The original Opus 6, No 1 is in G, whereas this version is set in A. Does that make it a poor transcription? Not at all, indeed the “original” I listened to while reading this score was A=415, so that wasn’t in the key of G that we know and love nowadays either.
But actually, the choice of A is an inspired one. It makes this concerto fit the guitar so much better. It makes possible a deep bass, with the dominant (E) accessible without retuning, and many of the high notes are top E, so they’re easy to find reliably.
Set in four parts which, for the most part are monophonic, this transcription is necessarily a little “thin” compared to the weaving textures of the original, but all the important countermelodies are there, all the imitation is present and correct and the “Alberti Bass” style of accompaniment in the second movement fits so well under the fingers you’d think Carulli wrote it as a study.
The score has no fingering but plenty of dynamic markings as well as solo/tutti Indications. Most of the fingering is self-evident and the arpeggiated sections are laid out to be accessible in the lower positions without too many stretches. The parts are broadly SATB in compass, but even guitar four gets to hit that top E from time to time. Guitar One needs to be a little more athletic than the lower parts, but this complexity of writing would delight a mixed ability group spanning Grades 4-6, or if a little more speed is required, Grades 6-8. I’d see this featuring in school concerts, and I think that even if it shows that a guitar quartet can’t match a small orchestra for volume and agility, it also shows that the guitars can play the slow movements with a sweet gentleness that adds a delightful sense of calm and melancholy. It’s fun to play, but it’s lovely to listen to as well.
And isn’t that what makes a fantastic arrangement?
Derek Hasted (Classical Guitar Magazine)
