Fabbri wrote:And thanks to you, too, Frank, for the Musica Viva references and the report on the progress of your research.
Hopefully I'll be able to update the list soon but there's so much else I ought to do too! My main focus at the moment isn't Pratten but Pietro Pettoletti and there are several other 19th century guitar composers who deserve more recognition: Knijze, Ferrer, Cottin, Diabelli (if you think he's well enough known, think again!), the other Pettolettis, possibly Batioli etc., etc., etc.
Fabbri wrote:Which Tarrega piece was it? I'd like to see if I can detect the relationship between their styles.
Lagrima. Yes it is unmistakably Tarrega and unmistakably Spanish but it still differs in several details from the stereotypical Tarrega piece and I think we can find many of those same elements in Pratten's miniatures. According to wikipedia (not the most reliable source of info) Tarrega wrote Lagrima whilst visiting England and that must have been shortly after he had met Pratten.
Fabbri wrote:I can feel a characteristic style in Pratten but find it hard to put my finger on what exactly this consists of.
How about "late romantic, proto-impressionistic tone paintings"? Edward MacDowell is of course the most obvious comparasion among the famous composers.
Fabbri wrote:Am I right in thinking her method is equally distinctive?
I haven't had time to examine the book closely yet but I don't think so. All those things you list are actually quite typical for 19th century methods although not for modern ones. The only really unusual (for her time) detail I've noticed is that she describes a sitting position that is fairly close to the modern classical one.
I have a feeling her second method was far more revolutionary but until some of us get hold of a copy of it, we can't say for sure.
Fabbri wrote:Have you access to a copy of the 1899 Harrison biography?
Unfortunately no. Nor have I managed to find a copy of the catalog of her works (yes, she did publish one herself).
The only works by Pratten I've manage to locate so far that hasn't been mentioned in this thread already, are the two arrangements of Thomas Moore songs in Fredric Noad's "Romantic Guitar" anthology and a duet for guitar (in open D tuning) and piano posted somewhere at the U.S. guitar society website.