0€nl ponérìeur

s§4istiques leJosé Broca et

le Bòhme. au-Èahlement pasà la gloire deson op. l0 LamaÌarloile, en,s du matérielpage. Pire, la

nrre répétii]\,efac;ìemenr éreiciels d'édnìon

i à partjr deinsì, l'op l0 deme .élìaòilita-rirée.

al. lÉs lies ori-Ddroìts équi-Dodifiés. Les

ll6 du rioler:

tso de Urcullu.

h Bjblìothèque

Introduction

Tbe Spanish guirarisl and cornposerLeopodo de Urcirltu li!€d durfigih€ firsi hdlf ol the l9rh cenrÌrrlThe poet and guhari$ FlorencìoGomez Parreio. ìr a poem dedi-cared to zelmira, one of hìs stu-denls, puts Urcullu, as musician, a1

rle saìne le\reÌ as bìs conlenr,poraries Dion),sio Aguado and Fer-nando Sorr. We do nor dispose ofant odrer biographicaì informarion.

Nor nore than a dozen ofUrcutix,s!À'orks have sùrvived: They werepublìshed durìng his ìite iime by,anong othem, M. tuco.dj in Mitan,Le6n Lodre in Madrid. or, as theprésen1 work, by Jean AugusieBÒhrne in Harnburg. They inctudefantasies and opera arangemenis. alew Spanish songs lrirh guirar andplano acconrpanimenl_ and aal,,iJra4 lntroduction et potoraise,jssued alrcady in a modem edirìon(Philomele Nr PE 2049).

The tleme ofthe p.eseni Varialionsop.lO is atlributed to tgnaz pieyei,accordin8 to an anon)mus manu-scripl of ùe early tgrh century telonginS to Francisco HerreÉ I it ìsaìso the tlenre of the Nr.3 of SdThèmes d'lya, Plael, a|ec t/qia-tioùs N t la Gùitare, de F. Mo-ljno, op.s (Colì. tusclel & BirketSmìth. No.56l)?. tn Urcuilu,sversnnr the harmonisarioD of thethemc is more returèd. The vari:-tìons relnl,rd Femando Sor. his har-nÌonic progressions and. in places.$e thight polyphonic wriljnB.

The qualil), ofrhe inveBlion aùd ofthe conìposjlion. as well as thewriling. lechnically demanding.thorgh idiomatic ro tle guitar,indeed plac€ Urcullu besìdes ofSorand Agùado, and jusrify a modemre-edition of his works. Urcullu,schronological €iid srylistjc charac,teristics are probablv poslerior iohis two coìleagues. end some oflìsstylìstìc leatures are aheady ctoseto José Broca and Julian Arcas.

'I'he origirraì Bòhme edìtion, issuedaround 1820. has probabìi, noi

mrch coDtributed io Urcullu,s91ory, neither of his op. 10. tt,sclurìlsy layout ùams two thirds ofthe note mateial on the fir§l page.Much worse, the 2nd and the 4tìvariatjon have only 8+7 bars eaLh.lacking the 3'd, respectilely rhe 4ùbar oftbe B section.

Giv€n the repetjtive struciure ofthe 2 x 8 bars scheme, this cajìeasily be corected with moderrmusic edìting software, but it isimpossible to play t|e variationscorectly from the original edition.Thus, Urcullu's op. t0 finds here alate bùt merited rehabilitation.

Fingering is edìrorìal. Added dy-namics and phmsings arc ma*edin the score by square brackets orby a sìash. The following change-ments do not appear in the score(page/ systen/ba, beai):

6/5/2/l fircr i/I6 ofr,jpÌet ì

treble chord a-c#-#8/2/1 whole bar lacking8/3/l/2 last 1/16 note c nat.l0/2/2 whole bar lacking

Acknowledgements are adressedto Francìsco Herera for havingbrought Urculiu to my atlention,to Gerhard Penn for hh assistanceat the revision ard to the RoyalLibrary in Cop€nhagen for povj"ding copies ofthe originai edition.

De. spanische Gjtponist Leopoldo (

wàhend der erstelJabrhundeÌts. Es €

fomìationen, Deund Gitanist Fl(Pareflo hebt ihn,Schùlerin ZelmirCedicht, musikalische Stùfe wie Diund Femando Sor

etwa ein Dutzen

anderem von L. Lund von RicordidrLrcll, und unrfasrPhaniasien, BealOpemausschDi$ender mit cirarre-gleìrnn9, La Anist

€mchienen (Philc2049), sowie das

Die Vmiationen oÌm 1825 beì JeanHaùburg. Das 16

ist lgnaz Pleyel(laut eines im Becisco Herera befr,men Manusloipts19. Jahrhundert). Ìfindet sich auch al

Molino, op.5 (CBirket Smith, lVerarbeitùng einan F. Sor, mit s

hannonìschen Proder z.T. pollphon€

Di€ Qualit{ derder Fallur, sowi(anspruchsvolle, atSatz, bestàtigenschàtzung von Parfenigen etue NeurUrculluh werken

2004

Crr

Révisionr Joharn cait^ch

Thème

Andante

@ Philomdè Editions Goevr 2005Phoiocopyiry lhi hùslc ir ill.gal

Thème et Variations

pour la gùitsre Leopoldo de Urcullu

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Var. I

Pìt 2055

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CIV >

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Var. 3

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