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Ferdinando Carulli
STUDI E...(more) PRELUDI SCELTI
Edited and fingered by Bruno Giuffredi

The outstanding number of published works that Ferdinando Carulli (1771-1840) bequeathed bears witness to the
success of his publications in terms of both their didactic function and performance.
However, this musical patrimony, and especially what is referred to as “concerto” compositions, is not always
characterised by qualitative continuity. On the other hand, in the pieces with didactic intent, we can observe linear
melodic inventiveness and rationality in the analysis of the mechanical recursion (typical in nineteenth century guitar
playing) together with an ability for epigraphical synthesis, which is rare among his contemporaries.
The compositions that we have used in this volume have been selected from two important didactic publications1:
- Méthode complet[t]e pour guitare op. 272 (Troisième edition), CARLI editeur, Paris 1822
- L’utile et l’Agréable /Grand et Seul Recueil / Pour guitare / Contenent 48 Préludes et 24 Morceaux op.1143 CARLI
editeur, Paris 1827(?).
The framework of both works present many analogies4.
Each exercise had been elaborated by starting with a basis of compositional modules extrapolated from nineteenth
century didactic gestuality, which is mainly constituted of scale sequences and arpeggios, and inserted in a tonal and
formal choreography that takes the form of the waltz, rondò, variations on a theme or étude. The pieces have been
arranged in an order that has in turn been determined by their progressive difficulty with regard to different technical
problems. Considering its methodological system, Opera 27 also offers textual suggestions as to how to take on and solve
problems that are purely mechanical as well as a series of pieces that can be played as duets.
The choice of pieces presented here follows their types, based on two different compositional typologies.
On the one hand, we have selected passages with recursion in the mechanical models, and on the other, we have
inserted compositions with multi-form mechanical characteristics on the other. In these pieces, where the artistic content
transcends technical repetitiveness, there is a more elaborate formal structure in terms of the traditional forms in use at
the time.
The volume is equipped with an extensive appendix that is marked by applicative variants for an enormous number of
pieces5. On the one hand, the instrumental functions suggested aim to give an alternate direction for solving the mechanical
problems inherent in the composition and on the other provide an educational path that heightens Carulli by relocating
his music in mechanical situations that belong to “modern” and “contemporary” literature6.
Our work as in revising these pieces, although marked by the most rigorous respect for the textual indications (dynamic
and agogic7) in the sources, is not aimed at non-critically suggesting original fingerings8, which have been modified
according to the changing morphology of the guitar, as well as taking into account the evolution of instrumental technique.
One of the aspects of the present edition accounts for the different executional possibilities. We have created several
versions of technically important passages, illustrating the different ways of executing them and providing a wealth of
ideas for an alternate fingering approach, through the use of unusual two-handed techniques as well. The different
revised fingerings have been given in round brackets, and in a few cases are explained at length in the appendix. Carulli’s
writing did not take the polyphonic characteristics of the guitar into account, but adopted writing criteria that were
typical of the violin. Thus we have distributed the values considering the true duration of the sounds.
Bruno Giuffredi