Biographical notes
Luigi Castellacci (Pisa 1797 - Paris? after 1845) was a
prominent guitarist of the first half of the Nineteenth Century, whose
importance today is somewhat less than the one attributed to him by the musical
world during his life. He started his musical studies in his home city, devoting
himself initially to the mandolin; but he changed soon to the guitar, evidently
recognizing its greater resources. He soon had success as a concert guitarist
and had moved by 1820 to Paris, where he lived for a long time. His artistic
journeys carried him to the greatest musical European centers: in 1825 he
distinguished himself in Germany and, from 1834, in London, enjoying success and
an increasingly good reputation everywhere.
After 1835 Castellacci settled for good in Paris, devoting
himself almost exclusively to composition and teaching, rather than compete with
the many other guitarists, above all Italian ones, who were active in Paris in
that epoch. There is no sure information about his last years: the date of his
death is assumed to be coincident with that of the publication of his “Methode
compléte et progressive pour la guitare” (Paris, 1845), without opus number,
which is probably his last composition. As far as his works are concerned, he
published his numerous works almost entirely in Paris, starting from 1830.
Castellacci was the author of more than one hundred works with guitar, among
which are various collections of Airs and Nocturnes with guitar accompaniment,
and duets for guitar and piano and for two guitars.
His most interesting works are the ones for solo guitar: the
Fantasias, waltzes and themes with variations on arias from operas, among which
we must mention the “Fantasia,” Op. 99, on a theme from “Cenerentola”
by Rossini; the “Variations,” Op.35, on the theme “Nel cor più non
mi sento” of Paisiello; the “Variations,” Op. 36, and a pleasant
collection of airs from the “Les Passe temps,” Op. 54, of didactic
value. We must mention also the “Fantasia,” Op.44, for guitar and
piano; and the “Three Duets,” Op. 26, for two guitars.
Many of his works are unfortunately lost today.
(Transl. M. Penny)
Bibliographical Notes
- Mario Sicca, La chitarra e gli strumenti a tastiera in il
Fronimo no. 1 (1972), p. 30
- Eugenio Becherucci, Chitarra e pianoforte - breve storia della
letteratura del duo dall'Ottocento ai nostri giorni in il Fronimo no.
70, p. 16 (30-31), 37
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