About 'Ballade Op.38 No. 2 in F Major'
Coste's quiet rural life was interrupted due to his father's military career resuming which resulted in the family's constant change of location making it hard to track the events of his younger years. Finally, Coste emerged and settled in Paris in Here at the age of 24, he studied under Fernando Sor and quickly established himself as the leading French virtuoso guitarist.
Coste's talent was revealed when the Romantic movement gained strength, greatly reducing the public's interest in guitar music, thus lowering the competition. Despite his brilliant live performances which provided him standing ovations, he still had to often self-publish out of his own pocket while making his living as a civil servant and dabbling in other musical activities.
Perhaps the weakened public interest in guitar music caused the virtuoso to develop a certain antipathy towards the piano—the main symbol of the Romantic era. The power pianists have is mighty.
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They play thousands of notes at a dizzying speed. Since one doesn't need a musical organization to play the piano, anyone can do so, either well or poorly, leading to this endless craze. In the building we live in there are only three of them, and we are quite fortunate that they are seldom played, but one hears a lot of them in the distance in the neighborhood.
25 Etudes for Guitar, Op. 38: Etude No. 13 in C Major
Throughout his life, Coste published plenty of his own guitar pieces and also wrote a fair amount of music for oboe, usually accompanied by guitar. Furthermore, he kept the music Fernando Sor in circulation, having republished many of Sor's compositions as well as his book on the guitar method. As a recognized musician, Coste had contacts with famous luthiers of his time, leaving a significant impact on the evolution of the instrument. His large collection of guitars further proved his special fondness for playing the seven-string instrument.
Coste also took part in the French early music revival, making transcriptions for modern guitar of Baroque pieces written in tablature. This piece had been originally conceived as a duet for master andstudent, with one part considerably more difficult than the other; in Coste'sedition and in the many modern editions based on it, the two guitars share backand forth the more difficult melodic lines, creating an equal duet with greaterappeal to concert performers and audiences.
The present recording brings together Coste's most important pedagogicalcontributions to the guitar: the miscellaneous pieces he wrote for his editionof the Complete Method for Guitar by Fernando Sor, and the publication,two decades later, of his own classic set of studies, Opus All of theseworks were composed for a seven-string guitar, that is, a standard guitar withan additional bass tuned to D and occasionally to C, but are playable on asix-string guitar with minor retuning.
The Introduction and Allegretto, in the keys of A minor and Amajor respectively, were taken from the Method of The latter is anexercise in thirds and sixths, with chromatic passing tones. Coste's Twenty-Five Etudes , Op. As much exercises in composition asthey are technical studies, these pieces feature a harmonic sophisticationunprecedented in guitar music except perhaps in the works of Sor; several ofthem are uncompromisingly polyphonic, sustaining three and even four movingvoices.
Nevertheless, Coste disguised his didactic intents with plenty ofattractive melodies, sparkling scale passages, and several brilliant cadenzas,creating one of the guitar repertory's finest sets of concert etudes. Most werededicated to a friend or pupil; No. Coste wonsecond prize; the first prize was awarded to Mertz. The remaining pieces on this recording were also first published in the Method of The R? Preludio No.
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