The guitarist Charles de Marescot is a figure often cited when referring to the guitar mania that arose in France during the first decades of the nineteenth century. Yet very little is known about his life and musical production, which was dedicated almost entirely to the guitar. Drawing on several newly discovered documents, this article aims to understand the role of this polemical figure in the vogue for the guitar by reconstructing his whereabouts. Particular attention is given to his relationship with Hector Berlioz, with whom he conducted some minor business
This article reproduces Al atardecer en los jardines de Arlaja by the Uruguayan composer Carlos Pedr...
Conceived as instructional material for the guitar students at Marshall University (or anyone intere...
This article is one of a series of five by Peter Danner on the history of the guitar in the United S...
The guitarist Charles de Marescot is a figure often cited when referring to the guitar mania that ar...
In 1828, the French guitarist Charles de Marescot published a small booklet called La Guitaromanie, ...
The musical output of Charles de Marescot (1790–1842) has never been subjected to close examination....
It was in about 1828–29 that Parisian guitarist and publisher Charles de Marescot brought before the...
Barthélemy Trille Labarre (1758–1797) was a French guitarist and composer active at the end of the ...
Napoleon Coste: Composer and Guitarist in the Musical Life of 19th-Century Paris, by Van Vliet, Ari ...
La Guitare = The Guitar = La Chitarra, Paris, 1650-1950, Addendum, by Sinier, Daniel and Francoise d...
International audienceDuring the second half of the eighteenth century the Spanish guitar reached a ...
Suite goivos by Francisco Lacerda (1869–1934) stands out not only as one of the first examples of sy...
Suite goivos by Francisco Lacerda (1869–1934) stands out not only as one of the first examples of sy...
For performers of Early Music, there is an everlasting quest to unveil new perspectives on a histori...
VOLUME I- HISTORY The 4-course mandoline was developed in Naples in the 1740's, principally by the'...
This article reproduces Al atardecer en los jardines de Arlaja by the Uruguayan composer Carlos Pedr...
Conceived as instructional material for the guitar students at Marshall University (or anyone intere...
This article is one of a series of five by Peter Danner on the history of the guitar in the United S...
The guitarist Charles de Marescot is a figure often cited when referring to the guitar mania that ar...
In 1828, the French guitarist Charles de Marescot published a small booklet called La Guitaromanie, ...
The musical output of Charles de Marescot (1790–1842) has never been subjected to close examination....
It was in about 1828–29 that Parisian guitarist and publisher Charles de Marescot brought before the...
Barthélemy Trille Labarre (1758–1797) was a French guitarist and composer active at the end of the ...
Napoleon Coste: Composer and Guitarist in the Musical Life of 19th-Century Paris, by Van Vliet, Ari ...
La Guitare = The Guitar = La Chitarra, Paris, 1650-1950, Addendum, by Sinier, Daniel and Francoise d...
International audienceDuring the second half of the eighteenth century the Spanish guitar reached a ...
Suite goivos by Francisco Lacerda (1869–1934) stands out not only as one of the first examples of sy...
Suite goivos by Francisco Lacerda (1869–1934) stands out not only as one of the first examples of sy...
For performers of Early Music, there is an everlasting quest to unveil new perspectives on a histori...
VOLUME I- HISTORY The 4-course mandoline was developed in Naples in the 1740's, principally by the'...
This article reproduces Al atardecer en los jardines de Arlaja by the Uruguayan composer Carlos Pedr...
Conceived as instructional material for the guitar students at Marshall University (or anyone intere...
This article is one of a series of five by Peter Danner on the history of the guitar in the United S...