There is a continuing and growing interest within the guitar and broader musical community in historical performance practices and cultural traditions. This in turn is impacting on our understanding of the interpretive, social, and political contexts in which our contemporary guitar repertoire was created, shaped, and now thrives.

What is the common thread that links these past practices and cultural traditions to our contemporary musical world?

How have these past traditions, languages and common practices been preserved in the score? How do we again bring these to life and move Beyond the Notes?

The Event

Beyond the Notes will feature presentations by distinguished performers and scholars:

• John Williams — Connecting the Dots

• Richard Savino — Latin American Guitar Traditions, c. 1650 - 1850

• Adrian Walter — The Early Nineteenth Century Guitar: A Mirror of Popular Culture

The event is open to all those who are interested in the music of earlier historical periods and their connection to contemporary culture. Students are particularly welcome to engage in this event, bringing a valued perspective to the ‘Conversation’ from the next generation of performers and researchers.

An open discussion at the end of the event, hosted by Professor Stephen Goss, together with several session breaks, will provide audience members with opportunities to ask questions, engage in the discussion and explore ideas with colleagues.

The event is free but registration is essential.

Please note that the event, while not livestreamed, will be filmed and available online for those who cannot attend.

Session 1 - Richard Savino - Latin American Guitar Traditions, c. 1650 - 1850

The history of the guitar in Latin America is rich and varied. Along with the vihuela, the guitar arrived in the Western Hemisphere during the 16th century. Initially it was in the form of a small, double course instrument similar to today’s ukulele. By the 17th century it had evolved into the more common 5 double course baroque guitar, and, as occurred in Western Europe transitioned to a 6 double course and eventually a 6 single stringed instrument. Throughout this period guitar repertoire continued to reflect the European models of composition and improvisation, but also began to incorporate traditions and techniques derived from indigenous and African cultures.

My presentation will focus on a selection of guitarists and guitar repertoire that reflect this evolution through the works of Lucas Ruiz de Ribayez (c.1626 – 1677; Spain/Peru), Santiago de Murcia (1673 – 1739; Spain/Mexico/Chile), Juan Antonio Vargas y Guzman (fl. 1776; Spain/Mexico), and Pedro Ximenez Abrill y Tirado (1784 – 1856; Peru/Bolivia). 

Session 2 - Adrian Walter - The Early Nineteenth Guitar: A Mirror of Popular Culture

Throughout its history the guitar has always been closely linked to popular and traditional cultures. During the early nineteenth century such connections abounded across styles and genera. This included the use of popular dances such as the waltzes of Fernando Sor, or the ländler of Mauro Giuliani, variations on popular songs, and arrangements of tunes from the latest operas. Sor’s variations Op.9 on Mozart’s Das klinget so herrlich from the Magic Flute is a particularly well-known example highlighting the significant role that opera played in the cultural fabric of the day, and how this was reflected through the most popular of instruments, the guitar.  

The early nineteenth century saw the newly emerging single six string guitar blossom in the major musical centres across Europe, including Paris, Vienna, and London. Through its unique voice, its versatility, and the ease with which it could be played the guitar quickly embedded itself into the musical, social and cultural life of these cities.

The connection of the guitar with popular and traditional cultures has maintained its momentum through to the present day, with the guitar now a ubiquitous and defining element of our contemporary lives and creative practices.

My presentation will explore the interaction between the guitarists, composers, luthiers and the broader cultural and aesthetic world of early 19th century Europe and highlight how the guitar absorbed and mirrored so effectively this milieu in a unique and revealing manner.

Session 3 - John Williams - Connecting the Dots

In my illustrated presentation, I will concentrate on the importance of how we contemporary guitarists and musicians can look at past styles of music and performance to enhance our own interpretations:  the dots, or notes, on their own do not convey enough without appreciating and connecting them to the context of their time and place. I will also connect this to our attitude to, and understanding of, various existing musical cultures other than the European, or “Eurocentric” one. Also to be discussed will be how to approach arranging and transcribing.