asteInuovo-Tedesco: Guitar Concerto No. 1 in D major, Op. 99 Music Minus One Guitar Christian Reichert, Gi Plovdiv Philharm Nayden Todorov, Cont Castelnuovo Tedesco Concerto No. 1 for Guitar & Orchestra in D major, Op.99 GirMario CASTELNUOVO-TEDESGO CONCERTO N? 1 FOR GUITAR AND ORCHESTRA D MAJOR «> RE MAGGIORE OP. 99 we MUSIC MINUS ONEISTIONS FOR b Suc We tie rity to create a product that will provide you an easy way to learn and perform a concerto with a full orchestra in the comfort of your own home. Because it involves a fixed orchestral performance, there is an inherent lack of flexibility in tempo and cadenza length. The following io features and techniques will reduce these inflexibilities and help you maxi- mize the effectiveness of the wwio practice and performance system: Where the soloist begins a movement solo, we have provided an introductory measure with subtle taps inserted at the actual tempo before the soloist’s entrance. Chapter stops on your ci are conve- niently located throughout the piece at the beginnings of practice sections, and are cross-referdenced in the score. This should help you quickly find a desired place in the music as you learn the piece. Chapter stops have also been placed at orchestra entrances (after cadenzas, for example) so that, with the help of a second person, it is possible to perform a seamless version of the concerto along. side your sivio ch accompaniment. While we have allotted what is generally con- sidered an average amount of time for a cadenza, each performer will have a dif- ferent interpretation and observe individ ual tempi. Your personal rendition may preclude a perfect “fit” within the space provided. Therefore, by having a second SING THIS MMO EDITION person press the pause Il button on your co player after the start of each cadenza, followed by the next track button, your cp will be cued to the orchestra’s re- entry. When you as soloist are at the end of the cadenza or other solo passage, the second person can press the play > (or pause Il button) on the ci remote to allow a synchronized orchestra re-entry. Where necessary, we have inserted subtle taps (also notated in the solo part) in the right channel for easier synchronization; these taps may be emphasized or diminished by use of the balance control on your stereo system. We have observed generally accepted tempi, but some may wish to perform at a different tempo, or to slow down or speed up the accompaniment for practice purposes, You can purchase from MMo (or from other audio and electronics deal ers) specialized ci players which allow variable speed while maintaining proper pitch. This is an indispensable tool for the serious musician and you may wish to look into purchasing this useful piece of equipment for full enjoyment of all your Aino editions, We want to provide you with the most useful practice and performance accompa niments possible. If you have any sugges tions for improving the wnio system, pleas feel free to contact us. You can reach us by « ‘mail at mmogroup@musiemimusone.com Mo a6rs‘(QBs | Geee8 & ese Meste Mises Oxr TO SONTENTS wwe Gtr Taning Sequence ar 10% restate Pick-up Bar 295 orchestra entrance ar 51 Tempo ida tape (3 nena) Before ches entrance ar 12 compo guidance tape elare ores entrance ar, - ar 6: tempo guidance apbelar ofcostea entra Rerum ees mes er 118 ar 227 ar 51 Tempo guidance ae before Orcs entrance (©2004 MMO Music Group, Inc.All rights reserved. ISBN 1.59615-585.0 M036Mario CastELNUOVO-TEDESCO ‘nto CasTeLNUovo-TeDESCO was born in Firenze (Florence), Italy on 3 April 1895, His flair for the ‘Piano and for composition were obvious early on, and he was enrolled in the Cherubini Institute in Flor: ence while quite young, He attained early attention with impressionistic, pastoral works such as Cipressi, origi nally written for piano in 1921 and scored for symphonic orchestra that same year. In 1955 his I profeti (Violin Concerto No. 2) was premiered with much fanfare by the New York Philharmonic with Jascha Heifitz as solo ist under Toscanini’s baton. In 1935, his Cello Concerto ‘was premiered by the same ensemble with Piatigorsky as soloist. Because of his Jewish heritage and the impend: ing war in Europe, he emigrated with his family from Europe to the US. in 1959, with the help of both Tosca- nini and Heifitz, There he performed the premiere of his Second Piano Concerto under John Barbirolli’s baton in New York. He ultimately settled in Beverly Hills, California, where he served as composer on films such as Tortilla Flat (1942), Gaslight (1944) and A Double Life (1947, fon which he collaborated with Miklos Rosza). He con- ‘tinued to prolifically compose many acclaimed works for Mo 3818 the operatic stage; a cycle of overtures on Shakespeai can themes; many works for solo instruments, chamber ensembles, symphonic orchestras and concerted works He also taught such lauded latter-day film composers as ‘André Previn, Henry Mancini and John Williams But it was the guitar for which Castelnuovo-Tedesco had his most durable affinity, and such great artists as [Andrés Segovia regularly commissioned works from this great twentieth-century composer. Though he didn't play the instrument, his refined, delicate and nuanced style meshed perfectly with the gentle and distinct qualities of the guitar, and his orchestrations in the guitar concerti also reflect this delicacy of style. Allin a, he wrote two concerti for solo guitar and orchestra, and one concerto for two guitars; plus a Serenade for guitar and chamber orchestra, His solo guitar music includes a guitar sonata and other shorter works such as the Capriccio Diabolico (a tribute to famed violinist Niccol6 Paganini), Caprichos de Goya and many others. Castelnuovo-Tedesco died in Beverly Hills on 15 March 1968. Much of his music remains unpublished, and his family subsequently made a large donation of his ‘manuscripts and other effects to the Library of Congress, where they now reside.A Note FROM THE EDIToR 8 THis coxcenTo by Mario Castelnuovo-Tedesco the importance lies in exaggerating a proper farticulation and setting the right accents. The symphonic character of the concerto, with its wide har- monies, makes it very important to set a well-articu: lated guitar part against the orchestral accompaniment, ‘This gives the composition a clear form and makes it understandable for the audience without destroying the phrases My right-hand technique for the seales— especially: ‘m” and ““i" fingers. I feel that this technique makes it much easier in this 3-over-8 rhythm to form the sixteenth-notes in an organic manner. All my fingerings are conceived with this in mind, This is the reason I sometimes incorporate just the “m” and “i” fingers to make the string-change ‘easier for speed and accuracy. in the third movement- isto alternate the “a,” “ —Christian Reichert Freiburg, Germany, May 2004 MMO 3618‘ Pour Andrés Segovia CONCERTO N° 1 for Guitar and Orchestra D major 00 Re maggior Edited by Christian Reichert 7] I Mario Castenuovo-Tedesco y . op. 99 (1939) Allegretto (J=12) = Ore. ' - Guitar solo ca ——_— ff ” +S Solo on bravura vi, IX. yr ce tT Bits pn eB Phe? (©1954 Schott & Co, Lid, London. Renewed 198s, Assigned to B.Schott's Sohne, Maina. ao 9618 llrightsreserved, Used by permission.brillante o--- an get eho ch = mf Mo 300