“Three Early Guitar Concertos from Late Eighteenth/Early Nineteenth-Century Paris: Vidal, Doisy and Doisy-Viotti,”
The late eighteenth century, a transitional period during which the guitar shifted from a baroque instrument of five courses to a classical-modern one of six single-strings, is a presently little researched period in the general history of our instrument. One consequence of the scant attention paid thus far to this important period is an almost complete lack of evaluation of the repertoire performed by late eighteenth-century guitarists. A second is a lack of evaluation of the social-musical context in which these guitarists functioned. The discovery of three guitar concertos from the period — which include the earliest-known concerto for the guitar along with two substantial three-movement works — is therefore doubly interesting: it not only adds significantly to the slender catalogue of surviving Classical/Early Romantic-period concertos for the instrument, it also sheds some light on the activities of professional guitarist-composers active at that...
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