kefka wrote:Look at page 4, in the advertisment
...not insulting anyones intellegence here, just making a point.
Please keep making the points. That particular page was actually the starting point of my list of Pratten's works but a good thing can always do with some repetition.
kefka wrote:Apparently she wrote over a hundred pieces and were once for sale.
Far more. These are just the music for solo guitar and ensemble pieces where the guitar is the main instrument. Add all those songs with guitar accompaniment, the ukulele pieces with guitar accompaniment, the gigelira music and the concertina pieces (although I guess the latter aren't really that relevant on this message board) and you'll end up with a catalog of ... my best guestimate is around 500 works but it might be more.
kefka wrote:They have to be available somewhere today yes?
and especially this:
http://copac.ac.uk/search?author=Pratte ... itar&rn=48
Seems somebody bought copies of nearly all of Pratten's publications for solo guitar and had everything bound into a single book. Unfortunately not digitized yet but we can always hope (or, if we can afford it, just visit the British Library).
Oh yes, I did! To a music history researcher this is what's technically known as "sensory overload". Just the fact that it exists in this particular context and location is a potential source for a master's degree thesis and so is every other paragrah in the document.
kefka wrote:I agree with Ferrer!
I think Ferrer desveres his own discussion at this forum. He should be far more than just a digression in a Pratten thread. But oh well...
Ferrer was rediscovered by Noad and Wynberg who published some of his later pedagocial works in a couple of books at the beginning of the 1980s (if I remember correctly). Since then, some of his minor works have become part of the standard students' repertoire for guitarists. His major
guitar works on the other hand, are still fairly unknown. His piano works are completely unknown and if/when they come to the attention of the music community at large, they may well require a complete rewriting of late 19th/early 20th century music history.
kefka wrote:Other 19th century spaniards, (probably overshadowed by Tarrega and his school of followers) Vinas, Broca, Arcas, Cano, Manjon, Ciebra, ...ect, ect. ect.
You forgot to mention Bosch and Castillo. And you mentioned two names I had hardly heard of: Manjon and Ciebra...
This discussion is about Madame Catharina Sidney Prateen née Pelzer and she' s great enough to deserve her own dedicated thread with no digressions but even so:
There is a generally accepted theory that the late 19th century was a "black hole" in the history of guitarism. I think it's obvious by now that this isn't because nothing happened during that time period but because nobody has had the time to take a serious look into the matter. The question is, who's willing and able to do the work to fill this gap and - since even music researchers need money to pay for bread on the table and a roof over their heads - who's gonna pay for it?
Frank Nordberg wrote:Its not a matter of quality...If John Williams or Christopher Parkening would have played and or recorded Pratten, her name would be popular and famous as say Tarrega.
My point eaxcatly!
(I'd still be happy if anybody provided valid arguments why I was wrong though
Fabbri, and Kefka, I have a feeling we are preaching to the converts here. I'm pretty sure we - and anybody else who may have endured the thread this far - agree that Pratten's music derserve more attention and apreciation. Question is: What do we do about it?