Conclusion

The objective of this thesis was to provide an opportunity for contemporary guitarists to

enhance their interpretations of music from the early nineteenth century through a

deepened understanding of the interpretive practices and instrumental resources of the

period. A number of key areas were pivotal in undertaking this evaluation. These

included:

1. Building a context from within which all interpretive observations can be

referenced

2. Exploring the impact of available organological resources and instrumental

technique on interpretive outcomes

3. Identifying contextually embedded interpretive practices

4. Identifying temporally transferable interpretive practices that retain meaning,

although potentially a different meaning, when temporally transferred

5. Exploring the incorporation of contemporary performance practices and

instrumental technique, into performances of early nineteenth century guitar

music

6. Developing interpretive and technical ‘Hybrid Performance Practices’ from the

blending of early nineteenth century and contemporary performance practices.

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 1. Building a context from within which all interpretive observations can be

referenced

This thesis demonstrated that in the process of developing a context from within which

interpretive observations could be meaningfully referenced, it was equally as important to

understand contemporary performance practices as it was to understand the performance

practices of the early nineteenth century. It was from within the former context that all

observations in relation to performance practices of the early nineteenth century are, by

default, made. Once the defining characteristics of contemporary performance practice

were established it was possible to compare findings of research regarding early

nineteenth century performance practice. A control had been established.

An example of this process arose in the discussion of tempo flexibility and the

established contemporary view that tempo flexibility was applied minimally in the late

eighteenth and early nineteenth centuries. This assumption was based on the observed

use of key descriptors such as ‘imperceptible’ by authors of influential early nineteenth

century instrumental and vocal methods. It was shown, however, that the interpretive

implication of this word has changed significantly over the intervening two centuries.

Contemporary performers commonly adopt an interpretive approach to music from the

early nineteenth century that applies these descriptors with their associated contemporary

meaning rather than the meaning intended in their original historical context.

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It was noted in Chapter 7 that Czerny accepted an expressive tempo change of up to a

third from the core tempo as being within acceptable interpretive boundaries. Czerny’s

observation that; ‘there occurs almost in every line some notes or passages where a small

and often almost imperceptible [emphasis added] relaxation or acceleration of the

movement is necessary’1 seemed to present a contradiction between the recommended

frequency, that is high, and the term imperceptible, implying little. By extracting the

word ‘imperceptible’ from its original context and then applying a contemporary

definition to it, a radically different interpretive effect can result. It is possible by

identifying embedded performance practices to demonstrate the changed meaning of the

word and its interpretive significance.2

In this case the term ‘imperceptible’ was shown to mean ‘holistically integrated’, that is

tempo changes that were smoothly introduced so as to be part of a musically integrated

whole. It was tempo changes that were introduced erratically creating a musical hiatus

that were to be avoided. This can happen if a tempo change is introduced too rapidly,

creating the effect of a musical ‘hiccup’. The term ‘imperceptible’ was not specifically

limiting the degree of tempo change but rather the manner of its application.

1
Carl Czerny, Complete Theoretical and Practical Piano Forte School Op. 500, 3 vols. (London: 1839),
2/2/31.
2
See Chapter 7 'A Lesson with Czerny' pp. 214 & 215.

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 2. Exploring the impact of available organological resources and instrumental

technique on interpretive outcomes

This thesis has shown that interpretive outcomes and the instrumental medium and

techniques used to achieve these outcomes are inextricably linked. Changing the

instrumental medium and technical means of producing the sound impacts directly on the

interpretive outcomes. It was suggested that in effect this change of instrumental medium

was the equivalent of a transcription of the original work.

A particular issue considered was that of instrumental timbre. Timbre has always been a

significant compositional parameter; it is the fundamental sound material from which

composers draw when creating their works. Viewing the compositional resource of

timbre, the following cyclical connections were established in which all attributes are

interdependent. If one attribute changes then by default all attributes are changed.

compositional choice of timbre ↔ instrumental medium used to realize the

composition ↔ technique used to produce the aural realisation of the

composition ↔ interpretive outcomes

The only way therefore, to fully understand the compositional and interpretive context

within which a composer was working and, ipso facto, his / her compositional intent, was

by the use of the same sound producing mechanism that allowed the realisation of the

composer’s concept of the ideal timbre - the compositional raw material. It is only then

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that a range of other interpretive possibilities can be fully considered, and if so desired, a

composition ‘transcribed’ for performance on a contemporary instrument. As Jerrod

Levinson noted;

A performance matching the sound of an ideal contemporary (and thus, presumably

It became clear that to fully realize the interpretive possibilities of a composition from the

early nineteenth century it was essential to experience, as closely as possible, the original

aural context in which it was created. This provides an interpretive insight that could not

have been achieved if the only aural experience of the piece was via a transcription

utilising another instrumental medium.4

3. Identifying contextually embedded interpretive practices

This point addressed the interpretive impact of embedded practices that could not be

meaningfully transferred to a contemporary context when contemporary performance

practices were applied. A range of interpretive practices were identified that were deeply

embedded in the expressive language of the early nineteenth century, but which were not

indicated in a notated form in the scores. These practices were understood by all

musicians of the period, being an organic part of their expressive vocabulary. These

interpretive ‘mother tongues’ varied from region to region, and county to country, but

certain expressive devices were widely dispersed beyond their country of origin.

3
Jerrold Levinson, Music, Art, and Metaphysics (New York: Cornell University Press, 1990), 394.
4
As already noted I consider a performance on the contemporary guitar as a transcription.

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In this thesis the link between the interpretive practices of the early nineteenth century

and the Italian bel canto provided such an example. The bel canto style of singing

dominated this period and was widely understood by composers and performers. Sor,

who never visited Italy, composed in this style and vocally imitated its great exponents.

As noted in Chapter 1 compositions that had stylistic properties strongly embedded in

their original historical periods could diminish in meaning when temporally transposed if

these original stylistic practices were not understood. Such compositions were shown as

not offering the opportunity to have their embedded stylistic elements replaced in a

meaningful way by contemporary practices.

This added to the imperative to not only use period instruments, but also to understand

the interpretive context in which the original compositions were created. It was

demonstrated that once these two parameters are more deeply understood the embedded

interpretive practices of the early nineteenth century can be more effectively adapted to a

contemporary context.

4. Identify temporally transferable interpretive practices that retain meaning,

although potentially a different meaning, when temporally transferred

There are a range of stylistic attributes identifiable in scores from the early nineteenth

century that can be effectively transferred to a contemporary context. These attributes

can have an interpretive value within the new context independent of their original

context. Such an attribute was identified in certain harmonic progressions, as shown in

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Chapter 15 in a discussion of a sonata by Fernando Sor, which was identified by William

Newman in 1963 as having harmonic merit.5 Newman was assessing the value of Sor’s

sonatas in a period temporally removed from the composition’s original interpretive

context. This sonata composed in the first decade of the nineteenth century was still

perceived as harmonically skilful and bold in 1963. The harmonic language of this sonata

could therefore be seen as being a temporally transferable characteristic, retaining

meaning when moved to a new interpretive context, independent of any other embedded

interpretive characteristics.

5. Exploring the incorporation of contemporary performance practices and

instrumental technique, into performances of early nineteenth century guitar

music

As demonstrated, through a deepened contextual understanding of the interpretive

practices of the early nineteenth century, opportunities are presented to enhance

contemporary interpretive outcomes of performances of music from this period by

utilising contemporary performance practices and merging them with practices from the

early nineteenth century. Critics in the early nineteenth century commonly recognised

the shortcomings of the guitar in terms of its ability to project in less than ideal venues

and often viewed it as a ‘perennially weak voiced instrument’. Sor also recognised this

5
William S Newman, The Sonata in the Classic Era, 2nd ed., The Norton Library (New York: W.W.
Norton & Company inc., 1972), 664.

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deficiency in his Method and ‘regretted that there was no method of giving more sound to

the instrument’6.

A clear solution to this in a contemporary context is the use of amplification. It is

possible to amplify an early nineteenth guitar without changing its inherent timbre.

Using more powerful contemporary instruments allows for increased volume but at the

same time dramatically changes other parameters including timbre, touch, ease of

playability, articulation and dynamics.

Through an understanding of the techniques of the early nineteenth guitar and their

interpretive significance, the possibility exists to create a hybrid technique that allows a

contemporary guitarist to perform the guitar repertoire from the early nineteenth century

in a manner that offers the possibility of new interpretive outcomes.

6. Developing interpretive and technical ‘Hybrid Performance Practices’ from the

blending of early nineteenth century and contemporary performance practices.

Through a deepened understanding of a composition’s original stylistic context it is

possible to make informed decisions regarding the application and modification of

contemporary interpretive resources to enhance the interpretive outcomes of music from

the early nineteenth century. Such an example was given in Chapter16 when a modified

contemporary right hand technique was suggested which allowed a contemporary

6
Ferdinand Sor, Method for the Spanish Guitar, trans. A. Merrick (London: R. Cocks, 1832; reprint, Da
Capo Press), 17.

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guitarist to perform on period instruments while adopting a number of interpretive

practices not possible to achieve on a contemporary instrument. This approach blended

the technical recommendations made by Aguado in his Method of 1843 with the

dominant contemporary technical approach as recommended by leading players and

teachers in the late twentieth and early twenty first centuries.

An Interpretive Compromise

For the majority of contemporary guitarists, the possibility of specialising exclusively in

the performance of nineteenth century guitar music is unrealistic. Contemporary

guitarists are often required to have an eclectic approach to musical styles and are

unlikely, from the more pragmatic perspective of performance opportunities, to

exclusively work within specialised areas of activity. It has been shown however, that it

is possible to enhance performances of the repertoire of the early nineteenth century

without the necessity of making it an exclusive activity. Hybrid techniques were shown

to be a viable way for a contemporary guitarist to utilise period instruments and share in

their interpretive benefits. However, more importantly, a large number of interpretive

practices commonly used in the early nineteenth century, were shown not to be

instrument dependent, but rather requiring an understanding of the interpretive practices

themselves. These performance practices were shown to be temporally transferable.

Two of the most significant of these performance practices, and some of the most

underemployed, are those of tempo flexibility and tempo rubato. These interpretive

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practices, that were a pivotal part of the performance practice context of the early

nineteenth century, have largely been ignored by contemporary performers. It was

however shown that it is equally possible to adopt these practices in contemporary

performances using contemporary instruments as it is on period instruments.

The possibility for contemporary guitarists to enrich their repertoire and interpretations of

the music of the early nineteenth century is as real as is their interest in investigating the

vital interpretive practices of that period. This requires an acceptance that the early

nineteenth century guitar is not just an ancestor of the contemporary instrument but a

complete, and interpretively self contained instrument. Anyone who has spent time

‘learning’ from these instruments soon discovers they are eminently satisfying and

complete within themselves, capable of supporting rich and subtle interpretations of the

music that was composed for them. One only has to recall Aguado’s views as expressed

in his Method:

The experience of 22 years, however, has made me aware that the guitar is an instrument
of more worth than even I had thought, and one which should be studied with care.7

and further:

I have made many efforts to modify the form and internal construction of the instrument
and indeed they have not been in vain. I possess a guitar which has all the requisites I
think should obtain in a good guitar.8

Aguado was clearly satisfied with the interpretive capacity of his instrument. As this

thesis has shown, the early nineteenth century guitar was indeed an instrument of its

7
Dionisio Aguado, New Guitar Method, ed. Brian Jeffery, trans. Louise Bigwood (Madrid: Tecla Editions,
1843; reprint, 1981), 1.
8
Ibid., 8.

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times, capable of expressing the musical aesthetic of the period in a wholly effective and

satisfying manner.

This thesis established dual contexts which allow an effective transferral of interpretive

practices from the early nineteenth to the early twenty first century. It was demonstrated

that through a deeper understanding of the performance practices of the early nineteenth

century, interpretive ‘gaps’ that often occur in contemporary performances of this music

can be effectively filled to produce aesthetically satisfying performances. The wealth of

repertoire that was composed in this fertile period of the guitar’s history can be explored

afresh with performances retaining their inherent musical value for both performers and

audiences in the 21st century.

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