Here's some interesting background information about the five pieces of lesson 4, I would like to share with you.
Luys De Narvàez (ca. 1500-1555) Tres Diferencias por otra parte
These three pieces (Otras diferencias hechas por otra parte) from Book 6 (Libro sesto) follow right after the first four diferencias that we already know from lesson 2. Narvaez' vihuela books 1-6 were published in 1538 in Valladolid (Spain), where he lived under the patronage of the secretary of State. Later he was was employed as musician of the royal chapel. Together with other musicians, he accompanied king Philips II on his many journeys (e.g. during the winter of 1549 he visited the Netherlands).
Jean-Baptiste Besard (1567-1625) Ballet
In 1617 Jean-Baptiste Besard, who lived from 1610 on in Augsburg (Germany), published "Novus Partus, sive Concertationes Musicae", a collection of 61 lute pieces (solo and ensemble), many of which were by Besard himself.
Besard was not only a musician, composer and publisher, but also a scientist. He studied law and medicine and wrote treatises on medicine, physics and history.
Musical style: Renaissance and/or early Baroque.
Giuseppe Antonio Brescianello (1690-1757) - Allegro de la Partita VII
Brescianello was a talented violinist from Florence who moved at the age of 26 years to Stuttgart (Germany) to become musical director at the court of Württemberg. Fifteen years later he made a promotion to Oberkapellmeister. He wrote all kinds of concert works, cantates, opera's (so he's not a specific guitar or lute composer). Brescianello died in Stuttgart on Oct 4th 1758 (not 1757).
The 18 groups of pieces for gallichone, a kind of 6 course bass lute, are supposed to be written around 1740 when Brescianello was without a job. In 1737 he was fired due to the courts economic collapse, but he was reinstalled in 1744. It is his only known work for lute c.q. gallichone! The manuscript doesn't use terms like Partita, Sonata or Suite (Ruggero Chiesa made a transcription in 1981 and called them Partitas and for unknown reasons he also introduced the name "colascione" for the instrument. So I guess Mr. Delcamp used Chiesa's book). The famous luthist Terrel Stone, who recorded Sonata I-IX, prefers the term Sonata. Our piece is part of the Sonata No.7 in C Major: I.Allegro (2:22) - II.Andante (1:27)- III.Allegro (1:10). So the title in the lesson book is a bit confusing. In fact we play the second Allegro!
Musical style: "stile galant", the transition from the Baroque to the classical period.
Matteo Carcassi (1792-1853) Etude XVI opus 60
Just like Brescianello, Matteo Carcassi was born in Florence - only about hundred years later. And just like Besard and Brescianello he lived abroad for the most part of his life. Carcassi lived in Paris from 1820 on. He composed 77 works (op.1-77) and a lot of works without opus number. His "25 Etudes mélodiques" (Op.60) were published two years before he died.
Brian Jeffery made some very interesting remarks on this piece in his Op.60 Tecla-edition: "Andante at this period means “with movement”, so not too slow.
The top part is lyrical, sustained. Make it sing. The frequent “hairpins” (accent or decrescendo marks) are very deliberate and indicate how this line is intended to be played. The lower part is like a series of thuds because of the rests which are exactly notated and should be observed. In nearly all places this is best done by using the m finger for all the top line and p i for the chords, placing p i back on the strings to dampen them. Perhaps Carcassi composed this piece as a study in étouffé."
João Guimarães (1883-1947) Sons de carillhões
João Teixeira Guimarães (known as João Pernambuco) was a self taught guitarist unable to read or write musical notation. Nevertheless he composed over 100 pieces for guitar in various styles during his career, today many of them ranking among the standard repertoire for guitarists excelling in choro. João Pernambuco is generally considered the originator or founder of the guitar choro, and especially one of his compositions has become popular with guitarists worldwide, the choro-maxixe 'Sons de Carrilhões' (in English: 'Sounds of Bells').
Sons de Carrilhões was recorded by João Pernambuco (violão=guitar) accompanied by Nelson Alves (cavaquinho) for Odeon in 1926 and issued on a 78 rpm disc. A musical notation of the piece was published for the first time in a collection titled 'A Guitarra de Prata' during the 1930s. A revised version by Turibio Santos and a second, revised version by Dilermando Reis were published in 1978. In 1992 these revised versions have been republished by Chanterelle Verlag.