Matanya Ophee


Francesco Molino, 19th-century guitar, guitar in Paris, Magic Flute, Die Zauberflöte


This article presents an edited version of a Rondo-Allegro from Molino's Grande méthode complette (Paris, c. 1833). The rondo theme bears some resemblance to the famous melody "Das klinget so herrlich" from Mozart's Singspiel Die Zauberflöte. Ophee discusses the many versions of this theme to be found in the guitar's nineteenth-century repertoire, by composers such as Sor, Giuliani, and Paulian, drawing attention to composers' use of both the sung melody and the instrumental introduction.


This article is one of a series of seven celebrating the work of Matanya Ophee (1932–2017) on the ninetieth anniversary of his birth. Written between 1982 and 1991, these articles first appeared in early issues of the GFA’s magazine Soundboard.

The writings in this series are really columns—short introductions to scores, which are also reproduced here as they appeared in the original magazines. Ophee’s long-form research appears in various places, but an important anthology is his Essays on Guitar History (Columbus, OH: Orphee, 2016). An introduction to the present series, surveying Ophee’s contribution to Soundboard, is provided by Stanley Yates.

Below are links to each article in the series:


Matanya Ophee’s Contributions to Soundboard Magazine: A Retrospective, by Stanley Yates

  1. A Rondo Allegro by François Molino
  2. Carlos Pedrell’s Al atardecer en los jardines de Arlaja
  3. Rudolph Süss’s Lyrische Suite no. 1, op. 23
  4. J.N. Bobrowicz’s Grand Polonaise, op. 24
  5. Rudolph Süss’s Lyrische Suite no. 2, op. 24
  6. Elsa Just’s Ständchen for Guitar Trio
  7. Athénaïs Paulian’s Airs and Variations, op. 1



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