Dionisio Aguado y García

Dionisio Aguado y García ( born April 8, 1784 in Madrid, † December 20, 1849 ) was a Spanish guitarist and composer.

Life

Dionisio Aguado took music lessons with Father Basilio, of whose real name was Miguel García. After Aguado had settled on his estate in Fuenlabrada near Aranjuez, he devoted himself to the guitar. In 1826 he went to Paris, where he taught and gave many concerts. Soon he was the darling of the salons and concert halls. But here he also met the great contemporary Fernando Sor (1778-1839), with whom he then joined a lifelong friendship. He dedicated his composition Aguado from Friends Les deux amis for two guitars, with which both occurred as a guitar duo.

The new techniques

In the late 18th century, the Baroque guitar was ( 10 strings ) replaced with its 5 double choirs of the six-string guitar einchörigen. This had set the current mood: EA dgh e '. Aguado developed in Paris now for basic studies his " Nuovo Método para guitarra " (Madrid 1843) to make the new and old guitarists familiar with the completely new guitar technique. He composed this small, very appealing musical forms and thoughtful Etudes, which were partially explained by a corresponding text.

Aguado sat in his textbook was also the first for the nail stops. He thus became the pioneer of this form of attack. Until then, the prominent guitar virtuosos were divided into two camps: Dionisio Aguado Here, Mauro Giuliani (1781-1829), Ferdinando Carulli (1770-1841) as representative of the nail stop, and there Fernando Sor, Matteo Carcassi (1792-1853) and Antoine Meissonier (1783-1857) that this new method despised and vowed to stop the knoll. Aguado defended his stroke technique with nails in his textbook: .. "We can either play with the nails or with the fingertips of the right hand As for me, I 've always used my nails Nonetheless, I decided my thumb nail cut off after I my friend heard Sor play, and I congratulated me, to have followed his example. the momentum of the thumb pad for the bass produces a full and pleasant tone. for the index and middle fingers, I keep the nails at. My experience should entitle me to my opinion. . explain on this issue with the fingernails we achieve on the guitar a color that is not with the sound of the harp nor with the mandolin can compare my opinion the guitar is marked with a character that distinguishes it from other instruments: they is sweet, harmonious, pathetic, sometimes majestic. has no access to the grandeur of the harp or the piano. Your delicate grace and its variety of tone modulations they do, however, full of secrets to an instrument. For this reason I think it is desirable to strike the strings with the nails. They produce a clear, metallic, varied tone full delicacy, light and shadow ... ".

The fundamental change in guitar, the new attack technique, all of which had the consequence that also changes to the seating position and the attitude instrument impact. This has also been discussed in the textbooks, in addition Aguado also Carulli (Paris 1810) and Sor (Paris / Bonn 1830), detail. The guitarist had the new guitar notation that had only recently been introduced to learn.

As regards the position of the guitar, as recommended Aguado a tripod for locking of the instrument, the so-called tripedisono to allow a corresponding position of the instrument. This kind of supporting the guitar, has not been able to put. Fernando Sor way, had supported his guitar with the left Zargenkante on a table edge. Footstool, as we know it today, then set the left leg, it did not yet exist.

Works

To Aguados -known compositions include:

  • Nuovo Método para Guitarra, Madrid 1843 PDF
  • Colección de Estudios para Guitarra, Madrid 1820
  • Tres Rondos brilliant, Madrid 1822
  • Seis Valses de Guitarra dedicados a Da. Luisa Gomez Melon PDF
  • Colección de Andante, Valses y Minuetos
  • Variaciones brilliant
  • Fandango con Variaciones, Paris
  • Quatro piezas of estudios, Paris
  • Les deux amis for Two Guitars

Bibliography

  • Konrad Ragossnig: Handbook of Guitar and Lute, Mainz 1978
  • Wolf Moser: Guitar Music, Hamburg 1973/77
  • Heinz Nickel: contribution to the development of the guitar in Europe, Haimhausen 1972
  • Wolf Moser: I, Fernando Sor - attempt an autobiography and guitaristic writings, Lyon 2005
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