Federico Cano (1838-1904)
WORKS for guitar solo, Vol.1
San Ysidro ò El Quince de Mayo en Madrid
Tanda de Valses
Estudio a José Vinas
Estudio a Francisco Tarrega
revisione -
revision
Adriano Sebastiani
©
Adriano Sebastiani, Firenze, Italia
2009
It is with deep passion
that I present this editorial proposal, divided in several volumes, dedicated to
the spanish guitarist/composer Federico Cano, up until now completely and
injustifiably forgotten. Along with his father, Antonio Cano Curriela
(1811-1897), he represents a fundamental link of conjunction between the
classical guitaristic schools of Fernando Sor (1778-1839) and Dionisio Aguado
(1784-1849) and the late romantic of Francisco Tarrega (1852-1909). In this
sense the musical and didactic contributions of Antonio and Federico Cano are
really decisive, and this is just this reason that has pushed me to promote the
figure of the considerable artist. According to what Domingo Prat (1886-1944)
states in his Diccionario de Guitarristas published in 1934, Federico
Cano was born on December 10th in 1838 at Lorca, in the Murcia region, starting
to study music and guitar under the guide of his father Antonio. His
praiseworthy pupil, when he was only fifteen years old he began a splemdid
concert and didactic career, performing everywhere in Spain and Portugal,
obtaining everywhere wide and warm successes. His interpretations, appreciated
for the beauty of the sound and for his excellent technique, established himself
like one of the most interesting spanish guitarist of his period. His works for
the guitar include several compositions for guitar solo and a Gran Metodo.
This first volume comprises all original pieces published by Aynè of Barcellona
and by Idelfonso Alier of Madrid, editor of many works of Tarrega too. The
revisions of the works has been carried out following the original editions of
the period and has only corrected a few printing errors, while the dynamics
signs, the harmonics, the slurs, the portaments and all other original
indications have been kept. The compositions show a complte idiomatic mastery of
the instruments, bringing together, in an almost perfect way, popular and
cultured elements, which highlight the hand of a graceful and exquisite
musician, representing a significative contribution to the guitaristic
repertoire of the second half of nineteenth century. His musical writing reveals
an original inspiration and a refined melodic/harmonic conception, obtaining a
perfect balance between classic and romantic musical thought. I hope that the
studies and the researches about this author go on, so that he will obtain the
right position he deserves in the history of the guitar.
Adriano Sebastiani
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