transcriptions for the instrument must surely be the ‘Selections from the Most plant, which at that time was supposed to be a cure for the malady, he might, at least, be
Celebrated Oratorios…’ that includes extracts from Handel’s Messiah, arranged for greatly relieved. I sent him a quantity of the preparation but it failed to help him…
baritone concertina by Regondi and published by Wheatstone.
The London appearances of the mature Regondi follow a familiar pattern. Once or On Regondi’s death certificate, the entry under ‘Cause of death’ is ‘Epithelial Cancer
twice a year, a benefit concert was arranged at a venue such as the Hanover Square of the anus 18 months Jaundice 3 week Exhaustion Certified’. He died on 6 May 1872
Rooms or Willis’s Rooms. A variety of singers and instrumentalists performed, the star at Portsea Place, a small house near Hyde Park, and was buried two days later in St
turn being, of course, Regondi, playing compositions for concertina and guitar. Mary’s Catholic Cemetery, Kensal. On his tombstone is inscribed:
I have only examined a selection of the reviews from The Musical World, but an
exhaustive check through all the contemporary magazines and newspapers would OF YOUR CHARITY
doubtless yield similar reports and the expected enthusiastic praise. More significantly, PRAY FOR THE REPOSE OF THE SOUL
OF GIULIO REGONDI
it would reveal the titles of unpublished guitar works that died with their composer.
DIED 49
The most frequently performed or the lost (or recently rediscovered) guitar works were HAVING RECEIVED ALL THE HOLY SACRAMENTS
an apparently splendid arrangement of the overture to Rossini’s Semiramide, R.I.P.
transcriptions of Thalberg’s Fantasies on themes from Mozart’s Don Giovanni,
Meyerbeer’s Les Huguenots (Opp. 14 and 20) and variations on Bellini’s I Capuleti e i 훿 Simon Wynberg

10 11
94841 Regondi Guitar Music_BL2_v4_. 05/03/2014 16:43 Page 10

Regondi, being shown the ingenious masterpiece, was asked what could be done with it. He Montecchi – conceivably the work composed by Mertz.
replied, ‘My son will bring out its powers if anyone can do so.’ The lad did indeed give it life. Catherine Pelzer, later wife of the flautist Sidney Pratten, performed with Regondi,
He did indeed study it! He published a ‘Method’ or ‘Guide Book’ which gave clear, concise rules especially in their youth. An account of a concert relates that ‘such diminutive
for pupils which no master since has been able to improve upon. It is not too much to say that
performers were “lost” on a large platform; so, to be seen as well as heard, they were
Giulio Regondi’s performance can never be equaled. All he did has died with him.
mounted upon a table.’ According to Bone (see bibliography), Regondi also performed
with the guitarist and viola player Konrad Adam Stehling. In addition to his musical
There is a wealth of surviving concertina music, much of it published, written or
skills, Regondi was a gifted linguist, speaking and writing fluent French, English and
transcribed by and for Regondi. In later years, the composers Bernhard Molique, Julius
Italian.
Benedict and Sir William Sterndale Bennett wrote for the instrument, and Regondi in
For the last 18 months of his life, Regondi suffered ‘a severe and painful illness’,
fact wrote much more music for the concertina than for the guitar. It is beyond the
according to Richard Hoffmann, who had stayed with Regondi in the past when
scope of this brief biographical sketch to enter into detail regarding the concertina
visiting London. He writes:
works; suffice it to say that many of the works are immensely demanding – often the
result of adaptations from the violin repertoire. His most famous solo was Les Oiseaux, … a certain hope of reprieve from the dread sentence of death was installed by his physician
‘which he used to perform so often to admiring audiences’. The most unusual or friends, by telling him that, if only he could obtain some of the American Condurango
transcriptions for the instrument must surely be the ‘Selections from the Most plant, which at that time was supposed to be a cure for the malady, he might, at least, be
Celebrated Oratorios…’ that includes extracts from Handel’s Messiah, arranged for greatly relieved. I sent him a quantity of the preparation but it failed to help him…
baritone concertina by Regondi and published by Wheatstone.
The London appearances of the mature Regondi follow a familiar pattern. Once or On Regondi’s death certificate, the entry under ‘Cause of death’ is ‘Epithelial Cancer
twice a year, a benefit concert was arranged at a venue such as the Hanover Square of the anus 18 months Jaundice 3 week Exhaustion Certified’. He died on 6 May 1872
Rooms or Willis’s Rooms. A variety of singers and instrumentalists performed, the star at Portsea Place, a small house near Hyde Park, and was buried two days later in St
turn being, of course, Regondi, playing compositions for concertina and guitar. Mary’s Catholic Cemetery, Kensal. On his tombstone is inscribed:
I have only examined a selection of the reviews from The Musical World, but an
exhaustive check through all the contemporary magazines and newspapers would OF YOUR CHARITY
doubtless yield similar reports and the expected enthusiastic praise. More significantly, PRAY FOR THE REPOSE OF THE SOUL
OF GIULIO REGONDI
it would reveal the titles of unpublished guitar works that died with their composer.
DIED 49
The most frequently performed or the lost (or recently rediscovered) guitar works were HAVING RECEIVED ALL THE HOLY SACRAMENTS
an apparently splendid arrangement of the overture to Rossini’s Semiramide, R.I.P.
transcriptions of Thalberg’s Fantasies on themes from Mozart’s Don Giovanni,
Meyerbeer’s Les Huguenots (Opp. 14 and 20) and variations on Bellini’s I Capuleti e i 훿 Simon Wynberg

10 11
94841 Regondi Guitar Music_BL2_v4_. 05/03/2014 16:43 Page 12

Bibliography Alberto Mesirca


Bone, P.J., The Guitar and Mandolin 2nd ed. (Luton, 1972), pp. 291–296.
Hanslick, E., Geschichte des Concertwesens in Wien (Vienna, 1869), pp. 76–82.
‘The best Scarlatti I’ve heard on solo guitar’
Hoffmann, R., Some Musical Recollections of Fifty Years (London and New York, 1910), pp. 76–82.
American Record Guide
Pazdirek, F., Universal-Handbuch der Musikliteratur Vol.XXIV (Vienna, 1904) (See listings of
works under ‘Regondi’, particularly for concertina). ‘Superb recording from the prodigiously
Radke, H., ‘Regondi, Giulio’ in Die Musik in Geschichte und Gegenwart (Kassel and Basel, 1949) talented Mesirca’ Classical Guitar Magazine
Vol.II. cols. 142–143. A list of articles and reviews from 19th-century German periodicals covering
his tours of 1830/1, 1840/1 and 1846/7 are included in Radke’s bibliography, most of which has The 29-year-old guitarist Alberto Mesirca
been consulted for the present brief study. was born in Italy in 1984. He completed his
Schroder, F., Bernhard Molique (Stuttgart, 1923), pp. 71, 96 & 104. Bachelor and Master of Arts at the
Zuth, J., Handbuch der Laute und Gitarre (Vienna, 1926), p.229. Conservatory of Castelfranco Veneto,
Zuth, J., “Eine Handschrift von Giulio Regondi„ in Musik im Haus Vol.VI/3 (Vienna, 1927),
graduating with top marks. Further studies
pp. 78–80. The article deals with the MS of a miniature by Leonhard Schulz.
were undertaken at the Kassel Music
Academy, in Germany, with Wolfgang
A note about Feuille d’album Lendle, and his Konzert-Examen here was awarded the highest honours. He has twice
won the ‘Golden Guitar’: Best Recording (2007) and Best Upcoming Artist of the Year
This hitherto unkown composition was discovered by Andreas Stevens during his (2009).
examination of a private collection in Munich in 2010. The autograph later went to the Together with Hopkinson Smith and Franco Pavan he published the previously
Bayerische Staatsbiliothek through mediation of Mr Stevens, where it is housed today unknown and unpublished compositions of Francesco da Milano, which appeared in
as part of the Gitarristische Sammlung Fritz Walter und Gabriele Wiedemann. I express the Castelfranco Veneto 1565 Lute Manuscript (now distributed by Éditions Orphée).
my warmest thanks to Mr Stevens for giving me the extraordinary chance of recording In 2009 he became an assistant at the Conservatory of Castelfranco Veneto. Important
for the first time this wonderful piece of music. composers of the 20th century, such as Angelo Gilardino and Dušan Bogdanović, have
Alberto Mesirca written pieces dedicated to him.
The past two years have been characterised by an intensive period of performances,
lectures and masterclasses: Auckland University (New Zealand), Guitar Foundation of
America Convention (Georgia, USA), Kuhmo Chamber Music Festival (Finland),
Stradivari Foundation (Teatro La Fenice, Venice), Silesian Guitar Autumn (Tychy,

12 13
94841 Regondi Guitar Music_BL2_v4_. 05/03/2014 16:43 Page 12

Bibliography Alberto Mesirca


Bone, P.J., The Guitar and Mandolin 2nd ed. (Luton, 1972), pp. 291–296.
Hanslick, E., Geschichte des Concertwesens in Wien (Vienna, 1869), pp. 76–82.
‘The best Scarlatti I’ve heard on solo guitar’
Hoffmann, R., Some Musical Recollections of Fifty Years (London and New York, 1910), pp. 76–82.
American Record Guide
Pazdirek, F., Universal-Handbuch der Musikliteratur Vol.XXIV (Vienna, 1904) (See listings of
works under ‘Regondi’, particularly for concertina). ‘Superb recording from the prodigiously
Radke, H., ‘Regondi, Giulio’ in Die Musik in Geschichte und Gegenwart (Kassel and Basel, 1949) talented Mesirca’ Classical Guitar Magazine
Vol.II. cols. 142–143. A list of articles and reviews from 19th-century German periodicals covering
his tours of 1830/1, 1840/1 and 1846/7 are included in Radke’s bibliography, most of which has The 29-year-old guitarist Alberto Mesirca
been consulted for the present brief study. was born in Italy in 1984. He completed his
Schroder, F., Bernhard Molique (Stuttgart, 1923), pp. 71, 96 & 104. Bachelor and Master of Arts at the
Zuth, J., Handbuch der Laute und Gitarre (Vienna, 1926), p.229. Conservatory of Castelfranco Veneto,
Zuth, J., “Eine Handschrift von Giulio Regondi„ in Musik im Haus Vol.VI/3 (Vienna, 1927),
graduating with top marks. Further studies
pp. 78–80. The article deals with the MS of a miniature by Leonhard Schulz.
were undertaken at the Kassel Music
Academy, in Germany, with Wolfgang
A note about Feuille d’album Lendle, and his Konzert-Examen here was awarded the highest honours. He has twice
won the ‘Golden Guitar’: Best Recording (2007) and Best Upcoming Artist of the Year
This hitherto unkown composition was discovered by Andreas Stevens during his (2009).
examination of a private collection in Munich in 2010. The autograph later went to the Together with Hopkinson Smith and Franco Pavan he published the previously
Bayerische Staatsbiliothek through mediation of Mr Stevens, where it is housed today unknown and unpublished compositions of Francesco da Milano, which appeared in
as part of the Gitarristische Sammlung Fritz Walter und Gabriele Wiedemann. I express the Castelfranco Veneto 1565 Lute Manuscript (now distributed by Éditions Orphée).
my warmest thanks to Mr Stevens for giving me the extraordinary chance of recording In 2009 he became an assistant at the Conservatory of Castelfranco Veneto. Important
for the first time this wonderful piece of music. composers of the 20th century, such as Angelo Gilardino and Dušan Bogdanović, have
Alberto Mesirca written pieces dedicated to him.
The past two years have been characterised by an intensive period of performances,
lectures and masterclasses: Auckland University (New Zealand), Guitar Foundation of
America Convention (Georgia, USA), Kuhmo Chamber Music Festival (Finland),
Stradivari Foundation (Teatro La Fenice, Venice), Silesian Guitar Autumn (Tychy,

12 13
94841 Regondi Guitar Music_BL2_v4_. 05/03/2014 16:43 Page 14

Poland), Festival Classique (The Hague) and the Beethoven Festival (Melbourne, Acknowledgements
(Australia), among many others.
In collaboration with Marc Ribot, Mesirca recorded the complete guitar works of I would like to express my deepest thanks to Andrea de Marchi, Michael MacMeeken,
the Haitian composer Frantz Casseus; for this recording he was a candidate for Best Andreas Stevens, Angelo Gilardino, Marco Tullio Giordana, Gianfranco Volpato,
Solo Performance at the 2012 Grammy Awards in Los Angeles. In December 2011 he Wolfgang Lendle, Marc Ribot, Gert-Jan Blom, Robert Fripp, Magnus Lindberg,
was responsible for the digitalisation and creation of the Musical Archive at the Beyazit Matanya Ophee, Leo and Isa Brouwer, Giulio Favotto and everyone at Otium, Karen
State Library in Istanbul, Turkey. 2013 saw Alberto premiere Leo Brouwer’s Preludio Gomyo, Ilya Gringolts, NHK, John Griffiths, Bobby and Sanna, Jonas and Peter Giger,
de las campanas, a work that was especially written for him, at the Kuhmo Chamber Marcello and Micaela Pittaluga, Filippo Michelangeli, Domenico Nordio, Letizia
Music Festival. Inserra, Claudio Ambrosini & Ex Novo Ensemble, Mirko Satto, Sergio de Pieri,
Alberto recently won, for the third time, the Golden Guitar award (2013) for Best Vladimir Mendelssohn, Kuhmo Festival, Andrea Rucli, Daniel Rowland, Zoran
Recording of the Year. Markovic, Natacha Kudritskaya, Marcelo Nisinman, Livio Torresan, Sergio Scapin,
www.albertomesirca.com Mauro Battistella, Sergio Stancanelli, Paul Fowles, Thérèse Saba, Luca Scarlini, Luis
Lanzarini, Vesna Maria Brocca, Giancarlo Saran, Luca Baldin, Rosa Scapin,
OperaEstate, Orchestra del Teatro Olimpico, Giampaolo Bisanti, Dott. Borsellino, my
great friends Davide, Nicola, Luca, Mattia, Nonna Maria, family Marchioro and my
family, whose support is immense.
I dedicate this recording to Maria, an infinite source of inspiration.

Recording: November 2013, Virtual Studio, Treviso, Italy


Producer: Andrea de Marchi
Guitar: Giuseppe Guagliardo, 2010 · Strings: Aquila Strings
Publishers: Chanterelle Verlag-Zimmermann (CD1), Éditions Orphée (CD2: 2) & Doblinger (CD2: 1, 3–12)
Cover photo: 훿 Giulio Favotto / Otium, taken in the hedge maze of Villa Pisani, Stra, Venice
 & 훿 2014 Brilliant Classics

14 15
94841 Regondi Guitar Music_BL2_v4_. 05/03/2014 16:43 Page 14

Poland), Festival Classique (The Hague) and the Beethoven Festival (Melbourne, Acknowledgements
(Australia), among many others.
In collaboration with Marc Ribot, Mesirca recorded the complete guitar works of I would like to express my deepest thanks to Andrea de Marchi, Michael MacMeeken,
the Haitian composer Frantz Casseus; for this recording he was a candidate for Best Andreas Stevens, Angelo Gilardino, Marco Tullio Giordana, Gianfranco Volpato,
Solo Performance at the 2012 Grammy Awards in Los Angeles. In December 2011 he Wolfgang Lendle, Marc Ribot, Gert-Jan Blom, Robert Fripp, Magnus Lindberg,
was responsible for the digitalisation and creation of the Musical Archive at the Beyazit Matanya Ophee, Leo and Isa Brouwer, Giulio Favotto and everyone at Otium, Karen
State Library in Istanbul, Turkey. 2013 saw Alberto premiere Leo Brouwer’s Preludio Gomyo, Ilya Gringolts, NHK, John Griffiths, Bobby and Sanna, Jonas and Peter Giger,
de las campanas, a work that was especially written for him, at the Kuhmo Chamber Marcello and Micaela Pittaluga, Filippo Michelangeli, Domenico Nordio, Letizia
Music Festival. Inserra, Claudio Ambrosini & Ex Novo Ensemble, Mirko Satto, Sergio de Pieri,
Alberto recently won, for the third time, the Golden Guitar award (2013) for Best Vladimir Mendelssohn, Kuhmo Festival, Andrea Rucli, Daniel Rowland, Zoran
Recording of the Year. Markovic, Natacha Kudritskaya, Marcelo Nisinman, Livio Torresan, Sergio Scapin,
www.albertomesirca.com Mauro Battistella, Sergio Stancanelli, Paul Fowles, Thérèse Saba, Luca Scarlini, Luis
Lanzarini, Vesna Maria Brocca, Giancarlo Saran, Luca Baldin, Rosa Scapin,
OperaEstate, Orchestra del Teatro Olimpico, Giampaolo Bisanti, Dott. Borsellino, my
great friends Davide, Nicola, Luca, Mattia, Nonna Maria, family Marchioro and my
family, whose support is immense.
I dedicate this recording to Maria, an infinite source of inspiration.

Recording: November 2013, Virtual Studio, Treviso, Italy


Producer: Andrea de Marchi
Guitar: Giuseppe Guagliardo, 2010 · Strings: Aquila Strings
Publishers: Chanterelle Verlag-Zimmermann (CD1), Éditions Orphée (CD2: 2) & Doblinger (CD2: 1, 3–12)
Cover photo: 훿 Giulio Favotto / Otium, taken in the hedge maze of Villa Pisani, Stra, Venice
 & 훿 2014 Brilliant Classics

14 15
94841 Regondi Guitar Music_BL1_v1_Brilliant 26/02/2014 11:48 Page 1

94841

Regondi Complete Solo Guitar Music

Alberto Mesirca
94841 Regondi Guitar Music_IL v2_BRILLIANT 26/02/2014 11:50 Page 2

Back

2
CD

MM_IL_JB, Juwelbox Inlay, (c) MediaMotion 02-2007


94841 Regondi Guitar Music_IL v2_BRILLIANT 26/02/2014 11:50 Page 1

Front

2CD 94841

Giulio Regondi 1822–1872

ALBERTO MESIRCA
REGONDI COMPLETE SOLO GUITAR MUSIC
CD 1 47’56
1 Feuille d’album* 2’28
2 Rêverie – Nocturne Op.19 8’56
3 Fête villageoise – Rondo caprice Op.20 6’25
4 Premier Air varié Op.21 9’14
5 Deuxième Air varié Op.22 11’30
REGONDI COMPLETE SOLO GUITAR MUSIC

6 Introduction et caprice Op.23 9’09

CD 2 60’21
1 Air varié de l’opéra de Bellini I Capuleti e i Montecchi 10’52
2 Solo on Don Giovanni 9’50
3–12 Etudes 39’10
ALBERTO MESIRCA

Alberto Mesirca guitar


*first recording

2CD 94841
Recording: November 2013, Virtual Studio, Treviso, Italy
 & 훿 2014 Brilliant Classics
94841
DDD STEMRA
Manufactured and printed in the EU www.brilliantclassics.com

MM_IL_JB, Juwelbox Inlay, (c) MediaMotion 02-2007

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