The guittar or cetra was a popular instrument for domestic music making in the 18th century. Its size and shape, the sonority of its wire strings and open tuning, made it a favorite choice of polite society, and these also answer to many characteristics of the Galant style. As the famous violinist and composer Francesco Geminiani writes in his The Art of Playing the Guitar or Cittra (1760), "The sweetness and brilliancy of sound peculiar to the Guitar, together with its convenient shape and size, and the easyness of performing on it, has already rendered it extremely fashionable in the polite world: But still it is more deserving of regard, even from good Judges of Music, than is generally apprehended, For the disposition and number of its Strings render it capable of a very full and compleat Harmony." In her Lessons and Instructions for Playing on the Guitar (1760), Ann Ford writes of the instrument's gracefulness, "It has been often wondered at, that an Instrument of this Kind, should, in so short a Time, have become so universal; but had it been in Fashion, when the inimitable Hogarth wrote his ingenious Analysis of Beauty, I doubt not but he would have shewn, that the Attitude this Instrument almost naturally throws the Performer in, is very graceful, and forms the Line of Beauty he so justly has exemplified; not to mention the Advantage which the Hands and Arms are seen in, for, I will venture to affirm, a graceful Person cannot, sitting down, be placed in a more becoming Attitude." Like Miss Ford, Geminiani also mentions the cetra's quick rise to fame: "The use of the Lessor Guitar or Citera, being lately revived amongst us." While harkening back to the popularity of the cittern in 16th and 17th centuries, he points to a more contemporary event: the United Kingdom's new Queen. Duchess Sophia Charlotte of Mecklenberg-Strelitz played the cetra and the keyboard, and reportedly performed "God Save the Queen" on her cetra during the rough, eight-day channel crossing in order to cheer her fellow passengers.

The cetra seems already to have achieved some fame in the United Kingdom prior to her coronation in 1761, but with such a patron it is small wonder that it became so popular. Johann Christian Bach (b. Leipzig 5 September 1735, d. London 1 January 1782) was Johann Sebastian's youngest child. He went to England in 1762 and shortly thereafter became music master to Queen Charlotte and the royal household. They may in fact have already met at court in Strelitz. It is possible that Bach's Sonata for the Guitar with an Accompaniment for a Violin (c.1770) was composed for the Queen, but there is no dedication.

Almost nothing is known of Giovanni Battista Marella, although his music often finds its way into the repertoire of classical guitarists. On thing is certain: he was a champion of the Cetra or Guittar. In the "Advertisement" to Sixty Six Lessons For the Cetra or Guittar (op. III, 1762) he writes: "The great Progress the Cetra or Guittar has made in these Kingdoms within the space of a few years seems a sufficient Recommendation of it; more especially when we consider the disadvantages under which it has hitherto laboured, no less than a total Ignorance of the Power of the Instrument." This ambitious work contains music "in Every key, both Flat & Sharp" and is designed to show the cetra "in its full Extent." His Compositions for the Cetra or Guittar (book II, op. IV, 1762), from which the suites performed here are taken, is dedicated to Lady Mary Grey, daughter of the Earl of Stamford. In his dedication to her he writes, "I believe it will not, in the present Age, be thought necessary for me to say anything in favour of the Instrument for which these pieces were chiefly designed. The vogue it has acquired in England is no more than what It had long since obtained in other parts of Europe. ... And should the Compositions I now lay before your Ladyship conduce to the general Improvement of the Guittar, I shall think my Endeavours sufficiently rewarded. "Before going to London around 1754, Rudolf Straube (b. Trebnitz 1717, d. London 1785) had sung in the St. Thomas school choir and studied keyboard in Leipzig under the tutelage of J. S. Bach. Straube played the organ and the lute as well as the guittar or cetra. His large collection, Three Sonatas for the Guittar with Accompanyments For the Harpsichord or Violoncello Composed by R: Straube. With an Addition of two Sonatas For the Guittar Accompanyd with the Violin. Likewise a choice Collection of the most Favourite English Scotch and Italian Songs for one and two Guittars of different Authors Properly adapted for that Instrument, Also Thirty two Solo Lessons by Several masters, was published in 1768 by Michael Rauche.

Another German who had come to London seeking fortune at the court of Queen Charlotte was Frederic Schuman (fl. 1760-80). He played the harpsichord as well as the guitar, and, like Ann Ford, the glass harmonica. He published several collections of lessons and songs for the guitar, some of which were reprinted on the continent. The pieces played here are from A Second set of Lessons For one and two Guittars, op. II. printed and sold by John Johnson around 1765.Carl Friedrich Weideman (d. London 1782) was a famed flautist and composer for woodwinds. Also connected to the court, he published Minuets for Her Majesty's Birthday (1764) as well as several other minuet collections. Weideman's Favorite Minuet for the Harpsichord, Two German Flutes or Two Guittars was published around 1770. Marella mentions that the cetra was popular in other parts of Europe, and in fact one can find versions of the instrument in what is now Germany, The Netherlands and Low Countries, France, and especially in Portugal, due not only to its close ties with England, but, as with the other countries, to the cittern already having a notable history there. Antonio da Silva Leite (b. Oporto 23 May 1759, d. Oporto 10 January 1833) was a teacher and organist as well as a guitarrista. He had studied for the priesthood and composed a great deal of sacred music. He published Six Sonatas de Guitarra in 1792, and his music treatise Estudo de Guitarra, from which Gerado's Toccata and Leite's two minuets are taken, in 1796.The Galant style of the 18th century has its roots in the previous century, notably in France and Italy, where homophonic textures had become increasing popular. Robert de Visée, guitarist to Louis XIV, was a master at writing and setting elegant, pleasing melodies within clean, simple textures. He set this "Musette en Rondeau" for both guitar and theorbo, and I have adapted the latter setting for cetra.

1. Toccata (Francesco Gerrardo)
2. Sonata For Guitar : Violin (Johann Christian Bach)
3. Pastoral : Minuet (Rudolf Straube)
4. Allegretto : Minuet (Frederic Schuman)
5. Minuet De Saudade (Antonio De Silva Leite)
6. Andante (Frederic Schuman)
7. Rondo : Minuet (Giovanni Battista Marella)
8. Minuet (Antonio De Silva Leite)
9. Grazioso : Larghetto (Frederic Schuman)
10. Weideman's Favorite (Carl Friedrich Weideman)
11. Minuet : Contradanse (Giovanni Battista Marella)
12. Minuet : Rondo (Rudolf Straube)
13. Gavotta : Giga (Giovanni Battista Marella)
14. Musette En Rondeau (Robert De Visee)

Listen to: the entire album.

Release date: 7/20/2008
Doc Rossi lives in Annecy France

Tagged as: Classical, Baroque, Instrumental Classical, Cittern, Composer: Antonio da Silva Leite, Composer: Carl Friedrich Weideman, Composer: Francesco Gerrardo, Composer: Frederic Schuman, Composer: Giovanni Battista Marella, Composer: Johann Christian Bach, Composer: Robert de Visee, Composer: Rudolf Straube

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