19th century music for two guitars

Produced by Sergio Camelia and Ivano Tornello
Recorded at TRP Music, Tremestieri Etneo (Catania) from 2nd to 4th January 2016
Sound Engineer: Riccardo Samperi
Booklet notes: Ivano Tornello
Preface: Stefano Campagnolo
Sergio Camelia plays a guitar made by Antonino Scandurra, Catania 2011
Ivano Tornello plays a guitar made by Paulino Bernabè, Madrid 2009


"In the mid nineteenth century, thanks to some legendary musicians as Clara Wieck Schumann and Franz Liszt and their Beethovenian marathons (and in association with Wagnerian representations in Bayreuth), the modern recital concert could raise with the well known liturgy behavior which consists of absolute darkness and silence in the hall, the entire execution of a complete work through all his movements, and the applauses were supposed to be only at the end. At the same time the figure of the conductor/demiurge and the one of the pianist-interpreter (not composer) were born. This was also the time that saw for more than seventy years the disappearance of the guitar from the limelight, wich was in the spotlight the period before, and the noisy world of music academies full of voices and instruments, vestiges of the late rococo eighteenth century, related to the figure of the virtuoso who concluded his recital with an impromptu performance. The guitar disappeared from the important scene of theaters and concert halls and was relegated to the niches of amateur companies.
It was also the time where the concert repertoire was canonized and the classics were recognized as such: Haydn, Mozart and Beethoven became an essential paradigm, Bach was rediscovered, Chopin was exalted removing little by little the Biedermeier repertory of Hummel, Weber, Moscheles.
When the guitar came to appear on large audiences in the 1920s thanks to Andres Segovia, there was need for repertoire which, back then such as nowadays, has always found in 19th century’s classical or romantic music the main core around which to build a recital. Segovia solved this problem differently, focusing on a repertoire written specifically for him but very drew on the music of the past that was, sometimes, explicitly invoked (as Romantic and Clásica sonatas by Manuel M. Ponce).
The century of oblivion had lost much of the original music jealously guarded by guitar societies and collectors so that they were very difficult to find. Finally, long years of studies and rediscoveries made it possible to regain a large amount of the musical heritage written by the nineteenth-century composers-guitarists, and if the star of Mauro Giuliani shines bright since years and the one of Fernando Sor has already been renewed by Segovia, we can now appreciate a large number of original compositions that allow the guitar, with the necessary qualitative proportions, to compete with the main solo instruments.
Among the various ensembles of and with the guitar, the guitar duo is among the most lucky, because it allows to overcome the structural limits of the instrument in terms of harmonic and polyphonic possibilities (but also dynamic) and it projects, as the Duo Camelia Tornello is fully able to do, a dimension of sound of great effect enhancing the tonal characteristics that make the guitar unique.
The selection made by Duo for this Concertante makes fully right what I was mentioning: written in the first half of the nineteenth century, the presented works offer a comprehensive overview of the consumer music that animated salons and scenes, far from the austere depth of language of greatest contemporary composers; but it is precisely this consumer music that makes clear and rich of meanings the works of those Greats who will be echoing in the small but charming and inimitable sound of the guitars."

Stefano Campagnolo


Johann Kaspar Mertz (1806–1856)

  • 1.Unrühe

Ferdinando Carulli (1770–1841)
 Duo Concertant op.328

  • 2.Largo
  • 3.Allegro

Johann Kaspar Mertz (1806–1856)

  • 4.Barcarole

Napoléon Coste (1805-1883)
 Grand Duo pour deux guitares égales et concertantes

  • 5.Concertino. Allegro
  • 6.Andante
  • 7.Barcarolle
  • 8.Finale. Allegro

Johann Kaspar Mertz (1806–1856)

  • 9.Deutsche Weise. Fantasie

Antoine de Lhoyer (1768-1852)
 Duo Concertant op.31 n.3

  • 10. Allegro agitato
  • 11. Romance. Andante sostenuto
  • 12. Rondo. Poco vivace

Mauro Giuliani (1781-1829)
 Grandes Variations Concertantes Op.35

  • 13.Introduzione. Thema. Variazioni I-VI e Finale

Johann Kaspar Mertz (1806–1856)

  • 14.Ständchen



Produced by Sergio Camelia and Ivano Tornello
Recorded at Ghiribizzi Studios, S.Alessio Siculo, Sicily, Italy, from 20th to 24th August, 2014
Digital Recording and Editing: Ivano Tornello, Maurizio Scaminante.
Guitars by Antonino Scandurra and Paulino Bernabè
Overplay Edizioni Musicali. OY 1034C ©2015


Tra le formazioni da camera il duo chitarristico è probabilmente una delle più interessanti, vanta un repertorio originale che abbraccia oltre tre secoli di storia, dal tardo barocco fino ai nostri giorni, al quale vanno aggiunte le composizioni antecedenti per due liuti o due chitarre antiche e tutte le trascrizioni da altri organici edite o, per così dire, possibili. All’interno di questa enormità di scritti si dipanano diverse tipologie di scrittura che rendono il dialogo tra le due chitarre sempre vario e mai scontato. Il programma che proponiamo abbraccia opere di differente epoca, accomunate da una scrittura che induce le due chitarre ad un continuo scambio dei livelli di canto ed accompagnamento che concorrono alla concertazione del brano. L’effetto creato da questo scambio è la sensazione che l’esecuzione sia affidata ad un unico strumento, ciò che abbiamo definito con il concetto “uno più uno uguale UNO”. Per queste caratteristiche il programma assume la forma del recital e la destinazione più idonea è quella di un teatro o sala da concerto.


Napoléon Coste (1805-1883)
 Grand Duo pour deux guitares égales et concertantes

  • 1.Allegro
  • 2.Andante
  • 3.Barcarolle
  • 4.Finale. Allegro

Mauro Giuliani (1781-1829)

  • 5.Grandi Variazioni Concertanti Op.35

Antoine de Lhoyer (1768-1852)
 Duo Concertant op.31 n.3

  • 6. Allegro agitato
  • 7. Romance - Andante sostenuto
  • 8. Rondo - Poco vivace

Ferdinando Carulli (1770–1841)
 Serenade op. 96 n.1

  • 9.Largo maestoso
  • 10.Allegromoderato
  • 11.Larghetto
  • 12.Finale – Thema di joconde

Antonin Leopold Dvorak (1841–1904)

  • 13.Danza Slava op. 46 n.7




Sala degli specchi di Palazzo Ducezio, Noto (SR)
musiche di: Castelnuovo-Tedesco, Giuliani, Gershwin, Lhoyer, Gnattali.

February 24, 2018 - START H 19.30



Duo Camelia/Tornello