GIULIO REGONDI

Concert Works for Guitar

In reprints of the first editions with historical
notes and a commentary by Simon Wynberg

ECH 441
 Portrait of Regondi by Weber, 1831
Lithograph by Engelmann, reproduced by kind permission of the Late Robert Spencer
 Giulio Regondi
(1822–1872)

Concert Works
für Gitarre
for Guitar

In unaltered reprints of the first editions with

historical notes and a commentary by Simon Wynberg

ECH 441
ISMN 979-0-2047-0441-5

Contents
Rêverie – Nocturne op. 19 . . . . . . . . . . . . . 9
Fête Villageoise – Rondo Caprice op. 20 . . . 18
1er Air Varié op. 21 . . . . . . . . . . . . . . . . . . . 24
2ème Air Varié op. 22 . . . . . . . . . . . . . . . . . . 32
Introduction et Caprice op. 23 . . . . . . . . . . 40

© 2010 Edition Chanterelle im Musikverlag Zimmermann, Mainz

 Portrait of Giulio Regondi in 1841 by the Viennese lithographer Josef Kriehuber
reproduced by courtesy of the New York Public Library (Muller Collection)

4 ECH 441
 GIULIO REGONDI
“It has often been said that the world knows nothing of its greatest men. The young guitarist astonished everyone. He began with a concert solo, each
This is hardly true with regard to the admirable musician and artist who has movement of which was greeted with much applause. He then played variations
just left us. The world does know something of Giulio Regondi, though by on the march from ‘ALINE’ as well as other variations composed by his father.
In truth, he surpassed himself.
no means all it might have known. Man is the creature of circumstances;
and circum­stances were against him, otherwise he would have had a place Never before, perhaps, has the guitar been played with greater grace. Under
among the most illustrious sons of art - a place for which he was fitted by the fingers of young Jules, the instru­ment seems to answer easily the kind of
supreme endowments. Such a man should not ‘join the majority’ without questions which usually remain more or less unanswered. Until now, the neck
the tribute which is his due, the more because, owing to the despotism of of the guitar was only too similar to the deaf-mute’s arm which the Abbé Sicard
events, it was not paid during his life; and we are, therefore, glad to present might manipulate so as to produce intelligible sounds from the afflicted arm.
our readers with an article contributed by one of his personal friends and Today, it is rather like a large keyboard touched by skillful fingers bringing a
harvest of rich harmony and gracious melody.
most ardent admirers. The details that article communicates will not fail to
be read with interest, especially by amateurs who were discerning enough Young Regondi was called back twenty times, after which he was kissed,
to recognise, during his lifetime, all the merit of the man.” caressed and feted by all the ladies. After the concert was over, he ran into the
garden and with the whole­hearted abandon of childhood, began to play with a
So begins an extended biographical article on the life and musical little cart loaded with lilacs. The adult had vanished and the child had taken his
contribution of Giulio Regondi. It appeared shortly after his death in place in the body of this seven year-old, moving, ex­cited, running, jumping, and
goodness knows what else. Gone was the artiste. There was only an ordinary
The Musical World (May 25, 1872, p.332), a journal that had chronicled little boy, smiling, playing, tossing his fair hair about and taking his part in
Regondi’s successes over the forty preceding years. The account provides games with a pretty little girl and another child just as he had done, only half an
a great deal of information, much of which is reproduced verbatim in this hour before in a quartet of serious musicians.”4
introduction.

The “personal friend”, a Mme. Fauche, provides a predictably romantic Carulli, Carcassi and the legendary Fernando Sor5 were all still performing
account of the guitarist’s early years of persecution and hardship. Born in at this time - Giulio therefore had to live up to a high standard.
Geneva in 1822, his parentage and background were always a source of
rumour and supposition. His father was at one time a schoolmaster1 and it No stranger to the courts of Europe,6 Mme. Fauche relates the following tale
was due to him that his son began a public career as an infant phenomenon of a rather immature romantic experience with dubious royalty.
at the tender age of five.2
“He said that he had been sent for more than once to play with the Duc de
Bordeaux, but whether in passing through Paris to England, or in England is
Little is known of Regondi’s mother; there is a brief reference to her “being not known. He also said (to the writer of this sketch) that, some years later, he
a native of Germany” in The Harmonicon (June 1831 pp.200-201).3 Of his became intimate with a gentleman who professed to be the son of Louis XVI
youth, it is best to let Mme. Fauche continue ... (who is thought to have died, and was buried in the prison where the Royal
family were confined). This intimacy led to a proposal that he should marry
“His first recollection of himself was in a grand old house in Lyons, where he the pretender’s daugh­ter, a proposal which gave him no little discomfort, until
resided with a man who called himself his father; and who gave instruction in a letter from the young lady explained that, from her father’s destitute state,
the Italian language. Dr. George Young, a physician of repute in London, and she felt it her duty to accept an offer she had received, which would ensure him
brother to Charles Young, the tragedian, was travelling to Italy, but stopped at independence for life. On the testimony of several professional gentlemen, who
Lyons to take lessons and improve himself in speaking Italian. In the course of knew Giulio on his arrival in London, he was not seven years old. Mr. Charles
his study, Regondi con­stantly expatiated on the talents of his son. Neate7 was one of those gentlemen, also the late Mr. Tomkinson. His success
both in public performance and private society was complete.”
Dr. Young heard Giulio play the guitar, and was both charmed and astonished.
He advised Regondi to take the boy to London. It was probably with this object Complete details of Regondi’s childhood tours are not yet known, but he
in view that the poor boy was made to practice five hours per day; while the arrived in London with his father in 1831 and it was here that he based
father left home early and only returned to dinner late. The outward door of their himself for the remainder of his life. The articles in The Harmonicon
apartment was kept locked to prevent the boy from leaving the house, where he
remained always alone, and a neighbour, residing in a room adjoining theirs, was testifying to his talents are well known8 and follow the Figaro in their
induced to watch and report on the boy’s practice. According to that report he eulogies.
was placed at the father’s bedside to make up whatever time he was said to have
missed during the day. According to both Mme. Fauche and the music critic Richard Hoffmann,9
Regondi’s father now behaved particularly scandal­ously.
Dr. Young used to describe Giulio, at that time, as having an intellectual head,
with a delicate, refined person; his feet well proportioned and shaped, but his “He (Giulio) believed there must have been several thousand pounds in the
hands were strong and more vigorous than the rest of his body, probably from funds when Regondi left England with his earn­ings. At the termination of one
their having been so much used at a tender age. London season, Regondi gave Giulio a five pound note, and sent him to prepare
for their ‘season’ at Brighton, which they had regularly attended since coming
The boy had not remembered having left the house, when a man appeared who to London. After waiting until his pecuniary resource was exhausted, without
measured him for a suit of clothes, in which he went to a public concert where receiving any reply to many letters he had addressed to his father, the poor boy
he performed. On that occasion Regondi carried him arrayed in a velvet tunic, drooped and would have died from starvation but for the care and thoughtfulness
ornamented with gold, and a velvet hat with white feathers. On looking at the of his hostess. He was roused by her to the necessity of learning ‘how to live’.”
audience from the back of the stage, the boy was too frightened to move, and
Regondi took him and his guitar in his arms and placed them on a stool in the It was many years after this event that Regondi wrote for money, saying he was
front of the stage. As soon as the piece of music was finished the house rose to dying! Giulio sent for him to London, where he spent the last years of his life.”
applaud and encore, upon which Giulio ran off the stage in alarm. With difficulty
he was caught and made to play again.”
The date on which Regondi (senior) absconded with his son’s earnings is not
Portions of the foregoing are possibly apocryphal, and perhaps when more known, but an article in The Musical World,10 by one Wellington Guernsey,
extensive research has been undertaken, a less heart­rending story will refers to an “adopted father” when Giulio was living temporarily in Dublin
emerge. The exploitation of prodigies was by no means unusual however, in 1834. Presumably Regondi, if indeed he was Giulio’s father, disappeared
as many reports in German, French and English journals and newspapers sometime before this. It was in Dublin that Giulio met the dying poetess,
clearly show. There were frequent prodigy seasons, precocious children Felicia Dorothea Hemans (known also to her wide reading public by her
invariably being good box-office attractions. The following review appeared maiden name, Browne). Guernsey, in the same article relates how
in the Figaro when Regondi was no more than seven or eight years old: “After a lingering illness, one of the few visitors admitted to her room, after
she became entirely confined to it ‘was that most gifted and gracious child’ as
“The musical matinée given yesterday by the young Jules Regondi was she described him (for such he then was, both in years and appearance), Giulio
enchanting. The salons of M. Pelsold were a very pleasing sight to the audience Regondi, in whose wonderful musical genius she had previously taken great
and, doubtless, to the interesting performer as well. Few concerts can have delights, whilst his guileless and sensitive nature in­spired her with a warm feeling
proved more satisfying for the enthusiast. The audience heard artis­tes of the first of interest. The lines she had addressed to him in the preceding year flowed
rank and the concert only lasted two and a half hours. from that wellspring of maternal kindliness which was ever gushing within her
bosom, and which made every child - still more every loving and motherless
child - an object towards which her heart yearned with tender sympathy. The
little fellow showed the greater anxiety during her illness, and was constant in
ECH 441 5
 his spontaneous inquiries. Sometimes he would call to ask for her on his way to The London appearances of the mature Regondi follow a famil­iar pattern.
play at the Castle concerts, or at some other evening party; and as he stood in the Once or twice a year, a benefit concert was arranged at a venue such as the
doorway, with his innocent face, his delicate form, his long fair hair streaming Hanover Square or Willis Rooms. A variety of singers and instrumentalists
down his shoulders, and his whole air and bearing so different from the everyday
beings around him, one might almost have taken him for a messenger from ‘the performed, the star turn being, of course, Regondi, playing compositions for
better land’.” concertina and guitar.

Guernsey has in fact “borrowed” this passage almost word for word from I have only examined a selection of the reviews from The Musical World18 but
The Works of Felicia Dorothea Browne .... (Edinburgh, London 1839), an exhaustive check through all the contem­porary magazines and newspapers
which includes a biography by the poetess’ sister. would doubtless yield similar reports and the expected enthusiastic praise.
More significantly, it would reveal the titles of unpublished guitar works
There follows a rather romantic, sentimental poem which, for the curious, is that died with their composer. The most frequently performed of the now
reproduced in P.J. Bone’s The Guitar and Mandolin (see bibl.). The above lost guitar works were an apparently splendid arrangement of the overture
sketch describes Regondi, as do all others, as a sensitive and enormously to Rossini’s Semiramide19, transcriptions of Thalberg Fantasies on themes
kind person. Mme. Fauche talks of his generosity and sympathy, Richard from Mozart’s Don Giovanni and Meyerbeer’s Les Huguenots (Opp.14 and
Hoffman of his “gentle and winning disposition”. 20) and variations on Bellini’s I Capuletti e Montecchi - conceivably the
work composed by Mertz.
While Regondi’s youth is replete with stories and vignettes, his later years
are not as fully chronicled. He continued to give regular recitals in England Catherine Pelzer, later wife of the flautist Sidney Pratten, per­formed with
and toured with the pianist Mme. Dulcken and the famous ‘cellist Joseph Regondi, especially in their youth. An account of a concert20 relates that
Lidel. He performed, according to Mme. Fauche’s monograph, at “private “such diminutive performers were ‘lost’ on a large platform; so, to be seen
houses” where, for “an hour’s performance he constantly received a much as well as heard, they were mounted upon a table”. According to Bone (see
higher remuneration in presents than the sum for which he was engaged bibl.), Regondi also performed with the guitarist and viola player Konrad
(twenty pounds)”. He also “spent several days at the country seats of the Adam Stehling. In addition to his musical skills, Regondi was a gifted
English aristocratic families”. It is said that Leopold of Belgium gave his linguist, speaking and writing fluent French, English and Ital­ian.21
watch to Regondi after a recital “so greatly was he delighted with him”.11
For the last eighteen months of his life, Regondi suffered “a severe and
painful illness”,22 cancer, according to Richard Hoffmann,23 who had stayed
In 1841 and 1846, the Allgemeine Musik Zeitung12 records a number of with Regondi in the past when visiting London. He writes:
concerts by Regondi and Lidel, the most noteworthy being that on March
31st, 1841, organized by none other than Clara Schumann at the Vienna “... a certain hope of reprieve from the dread sentence of death was installed by
Gewandhaus. Here they played a Duo Concertante for ‘cello and melophone his physician or friends, by telling him that, if only he could obtain some of the
(an instrument invented in 1837 and related to the accordion). American Condurango plant, which at that time was supposed to be a cure for
the malady, he might, at least, be greatly relieved. I sent him a quantity of the
preparation but it failed to help him...”
Thalberg’s Don Juan Fantasy (op. 14) arranged for guitar was performed at
a number of concerts as was an arrangement of a Spohr violin concerto (in On Regondi’s death certificate, the entry under “Cause of death” is
a version for melophone). “Epithelial Cancer of the anus 18 months Jaundice 3 weeks Exhaustion
Certified.” He died on the 6th May 1872 at 17 Portsea Place24, a small
A concert in Dresden in October 1846, reviewed in the AMZ, provides house near Hyde Park, and was buried two days later in St. Mary’s Catholic
evidence that Regondi performed, for a time at any rate, on an eight-string Cemetery, Kensal.25 On his tombstone is inscribed: “OF YOUR CHARITY/
guitar,13 perhaps influenced by Luigi Legnani. Napoleon Coste was certainly PRAY FOR THE REPOSE OF THE SOUL/OF GIULIO REGONDI/DIED
using a seven-string instrument by this time. The review goes on to praise 49/HAVING RECEIVED ALL THE HOLY SACRAMENTS/ R.I.P.”
Regondi’s performance on the concertina and describes the instrument’s
capabilities and characteristics.
THE WORKS FOR GUITAR
Regondi’s obituary in the Musical World14 mentions that he had also
performed with Lidel at Darmstadt, Frankfurt, Karlsruhe, Prague and The works assembled in the present volume are the complete known works
Vienna, “playing repeatedly at the Imperial Court, besides giving, with by the composer apart from the set of ten studies mentioned in the preface to
immense success, twelve concerts, in which the son of Mozart also this edition. If more works come to light, and most guitarists must sincerely
assisted”.15 His prowess on the melo­phone and, more importantly, the hope they do, these will be included in a later edition. For the time being,
concertina is of great signifi­cance, for it was the second instrument that the numbered works represented are Opp. 19-23, published by Jean André
Regondi popularised and properly established on the contemporary musical in 1864.26 The Musical World27, in a review of Regondi’s concert at the
scene. He is one of the few guitarists in the nineteenth century to have Hanover Square Rooms, mentions performances of three of the five works:
excelled on another instrument - albeit the concertina. Patented in 1844, it Rêverie, Fête Villagesite (sic) and Introduction and Caprice (i.e. opp.19, 20
was the invention of Sir Charles Wheatstone, now best remembered for his & 23). In the present edition the originals are issued in facsimile without
scientific achievements, notably the devel­opment of “Wheatstone’s Bridge” any additional fingering or alterations.
(a device for regulating current). According to Mme. Fauche:16
A cursory look at the techniques demanded in Regondi’s works attests to
“Regondi, being shown the ingenious masterpiece, was asked what could be his skill as both performer and composer. They are rarely less than taxing,
done with it. He replied, ‘My son will bring out its powers if anyone can do so.’ exploring a variety of techniques: lengthy tremolo passages (making later
The lad did indeed give it life. He did indeed study it! He published a ‘Method’ and somewhat better known ex­amples of the genre pale by comparison),
or ‘Guide Book’ which gave clear, concise rules for pupils which no master since extended arpeggio sequences, the simultaneous execution of a melody
has been able to improve upon. It is not too much to say that Giulio Regondi’s
performance can never be equalled. All he did has died with him.”
with rich variegated chordal accompaniment and rapid scale passages. The
numbered oeuvres are particularly daunting, even for the most accomplished
There is a wealth of surviving concertina music, much of it pub­lished, fingers. These are true virtuoso works com­ posed for performance by
written or transcribed by and for Regondi. In later years, the composers Regondi himself, who possessed one of the most awesome techniques of
Bernhard Molique, Julius Benedict and Sterndale Bennett wrote for the his generation.
instrument. Regondi himself composed a vast quantity of music for the
concertina; much more in fact than he wrote for the guitar. It is beyond Serious composition for the guitar was comparatively rare after the
the scope of this brief bio­graphical sketch to enter into detail regarding the extraordinary craze of the early nineteenth century. The production of
concertina works. Suffice it to say that many of the works are immensely musically satisfying works for the instrument was the preserve of a handful
de­manding - often the result of adaptations from the violin reper­toire. His of guitarist-composers. Regondi, like Napoléon Coste, J. K. Mertz and
most famous solo was Les Oiseaux, “which he used to perform so often to Zani de Ferranti, is a major figure of the period, and his total neglect, until
admiring audiences”.17 The most unusual transcriptions for the instrument relatively recently in the late 1970s, was an embarrassing oversight.
must surely be the “Selections from the Most Celebrated Oratorios...” which
includes extracts from Handel’s Messiah, arranged for baritone concertina Simon Wynberg
by Regondi and published by Wheatstone. London, 1981 (revised 2010)

6 ECH 441
 NOTES 26 The copies of Opp. 19-23 from which we have reprinted this edition have had
the imprint “Offenbach/M, chez Jean André” covered by a paste-on label of a
1 As described to a Mr. Binfield by an Italian nobleman who, as a boy, had been contemporary music dealer (Bone & Co.).
taught by Regondi Snr. at the gymnasium in Milan (1822-­1823). The information
was supplied to Mme.Fauche and appeared in The Musical World Vol.1, (June 1, 27 The Musical World July 2, 1864, p.429.
1872) p.345. The details supplied by Thomas Sears Binfield are probably reliable.
A musician and the executor and main beneficiary of Regondi’s will, he was
certainly well-known to him. Regondi’s probate gives Binfield’s London address
as 9 Strathden-Villas, Shepherd’s Bush. SELECTED BIBLIOGRAPHY
See main text and footnotes for nineteenth century articles and reviews.
2 According to information supplied to Mme. Fauche by Binfield in The Musical
World (loc.cit.). Bone, P.J., The Guitar and Mandolin 2nd ed. (Luton, 1972), pp.291-296.
3 The entire passage is quoted in Turnbull H., The Guitar from the Renaissance Hanslick, E., Geschichte des Concertwesens in Wien (Vienna 1869), pp.76-
to the Present Day (London, 1976) p.95. Further articles and reviews regarding 82.
Regondi for the year 1831 may be found in The Harmonicon (pp.174, 202 and
230).
Hoffmann, R. Some Musical Recollections of Fifty Years (London and New
York, 1910), pp.76-82
4 Le Figaro May 1, 1830. p.3, review of a concert held on April 27. I came across
articles and references to Regondi in the following French newspapers and
periodicals: Le Figaro April 13 and 21, June 4 (1830); Revue Musicale Vol.VIII,
Pazdirek, F. Universal-Handbuch der Musikliteratur Vol.XXIV (Vienna,
Livre 1, pp.17-18 (1831); Journal des Débats April 19 (1830).
1904) (See listings of works under “Regondi” paticularly for concertina).

5 Sor dedicated his Op.46 Souvenir d’Amitié Fantasia (publ. c.1831) to Regondi. Radke, H., “Regondi, Giulio” in Die Musik in Geschichte und Gegenwart
(Kassel and Basel, 1949) Vol. II. cols. 142-143. A list of articles and reviews
6 According to the ubiquitous Binfield in The Musical World (see note 2). from nineteenth century German periodicals, covering his tours of 1830/1,
1840/1 and 1846/7 are included in Radke’s bibliography, most of which has
7 Neate was a well-known pianist and composer active in London at the time. been consulted for the present brief study.

8 See Turnbull, H. (op.cit.) pp.94-95. Schroder, F., Bernhard Molique (Stuttgart 1923), pp. 71, 96,104.

9 Some Musical Recollections of Fifty Years (London and New York, 1910) p.79. Zuth, J., Handbuch der Laute and Gitarre (Vienna 1926), p. 229.

10 The Musical World May 25, 1872, p.334. Zuth, J., “Eine Handschrift von Giulio Regondi” in Musik im Haus Vol VI/3
(Vienna 1927), pp.78-80. The article deals with the MS of a miniature by
11 According to Binfield in The Musical World (loc.cit). Leonhard Schulz.

12 The Allgemeine Musik Zeitung gives accounts of Regondi’s concerts in the

following numbers: 1841: March, No.10, p.218; April No. 15, p.318 & No. 26,
p.334.; May, No.19, p.384; May, No.21, p.426; 1846: December, No.50. p.384. ACKNOWLEDGEMENTS
Chanterelle Verlag are especially indebted to the Late Robert Spencer for
13 Also mentioned by Richard Hoffmann (op.cit) p.79. allowing us to reprint Regondi’s Opp. 19-23.
14 May 18, 1872, Vol.1,. p.315. We are also grateful for the help and consideration of the following:
15 The Musical World (loc.cit).
The Late Leif Christensen
Gloria Clark
16 The Musical World (loc.cit).
Kungliga Musikaliska Akademiens Bibliothek, Stockholm
17 See note 14.
Jytte Torpp Larsson of the Royal Library, Copenhagen
The New York Public Library
18 I have found the following reviews in The Musical World for the 1850s and 1860s. Dr. Frank Patzer of the Wiener Stadt- and Landesbibliothek
The list is by no means complete. St. Mary’s Roman Catholic Cemetery, Kensal, London
Vol. XXX May 29, 1852, p.348, June 26, 1852, p.413 Vol. XXXII June 24, 1854, Rebecca Wynberg.
p.423 Vol. XXXIII June 23, 1855, p.395 Vol. XXXIV January 5, 1856, p.14, May
31, p.342 Vol. XXXV June 13, 1857, p.380 Vol. XXXIX July 13, 1861, p.443 Vol.
XL May 17, 1862, p.315 Vol. XLII July 2, 1864, p.429
Vol. XLVI May 2,1868, p.303; May 23,1868, p.353; September 5, 1868, p.621.
DISCOGRAPHY
Giulio Regondi Guitar Works, Opp. 19-23, Leif Christensen (guitar) Paula
19 According to the reviewer in The Musical World July 13, 1861, p.443. Records (Denmark)

20 Harrison F.M., Reminiscences of Madame Sidney Pratten (Bournemouth, 1899) Leyenda David Russell (guitar) GHA (Belgium)
p.20.
Romantic Guitar David Starobin (guitar) GHA (Belgium)
21 According to Mme. Fauche (op.cit.).

22 See Note 14.

23 Op. cit.

24 The obituary in The Musical World (loc.cit.) gives Regondi’s address as Portman
Place. However this is surely a mistake as the death certificate clearly has Portsea
Place, Furthermore. Portman Place is in distant Hackney. The writer of the obituary
notice perhaps confused Portsea Place with nearby Portman Square.

25 Not Kensal Cemetery proper which is next to St. Mary’s; another inaccuracy found
in Regondi’s obituary in The Musical World. For potential pilgrims, the grave
number is 1509.

ECH 441 7
 CRITICAL COMMENTARY
AND PLAYING SUGGESTIONS

As mentioned earlier, Regondi performed on an instrument with two Fête Villageoise

(perhaps three) added bass strings. They were almost cer­tainly tuned to the D page 18:
and C below the E string, although, like Carulli’s Decacorde of earlier years, Time signature should be 2/4 not 3/4.
this could have varied from work to work. Guitarists who play instruments
with more than six strings should therefore not be reluctant to lower bass page 22:
notes, particularly pedals, by an octave when this is musically justifi­able. 1.1 ii C# not D in bass
The works in this volume do lend themselves to these ad­justments although 2.2 i fourth sixteenth note, f# not g
they are perfectly suitable for six string per­formance.

According to Thomas Binfield (loc.cit), the young Regondi used a long 1er Air Varié
thimble-like attachment to the little finger of his right­hand to enable him to page 31:
support the hand on the table of the guitar. This is borne out by the portrait 7.1 ii b# should be c#
of Regondi on page 2 of this edition. A revival of the practice is not advised! 8.3 i A not F# in bass

All the pieces in this collection are very sparsely fingered. I have purposely
refrained from providing additional indications, mainly because the level of 2me Air Varié
technical difficulty presupposes a fingering expertise. page 32:
2.3 iv fn not f#
The indication of harmonics is straightforward; either by “o” or more
frequently “O”. The fret to be used is shown by another number (e.g. Fête page 33
Villageoise Op.20, page 18, seventh and eighth staves). The O used by itself 2.1 i Bass should be E not A
does not mean open string.
page 35:
Glissandi are shown by a line between note heads. Regondi is particularly 8.2 iii bb should be a sixteenth note joined to the preceding group - thereby
fond of the acciaccatura gliss’ which should be played more quickly. making a sextuplet.
However, there is a case for interpreting the gliss’ sign as a fingering aid,
in the absence of any others, instructing the player to remain on the same
string. Introduction et Caprice
page 41:
Triplets are usually only indicated by their beaming. Page numbers below 6.2 iii second sixteenth chord in bass, should be c e a not c e g?
refer to the present edition.
page 44:
10.1 i fourth sixteenth note c not b
STAVE. BAR beat

Rêverie
page 12:
The player should pay careful attention to the duration of the notes in the
lower part of the tremolo section. This is not implicit in the notation.

page 13:
4.2 i A in the bass not F#
8.1 i g# not b# in lower part

page 14:
6.1 (the half bar). An arrangement of this piece for piano by Frederic Alquen
(publ. Ashdown and Parry, 1871), one of the rare occasions when a piece is
borrowed from the guitar reper­toire, has the following:

6.3 (2nd full bar) i last sixteenth note c# not b?

9.3.i 3rd sixteenth note fx in top part.

8 ECH 441
ECH 441 9
© 2010 Edition Chanterelle im Musikverlag Zimmermann, Mainz Das widerrechtliche Kopieren von Noten ist gesetzlich ­verboten und
kann privat- und strafrechtlich verfolgt werden.
Unauthorized copying of music is forbidden by law, and may result in
10 ECH 441 criminal or civil action.
ECH 441 11
12 ECH 441
ECH 441 13
14 ECH 441
ECH 441 15
16 ECH 441
ECH 441 17
18 ECH 441
ECH 441 19
20 ECH 441
ECH 441 21
22 ECH 441
ECH 441 23
24 ECH 441
ECH 441 25
26 ECH 441
ECH 441 27
28 ECH 441
ECH 441 29
30 ECH 441
ECH 441 31
32 ECH 441
ECH 441 33
34 ECH 441
ECH 441 35
36 ECH 441
ECH 441 37
38 ECH 441
ECH 441 39
40 ECH 441
ECH 441 41
42 ECH 441
ECH 441 43
44 ECH 441
ECH 441 45
46 ECH 441
ECH 441 47