Exactly one year ago we first opened the doors to the public.

It has been an exciting and most

rewarding 365 days. We remember the frightening weekly takings of less than 20 I Could we
have made a mistake; was the crisis deeper than we anticipated? However, to prove what
enthusiasm and love for the guitar can do, the word was soon about, the opening of the 'different'
place was becoming known to guitarists. Since then we haven't looked back. We feel the occasion
is appropriate to say to all our friends whose help and backing has made possible for the Studio to
become one of the leading guitar shops in Europe THANK YOu. . . .
This is what some of the world's best guitarists have to say about the
Studio.
ANGEL ROMERO: "1 enormously enjoyed my several visits to this charming
shop with a unique atmosphere. A must for guitarists."
DA VID RUSSELL: "An oasis in London for all guitarists."
CARLOS BONELL: "You'll fnd all maner of guitars and music, as well as the
courteous attention of a Spanish 'gentilhombre'."
PAUL GREGORY: "Great place, great people. Long live the Studio!"
JU AN MAR TIN: "An impressive astonishing stock of frst class guitars."
NEW GUITARS IN STOCK
The one and only JOSE ROMANILLOS -
MARIN MONTERO-BOUCHET, M. CONTRERAS, P. BERNABE,
J. RAMIREZ, V. CAMACHO, ESTESO, ALVAREZ,
CARMELO DEL VALLE, J. M. VILAPLANA, S. MARIN, etc.
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16 James Street, London W1 Tel: 01-493 1157
CLASSICAL GUITAR
SEPMBEROCTOBER 1983 Vol. 2, No. 1
Classical Guitar News compiled by CoUn Cooper - 5
13 Angel Romero Janice May -
16 Leo Witoszynskyj Mary Hayes -
19 In Conversation with Robert Welford Chris Kilvington -
21 Napoleon Coste's Duets Simon Wynberg -
23 Scale Fingering Part 3 Neil Smith -
24 Concert Diary
25 David Parsons in conversation with CoUn Cooper
- 29 The Flamenco Guitar Juan Martin
31 Julian Bream's 50th Birthday Party Burnett James -
33 "Are You A Nut Case" Tom P. Davies -
34 Music Supplement Edited by Neil Smith -
43 Narciso Yepes Ivor Mairants -
45 Analysis of Musical Performance Part 2 Manuel A nderson -
47 Concert Reviews
53 Weekend Course at Durham Jim Gibson -
54 Record Reviews
57 Quiz
58 Music Reviews
64 Book Reviews
65 It's Not A Guitar, It's a Painting CoUn Cooper -
67 Profle
68 Letter from Basso Music
69 Letters to the Editor
72 Classical Guitar Teachers
74 Classical Guitar Societies
News Editor: Colin Cooper
Reviews Editor: Chris Kilvington
Correspondence Editor: Charles E. H. Smith
Historical Editor: Harvey Hope
Music Supplement Editor: Neil Smith
Regular Contributors: Alice Artzt, Raymond Burley,
Mary Criswick, Gordon Crosskey, Gerald Garcia,
Prances Gray, Nicholas Hudis, Oliver Hunt, Burnett James,
Ivor Mairants, Jorge Morel, Gregory Newton, David Parsons,
Joseph Pastore Jnr, David Russell, Charles Scott,
Maurice J. Summerfeld, Philip Thorne, Joseph Urshalmi,
June Yakeley
Advertisements: Val Kind
Cover Photo:
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Angel R orero - page 13
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Narciso Yepes - page 43
3
EDITORIAL
OBEYING the Musician's Union's injunction to Keep
Music Live has its problems. Undoubtedly the most
important element of a good performance is good playing.
But performance does not stop there; other things must be
considered, including such mundane (and even banal)
matters such as how the performer enters, how he or she sits
down, prepares to play, acknowledges applause and, fnally,
leaves the platform. Any one of these, if not done well, can
leave a slight afertaste of dissatisfaction that can taint the
whole performance and even, in extreme circumstances,
make an audience wish it had stayed home and listened to
the records instead. When everything is absolutely right, of
course, the total efect exceeds the sum of the parts, and no
mere gramophone record can hope to compete.
Two examples of the kind of thing we mean occurred
fairly recently. At one concert, two frst performances of
new works were given by an ensemble. The works are good,
the performance was good, and the audience clearly
enjoyed both. What they did not grasp until the very end
was where the frst work fnished and the second began,
with the result that both composers had to make a collective
and somewhat awkward bow. The comparatively
inexperienced players had failed to realise that in a new or
unfamiliar work you must always give some indication to
an audience that it has come to an end before you start on
the next. You can relax visibly, you can smile directly at an
audience (be careful here) or even at one another, or in the
last resort you can simply stand up. But something you
must certainly do, especially if the composer is sitting not
three yards in front of you.
The second example is of a diferent kind, and concerns
a guitarist who is not yet a household name but whose
immaculate playing certainly provides him with most of the
wherewithal to become one. Yet, faultless though his
playing is, his platform appearances remain strangely
unexciting. Calm and self-possessed, he strolls on, plays
perfectly, and strolls of again. Listeners who have heard his
recordings tend to be satisfed, but those who have not, fnd
something lacking. Since it is difcult to fnd fault musically,
we can only assume that it is something to do with com
munication. Some very fne players do not possess this gif;
some very inferior ones do. It is not fair, but it is a fact of
life. 'He will not come to you, you must go to him', a critic
warned us. We did our best; but we were in the back row,
and it seemed a very long way to the platform. The perfor
mer, faultless, calm and self-assured though he clearly was,
did little to lessen the distance.
On the same night the genius of Verdi was lighting lp
Covent Garden with the power of a million candles. We
know it is difcult for guitarists, but it would be nice if they
could always contrive, in public performance, to light at
least one small candle in order to illuminate their very often
superb talents.
COLIN COOPER
With this issue Classical Guitar moves into its second year
and I would like to thank all reviewers, past and present,
who have contributed to the dissemination of opinion and
information during the twelve months sinces its birth.
Appreciation is due, too, to readers who have been kind
enough to send concert reviews from several quarters; I
hope that this will continue (please type!) and thus assist in
presenting a fuller picture than we could otherwise hope to
obtain. Could I ask all music publishers submitting material
for consideration to include prices; as with any other com
modity this is important in making a fair value judgement. I
suppose that it's too much to expect this to happen
immediately but hopefully the message will flter through in
due course.
Thanks, fnally, for the many words of encouragement
and praise, not to mention some criticism (there is much to
learn and life is short); I'm looking forward to another busy
and interesting year. Here's hoping that you enjoy it too.
CHRIS KILVINGTON
IN OUR NEXT ISSUE
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4
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CLASSICAL GUITAR NEWS
COMPILED BY COLIN COOPER
'The four titled movements have not
only the feel of compassion but reveal
mature musical creation of a personal
yet immediately communicable kind,
from Conversation Piece, through the
central movements headed Crisis and
Epitaph, to a fnal and marvellous
Ostinato, with its bell-like underlying
motif that impinges on the mind'. He
described the work as 'a new work of
distinct merit and originality'.
Still only 26, Charles Rae has
written many other works, including a
piano concerto. His string quartet is
scheduled for the Leeds Con
temporary Music Festival, and clearly
Neil Smith
New appointment for Neil
Smith
The northern star of our eminent
Music Editor Neil Smith continues to
shine with unabated brilliance. In
addition to his many other commit
ments he has been appointed Senior
'
Tutor of Guitar at the Mabel Fletcher
College, Liverpool. The College ofers
full-time diploma courses in music,
and anyone who has ever attended a
teaching session by Neil will know
just how instructive, benefcial and
entertaining the experience can be.
Further information about the
course from Martin Lloyd, 051 733
5511.
New music for
Graham Wade
The young Yorkshire composer
Charles Rae recently composed a
substantial Sonata for Guitar, com
missioned by Graham Wade with
funds provided by the Yorkshire Arts
Association.
Arriving in Poland about the
same time as martial law was
imposed, Rae wrote the Sonata while
studying there with Lutoslawski. The
four-movement Sonata, fifteen
minutes long, is a personal tribute by
the composer 'to the efort of will and
courage with which a friend recovered
from personal tragedy when the
natural resilience of the human spirit
was already greatly diminished'.
Following a performance at the City
of Leeds College of Music, Yorkshire
Post critic Ernest Bradbury wrote:
has a promising future. His Guitar
Sonata has already had four perfor
mances since its debut at York Guitar
Society earlier this year. He studied at
Cambridge University with Robin
Holloway.
Graham Wade
New works recently dedicated to
Graham Wade include a three-part
work by Michael Jacques, Homage to
Walton. Jacques, a former pupil of Sir
Lennox Berkeley, won the Composi
tion Prize during his time at the Royal
College of Music. His publications
(Schott, Ramsey and Roberton)
include works for piano, voice, organ
and recorder. His Guitar Concerto
was premiered by Graham Wade in
Cardif last year, and performed
again in Tunbridge Wells in October.
His Diversions (1975) has been
performed by Wade over forty times;
the last movement has been published
by OUP in an anthology.
Graham Wade has also been
performing Philip Selby's Fantasia.
Sel by's Gui t ar Concerto was
premiered by Wade a few years ago.
A second concerto may be performed
during the coming year. Philip Selby,
married to an Italian girl, now lives in
Rome, and his music is infuenced by
Italian lyricism and warmth.
Another work awaiting its
premiere is a new Sonata by William
Kinghorn a prolifc composer and
jazz pianist who lives in Harrogate.
His Guitar Concerto has been perfor
med twice by Wade, and his latest
choral work, an interpretation of
Everyman, was recently given at
Wakefeld Cathedral to a capacity
audience. His new Guitar Sonata has
been described as 'a brilliant and vivid
work of great insight, and includes
many passages of complexity and
virtuosity' .
Wade has also commissioned a
hew work from Colin Hand, the
Lincolnshire composer whose Fieen
Minutes, 15 easy pieces for guitar,
were recently published by Ricordi
under John Duarte's editorship.
Hand's Sonatina for guitar was
originally dedicated to Graham Wade
and edited by him, and is published
by Novello. The new work should be
ready by the autumn and is expected
to last ten minutes, the aim being to
demonstrate the full tonal resources
of the guitar.
Mikulka Master Class in
Cambridge
Following his recital at Lucy
Cavendish College, Cambridge, on 29
October Vladimir Mikulka will give a
Master Class on the following day.
Participants may prepare a work of
their own choice or alternatively
select from a list of familiar pieces:
Giuliani, Variations upon a theme of
Handel; Dowland, Fantasia No. 7;
Weiss, Tombeau sur la mort de Msr.
Comte d'Logy; Villa-Lobos, 5
Pr elud es; Torroba, Noct urno;
Barrios, La Catedral; Albeniz,
Asturias. There will be places for
spectators. The
'
great virtuoso's
recital will include the famous Bach
Chaconne and works by Brouwer,
Villa-Lobos, Ponce, Barrios, Giuliani
and Koshkin. Full details for both
these events are available now from
5
our Reviews Editor, Chris Kilvington
at 40 Thornton Road, Cambridge.
Guitar Review
Now a division of Albert Augustine
Ltd, Guitar Review has now gone
quarterly. With that change has come
others: scope has broadened to
include more contemporary articles of
interest to the beginner, musicians,
students and the performing artist as
well as the non-player. Wider appeal
has already resulted in a circulation
increased by ffy per cent, and new
subscriptions are said to be still arriv
ing at the ofce in New York. It
points to a promising future for a
publication that has already had an
impressive past.
L.E.A.s and the guitar
Michael Stimpson has some interest
ing things to say in Classical Music
(11 June) about local education
authorities and their attitude to guitar
teaching. Out of 98 authorities sur
veyed, 40 provide some tuition in
guitar, although only eight allocated
more than ten per cent of their instru
mental provision to it. Yet when
children were asked which instrument
they wished to learn, the guitar
always appeared at or near the top of
the list. It could be said that many
children have the electric guitar in
mind, but, as Mr Stimpson points out,
'this, the nature of its social back
ground and the role that it plays in a
music curriculum that does not
always retain the interest of the
recipients, makes the present-day
guitar a highly complex issue'. He
concluded that local education
authorities were not giving a sufcient
and sophisticated lead.
Stroud contest
No frst prize was awarded in the
1983 Stroud International Com
posers' Competition. Kevin Hiatt,
from the USA, won second prize, and
joint third prize went to Andrew
Shiels (Southern Ireland) and Ricardo
Iznaola (U SA).' Entrants were
required to submit an original work
for solo guitar, of between ten and
ffeen minutes' duration. The judges
were Reginald Smith-Brindle and
guitarist Robert Brightmore, who will
perform the three winning works at a
concert in Stroud on 5 October.
6
For 1984, the Stroud Festival
wants a composition for Brass
Quintet lasting between ten and
ffeen minutes. Maximum age 39,
prize money 1,000. Closing date: 29
February 1984. Full details and entry
form from The Secretary, ICC,
Pe nnwood Col l ege Gr ounds,
Stonehouse, Stroud, Glos. GLlO
2LO.
Lunatic fringe
Overheard afer the performance by
John Williams and Friends at the
Royal Festival Hall: 'What I like
about him is that he hasn't got himself
into a rut, like Julian Bream'.
Madrid success
Juan Martin
Good news for Juan Martin; his
interesting and unusual record
'Pi casso Po r t r ai t s' (P ol ydor
POLD5048) is now on sale at the
Prado Museum, and reported to be
doing well. The sleeve illustration, a
full colour reproduction of Picasso's
'T hree Musi c i ans' (1921), is
undoubtedly an eye catcher. Pleasure
is enhanced when one fnds a further
reproduction inside.
Much interest has been aroused
here by Juan's latest record -a disc
of popular classics recorded with the
Royal Ph ilharmonic Orchestra.
Beethoven, Mozart and Chopin are
represented, and those popular
favouri tes Span i sh Roman ce,
Cavatina and the slow movement
from the Concierto de Aranuez also
get a look in. This last is particularly
interesting, since it is not ofen that
the work is performed by a guitarist
who has made his reputation as a
famenco player. The authentic
famenco 'feel' that Juan imparts puts
the familiar poetry into quite a
diferent context. The same may be
said about the bold transcription of a
movement from the Mozart piano
concerto now known as 'Elvira
Madigan', from the flm in which it
featured. Some purists will wail, but a
lot of people are going to fnd it
exactly what they want.
More Mozzani
Luigi Mozzani
In our last issue we announced that
Mario Maccaferri had just completed
the restoration of two original Luigi
Mozzani guitars. On a recent visit to
New York, Maurice Summerfeld
called on Mario and found that the
master luthier/guitarist had in fact
completed the restoration of no fewer
than four of these magnifcent instru
ments. Maurice took photographs,
and as we thought that readers would
like to see these rare guitars, they are
displayed on the next page.
Mario also discovered recently
two practice guitars designed by him
in the 1920s. He explained to Maurice
that, as a touring concert artist, he
spent many hours on trains travelling
between the major cities of Europe.
The folding guitar shown on the next
page helped him practise for many
hours that would otherwise have been
wasted. Also shown is a silent guitar
that Mario devised for practice in
hotel rooms during the early hours so
as not to disturb the other guests. It
would be quite a good idea to
instigate a competition for the Worst
Guitarist of the Year, and ofer one of
these to the winner.
Letter from Poland
Zbigniew DubieIla writes: There are
three grades of permanent guitar
competition in Poland. For the
youngest pupils in elementary music
schools there is ' Ogol nopolski
Konkur s Gi t ar ow y S t i pni a
Podstawowego' every year, in
Mozzani Guitar 1 Mozzani Guitar 2 Mozzani Guitar 3
Mozzani Guitar 4
Prototype MaccaJerri Plastic! Electric
Classical Guitar, 1953. Prototype oJ new MaccaJerri Classical Guitar.
1921 Collapsible Practice Guitar. Mario demonstrating Practice Guitar. Silent Practice Guitar.
7
as a contrast to some real Weiss
RaJal Fornalak and Zbigniew Dubiella
Strzelce Krajenskie. For pupils in
secondary schools, contests are
organized every two years in Zamosc.
The most difcult contest, held every
three years, is aimed mainly at
students in music academies, and is
organized in LOdz. In addition, every
two years during the summer 'Dni
Muzyki Gitarowej' are organized by
the local Cieszynskie Towarzystwo
Gitarowe in Cieszyn, which is a
summer resort in the Tatra moun
tains.
The 7th Classical Guitar Con
tests at Basic level was held in
Strzelce Krajenskie from 6 to 9 May
1983, and is a competition for the
youngest guitarists - the frst group
under 15 and the second over 15
years old. We heard a good duo from
Katowice: Wanda Palacz and
Krystian Fromelius, the sensational
guitarist Andrzej Mokry and a
talented player from Warsaw, Leszek
Potasinski. As was expected, Mokry's
performance was liked most of all. He
played works by Dowland, Ponce,
Morel and Rodrigo.
The occasion was a happy one
for me, for I achieved a double
success as a teacher. In the frst group
(under 15) my pupil, Rafal Fornalak
was awarded frst prize, and in the
second group another pupil, Bozena
Wetchacz, was awarded third prize
(frst and second were not awarded).
This summer I shall be taking my
best pupils to Esztergom, Hungary,
for the International Guitar Fesitval. I
will send you a report of this large
and interesting festival.
Alberto Ginastera, 1916-1983
The Agentinian composer Alberto
Ginastera died in July. Creator of
ballets and operas, he is known to
guitarists for his Sonata (1976), a
work which is just beginning to
achieve widespread and deserved
popularity.
A traditionalist with one eye on
the musical roots of Europe,
Ginastera nevertheless had afnities
with early 20th century expressionism
without ever becoming a convinced
serialist. His leanings towards sonata
form resulted, for guitarists, in a sub
stantial work of recognizably classical
proportions, a welcome newcomer in
a sparse feld. He was one of that
select band of composers who, while
not themselves guitarists, have yet
managed to make a signifcant con
tribution to the literature. Even if the
problems of operatic production limit
exposure of his work in that feld, it is
safe to prophesy that much of his less
epic work will continue to be perfor
med, the Sonata/or Guitar Op. 47 in
particular.
Payload
Listening to Gilbert Biberian's six
Haiku was difcult on a warm June
night, with aeroplanes, seemingly only
a few hundred feet up, beginning their
run-in to Heathrow airport at fre
. quent intervals. The best you can say
of such an experience is that it con
centrates the attention.
Jets on fight path are loud
But more fnely tuned the
voice of the guitar.
Composer's Weekend
Held at the Royal Northern College
of Music, Manchester, from 9 to 12
September, the 17th Annual Com
posers' Weekend will embrace perfor
mances, seminars, lecture demonstra
tions, discussions, workshops and
flms. Composers are invited to
submit works and also project out
lines and works in progress for work
shop performance by the resident
ensembles. Details from SPNM, 10
Stratford Place, London WIN 9AE
(01-491 8111).
Early Music ofer
Early music for most guitarists means
the lute, though the baroque guitar
and the vihuela have an honoured
place. The quarterly journal Early
Music, published by the Oxford
University Press, has about 160 pages
in each issue, maintaining a scholarly
yet accessible approach under the
editorship of Nicholas Kenyon. This
year OUP have offered a 50%
discount to new subscribers.
Late music retraction
Eric Hill's arrangement of the hymn
Sine Nomine ('For All the Saints') by
Ralph Vaughan Williams should not
have been included in our Novem
ber/December issue (Vol. 1 No. 2).
Copyright in Vaughan Williams's
music held by Oxford University
Press places restrictions on the uses
to which it may be put, and guitar
arrangement s come i nto t hat
category. We regret this inadvertent
infringement.
Festival contribution
Afer the Buxton Festival, our con
tributor Gregory Newton moves on
to another festival in August and
September, that of Edinburgh. He will
be playing in St John's Church,
Princes Street, on 30 August and 6
September, and in St Mark's
Unitarian Church on 1, 3, 5 and 7
September (see Concert Diary for
times). A list of Greg's teachers reads
like a guitarists' Who's Who: Vahdah
Olcott Bickford, Ronald Purcell, Pepe
Romero, Segovia, Diaz, Ghighlia,
Jose Tomas, John Duarte. As if that
were not enough, he has also studied
Flamenco with Luis Maravilla, Latin
American music with Laurindo
Almeida and Jazz with Lee Ritenour
and Eddie Arkin.
Correction
P. G. Wodehouse once said it was a
good rule in life never to apologize.
The right sort of people do not want
apologies, and the wrong sort take a
mean advantage of them. Correc
tions, however, are always in order.
In a review in the last issue, Paul
Gregory was wrongly accused of
playing the Ponce-Weiss Suite at a
public recital. He did not; he played
Castelnuovo-Tedesco's Homage to
Boccherini Sonata in his recital on 10
April. It was Jukka Savijoki who, fve
days later, ofered the Weiss pastiche
earlier in his programme. Busy
reviewers sometimes fail to get the
vibrations of one concert out of their
systems before embarking on the
next.
8
Bristol Spanish Guitar Centre.
Bristol Guitar Centre
The Bristol Spanish Guitar Centre
was founded by Michael Watson in
1954. Initially a teaching centre, it
provided an opportunity to learn the
guitar to the highest standards long
before the instrument was accepted
and taught in English music colleges.
The scope of the Centre was soon
broadened to include guitar sales and,
over the years, instruments from most
of the leading Spanish makers have
been imported, including such
legendary names as Fleta, Hernandez
y Aguado, Fernandez, Lopez and so
many others too numerous to
mention. The Centre is also proud to
have been associated with the greatest
of all makers in England, Jose
Romanillos and David Rubio, as well
as such superb luthiers as Paul
Fischer, Robert Welford and Alistair
McNeil. Equal importance has
always been given to providing frst
rate student instruments and the
beginner buying his frst guitar
receives the same attention as the
advanced player looking for a concert
instrument.
Afer nearly thirty years the
Bristol Centre continues its unique
role -always much more than just a
guitar shop, it is stafed by pro
fessional guitar teachers who under
stand the need for expert advice in
choosing an instrument and who can
call on their teaching experience to
help the student guitarist with his
problems. The Centre still exports
guitars worldwide, provides a 'by
return' mail order service providing
music, strings and accessories and is
open eleven hours a day to help the
guitar enthusiast. Details of the
services they supply can always be
found by reading their adverts in each
issue of Classical Guitar magazine.
Czech guitarist for UK
Martin Mastik is another of the new
generation of Czech guitarists to
establish strong links with the west.
He now lives in London, where he is
studying at the Early Music Centre at
the invitation of Anthony Rooley. He
is also furthering his guitar studies
with John Duarte, who heard him
play in Prague and suggested a stay
in Britain. He specializes in Czech
Renaissance, Baroque and Classical
guitar music, and of particular
interest is the inclusion in his
repertoire of Czech music for lute and
guitar that is virtually unknown in
this country. Newspapers in Prague
have remarked on his warm tone,
excellent phrasing and rich use of
dynamics.
London awaits a major recital by
this obviously talented player, but he
has performed at the Contemporary
Music Festival, Elephant Fayre, Port
Eliot, Cornwall (30 July), and con
tinues to play at various other
societies, clubs and gatherings up and
down the country (see Concert Dairy
for more information). He will be
touring Italy from 12 September to 20
September, and he has also been
invited to tour Switzerland.
Scholars' news
June Yakeley is doing a postgraduate
degree with the Open University on
the life and work of the 17th century
musician Jose Marin, a colourful
character who became not only a
priest, which was common enough,
but also a highwayman and a
murderer. Other information, not
available from Grove's Dictionary,
would be most welcome.
June, incidentally, has a class in
Quinton/Kynaston School in Swiss
Cottage, where two children of 14
and 15, award students of guitar, are
responding to lute lessons. With
recorder players, Caroline Hall and
Nicola Hub are reading 17th century
music from the original notation. A
t hi rd l ut e student, Josephi ne
Simmons, is only 11 years old and is
performing similar feats at St Mary
Magdalene School, Holloway.
Monica Hall has completed her
doctoral thesis on the 17th century
Spanish guitarist Santiago de Murcia,
and has traced more concordances
that either Pennington or Craig
Russell. Most of Murcia's music
9
appears to consist of arrangements of
works by other composers, especially
Corbetta and the French keyboard
writers.
Festival of Spanish Dance
Ramon Villar presents his Grand
Festival of Spanish Dance at Bar
bican Concert Hall on 23 September.
The art of famenco needs little
introduction for classical guitarists.
As the blurb says, it also 'eludes a
precise defnition'. Guitarists at this
event will include El Tito, El Osito
and El Bolaor.
Jorge Morel
The great Argentinian guitarist, com
poser and arranger will be available
for recitals and one-day master
classes during the month of Novem
ber. Contact James Bean of The
British Guitar Society for details. 33
Wimborne House, Dorset Road,
London SW8, telephone 01-587
0810.
Jorge Morel has recently been
appointed Professor of Guitar at
Lehman College, New York. His
composing ability also continues to
receive wider recognition: in April he
was awarded a grant for composition
by CAPS (Creative Artists Public
Service).
The British Guitar Society is an
extension of the old Chet Atkins
Society, now with a broader base to
include the classical guitar. If a recent
meeting was anything to go by, its
members enjoy a particularly varied
and stimulating diet: the highly
professional duo of Simon James and
Nick Webb, famenco and traditional
Irish music from Ray Durham, clever
calypsos from Hugh Thomas, high
quality contributions from Doug
Turner and Jim Sullivan. The
standard was exceptionally high
throughout, and the surroundings
the delightful Thames Valley home of
David Alcock -could not have been
pleasanter.
Gold disc for Zaradin
John Zaradin was presented with a
Gold Disc by Chris Barber at Ronnie
Scott's Club on 12 June in recogni
tion of the success of his Classics for
Pleasure recording of the Rodrigo
concerto - more than two hundred
thousand copies sold. One of Britain's
John Zaradin receiving his Gold Disc from Chris Barber.
best-known guitarists, John Zaradin
is equally at home in classical and
jazz felds. His success with the
Rodrigo recording will come as no
surprise to his fans, many of whom
know him better for the Brazilian
style jazz he plays at Ronnie Scott's.
Arts admin course
There are vacancies for 30 members
in a course on Arts Administration
being held by The British Council
from 13 to 25 November, in London.
Increased leisure and rapid technical
change are together giving people a
wider choice in creative activity,
among which the guitar has a place.
Contact The Director, Courses
Department, The British Council, 65
Davies Street, London W 1 Y 2AA if
you see your f ut ure i n arts
administration.
Amsterdam Guitar Trio
To the talented three from the
Netherlands went the honour of
performing the opening concert of the
Quebec International Guitar Festival.
Another concert in Canada followed
- Montreal on 17 July. In August
they recorded Vivaldi's Four Seasons
in their own arrangement, for
RCA/ERATO. This record will be
issued in November. In September
they will be in Thailand to take part in
the Bangkok Guitar Festival, the
opening concert of which will take
place i the presence of the King. The
programme will contain three com
positions by King Bumibol, arranged
for three guitars. The trio will also
give the frst performance of a work
by t he Thai composer Dnu
Huntrakul.
Aranuez Guitar Trio
Newly formed, the Aranjuez Guitar
Trio will be performing in Stamford
Theatre on 29 October and in
Leighton House, London, on 5
November. The members are Roland
Gal l ery, Col i n Arenst ei n and
Al exander MacDonal d. Thei r
programme i s Spanish throughout,
with Albeniz M. represented along
with Albeniz I., Scarlatti D.,
Granados and Falla are the other
compos er s in t hi s t r eat for
Hispanophiles.
Mikulka tour
An extensive UK tour in the autumn
by the brilliant Czechoslovakian
Vladimir Mikulka
guitarist Vladimir Mikulka has been
announced. Details can be found i
10
te Concert Diary. He will also be
making his frst visit to Ireland, with
concerts in Dublin and Limerick.
Immediately afer this tour, Mikulka
will visit Holland, and will then make
his debut tour in the USA. To
coincide with a tour of Sweden before
his UK visit, the Swedish label BIS
are issuing a recording of works by
two East European composers,
Mikulka's compatriot Stepan Rak
and the Russian Nikita Koshkin. The
Rak works are Farewel l Finl and,
Ro m ance a nd Ren ai ssance
Tempt ation. The Koshkin work is
The Prince's Toys, which made such
- an impression at Mikulka's Wigmore
Hall recital last year. This year he will
be playing another Koshkin piece:
The Clock Game.
Garcia award
Roberto Garcia has been awarded a
Spanish Government Scholarship to
study with Jose Tomas at the Con
servatorio Oscar Espla in Alicante.
His previous teachers were Douglas
Rogers and Gerald Lee, and he has
also attended master classes given by
Hector Quine, John Duarte and
David Russell. Already a seasoned
performer, he has given concerts in
London and the provinces, and has
played concertos in Germany and
Switzerland.
Laucke debut
The young Canadian makes his
London debut at the Wigmore Hall
on 22 September, having previously
played at the International Guitar
Festival in Esztergom, Hungary, and
in Spain and Southern Europe. Afer
returning to North America, he will
give his New York debut at the Car
negie Recital Hall on 26 October.
In addition to his solo career,
Michael Laucke has founded the
Canadian Guitar Quartet, which will
be performing widely in Montreal.
Laucke studied with Bream,
Diaz, Segovia and Valdes-Blain. He
was chosen by Segovia to perform in
his flm made at the Metropolitan
Museum of Art, New York, in 1982,
which was televised throughout North
America. A tribute to his talents is
implicit in the fact that no fewer than
18 new works have been written for
him and dedicated to him by
Canadian composers.
Carlos Bonell and Ensemble.
New ensemble
Following the formation of Waves
(Carlos Bonell and Mara in duo)
comes news of another ensemble with
the famous guitarist leading a group
containing Mara (fute, panpipes,
percussion), Raymond Ursell (guitar,
drum) and Simon Wynberg (lO-string
guitar). Superwaves, perhaps.
Carlos Bonell says: 'I want all the
instruments to shine, alone, in turn,
and together to create a stunning
cascade of sounds, ever changing and
exciting, surprising and original and,
most of all, enjoyable and entertain
ing.' The ensemble will be performing
at the Queen Elizabeth Hall on 30
October, the programme containing
music by Napoleon Coste (Grand
Duo), Albeniz, Rodrigo, Michio
Miyagi's The Sea in Spring, Folk
Songs and Dances from Spain and
traditional music from the Andes. The
intention behind the arrangements is
to preserve and project the spirit of
the music without diminishing its
original strength and impact.
In October Carlos is not only
playing on the South Bank but is
giving recitals elsewhere in England
and in Holland and in Jugoslavia, i
addition to concerts with the Vivaldi
Chamber Ensemble and two concerts
with Mara in the Waves duo.
Aguado Guitar Duo
This accomplished guitar duo (see
Vol. 1 No. 5, p.7 for background) are
doing an extensive tour of Scotland
and the north of England in October
and November (details in Concert
Diary). They have also chosen this
time to make their ofcial London
debut, although they have played pre
viously at the Wigmore Hall with
Yehudi Menuhin and other members
of Live Music_ Now. On that occasion
the critic of The Times remarked: 'I
particularly look forward to re
encountering the sensitive guitar duo
of Peter Batchelar and Kenneth
Heggie'.
This time they will be appearing,
on their own, at the Purcell Room on
9 October. Their programme will
include 17th century lute duets,
Scarlatti sonatas, Giuliani's Vari
ati ons Concertantes, their own
a r r a ng e me nt s of pi e c e s b y
Mendelssohn (Op. 44 No. 1) and
Tchaikovsky (Op. 48), a new work by
Paul Keenan (NW Arts commission),
Petit, Debussy and Falla.
Afer this London debut and the
following tour of the north, they will
visit the Channel Islands at the end of
November and beginning of Decem
ber. Together with harpist Rachel
Masters, the duo become the Penna
Trio (guitar, mandolin and harp) for a
major tour for the Regional Con
t emporary Musi c Network i n
February 1984. Our previous news
item had this tour as already having
taken_ place, which was a mis
understanding. Original works will
include Henze's Carillon, Recitati
and Masque, and Petrassi's Seconda
Serenata, and also an exciting
arrangement of the suite from Kurt
Weill's Threepenny Opera.
11
12
A CJ4Ssj Comination
DADDARIO & THE CONCERT GUITARIST
Benjamin Verdery Michael Newman David Leisner Laurindo Almeida
Alice Artzt Michael Laucke
David Starobin
J. D'ADDARIO & co, INC. 210 ROUTE 109 PO BOX J E. FARMINGDALE, NY 11735 USA (516)454-9450 TELEX: 143196 CABLE ADDRESS: DADDARIO
ANGEL ROMERO
JANICEMAY
Angel Romero with Moreno Torroba.
ANGEL Romero is, as the New York Tmes has com
mented, 'that rarest of rare artists in the music world today:
a phenomenal amalgam of natural gifs and unique heritage
combined in one fercely virtuosic artist. Competition
beware!'
When confronted with such assessments, Angel
Romero laughs appreciatively and adds: 'Well, of course,
it's all true!'. And as any Romero watcher will assure you, it
is.
Internationally recognized today as one of the handful
of great 20th century virtuoso guitarists, Romero's proud
family and national heritage was bestowed at birth. Born in
Malaga, Spain, in 1946, Angel, the youngest of Celedonio
Romero's three musical sons, made his debut as soloist with
the family guitar quartet when he was six. Such precocity in
the Romero household was not unusual in that tbe elder
Romero began performing at the age of fve.
Angel recalls that he frst played the guitar at the age of
three: 'I began to experiment, learning to pick out melodies
and a few chords. I simply fell in love with the guitar and
begged my father for lessons'. In Celedonio Romero, Angel
was in the hands of a master guitarist, teacher, composer, a
virtuoso who was a nationally recognized fgure in Spain.
Joining his brothers Celin and Pepe, Angel became a serious
student: before he was fve he was playing Francisco
Tarrega's Adelita and Domenico Scarlatti transcriptions.
'From a a very early age', says Angel, 'I found myself
in the enviable position of having open to me a dual musical
heritage. My father made certain that I came to know and
love not only the classical masters of Western Europe but
those of Spain as well. Combined with this were the folk
songs and dances I heard daily in the gypsy encampment
near our home in Malaga and the solemn religious musical
traditions of the Holy Week we attended in Seville. Some of
my happiest memories are of the visits my family and I
made to Cordoba, Madrid, the Alhambra and, of course,
the Escorial. It was a rich, exciting feast of music.'
And it was a musical feast that continued afer the
family moved to the United States and settled in Santa
Barbara, California, when Angel was twelve. 'I can't
remember a time,' Angel reminisces, 'when our family circle
did not encompass composers and musicians engaged in
lively musical conversation at the dinner table. And this is
how, in fact, I came to know Joaquin Rodrigo and Federico
Moreno Torroba. Such men cannot help but have an efect
on one's own career and the way one approaches music.'
Angel's formal relationship with Rodrigo began in 1964
when the young artist gave the Hollywood Bowl premiere of
the Concierto de Aranjuez accompanied by the Los Angeles
Philharmonic Orchestra, Eleazar Carvalho conducting. In
the ensuing decades, Angel Romero has become inter
nationally identifed with the work, most recently perform
ing the concerto in London this summer.
'If I do bring an easily recognizable kinship to my
playing of this music,' Angel remarks with his disarming
candour, 'it is because of my love and admiration for the
man as well as his music. Rodrigo and I have sat together
for hours discussing his love for the Spanish folk themes
which are so much a part of this music as is, of course, his
native Valencia. What fascinates me is how he works these
themes into his elegant and intricate scoring for guitar and
orchestra. It is not hard to see the infuence of his years in
Paris studying primarily with Dukas and, ultimately, his
love for the life and times of 17th and 18th century Spain.
13
Angel Romero with Joaquin Rodrigo.
When I am performing the Concierto I feel the sunlight and
pageantry of Spain as well as Rodrigo's music in my
fngertips.'
Little wonder then, that when Angel Romero made his
solo debut in New York performing the Concierto, the New
York Times was ecstatic, citing his 'def and masterful
playing and insight'.
'My only regret about the recording sessions for the
Concierto which I did in London for Angel/EMI with my
friend Andre Previn and the London Symphony Orchestra,'
Angel confesses, 'is that Rodrigo could not be present as I
had hoped'. However, right after the sessions I made a
special trip to Madrid to visit him. 'You can imagine how
thrilled I was then when Moreno Torroba, my other
childhood hero, agreed to actually conduct the London ses
sions when I recorded his Homenaje a la seguidilla and
Castelnuovo-Tedesco's Guitar Concerto in D. When I made
the invitation to him, he said with that wonderful twinkle of
his, 'For my friend Angel, yes, I will fy to London. It will be
a special pleasure.' I'm sure the English Chamber Orchestra
agreed with me that at 91, Moreno Torroba was a superb
conductor. When he died not long ago, it comforted me to
realize that I have that recording as a remembrance of our
special time together.'
One future composer-artist collaboration which Angel
looks forward to in 1984: a planned recording of Jorge
Morel's Suite del Sur for Guitar and Chamber Orchestra.
'Jorge Morel is a dear friend of mine and I am deeply
touched that the Suite was dedicated to me' Angel says.
'The music was actually written in memory of Jorge's wife
Olga, whose death was a tragedy. She was also my friend so
I feel a special closeness to this work.'
In addition to his scheduled recordings, Angel is enjoy
14
ing an increasingly active solo career both in the United
States and Europe. 'While being part of the RomeroQuartet
is so important to me,' he reports, 'I fnd the demands of life
as a solo artist whether as a guest artist with orchestras or
as a recitalist add a signifcant dimension to me as an artist
and as a human being. For that, I am most grateful!'
Prominent among his guest artist repertoire are the
works of Mauro Giuliani, and his concertos in particular are
favourites of Angel Romero. Out this autumn will be his
recording of the Concertos No. 1 in A and No. 3 in F with
Raymond Leppard and the English Chamber Orchestra.
'These are wonderful works for guitar,' assesses Angel, 'so
full of melody and very demanding of the guitarist. We
worked with the authentic scores and no wonder Beethoven
called him "the divine Giuliani". The man's music is
incredible! '
Demanding, and joyfully receiving, equal time in Angel
Romero's musical life are his family: wife Wendy and their
three children, all in their teens, son Angelito and his twin
daughters Pepe and Celina. 'Just as my father instilled in his
children a love for the guitar, for music and for our Spanish
heritage, I an actively involved in doing the same with
mine,' Angel afrms. "Lito plays the guitar and loves it; in
fact, he made me very proud by telling me that I am an out
standing teacher! This spring I took Wendy and the
children to Spain for Holy Week. We visited Malaga, where
I was born, and spent time in Cordoba participating in the
folk music and dancing. I've never seen the girls' so excited
and 'Lito as well. I plan to take them back whenever I can.'
Angel also studies painting whenever he can and has
produced some very credible impressionist canvases of his
own. 'The whole Impressionist period appeals strongly to
me,' he says. 'I feel a special kinship to the way Monet uses

n
. rJ
.
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Angel Romero
colours and light. His palette seems

to create the kind of
visual moods I myself am constantly discovering in music.'
His own musical instruments? 'The Miguel Rodriguez
made i Cordoba and the Manuel Contreras.' relates Angel.
'Wich instrument you choose and the quality of sound you
are looking for are such personal and individual preferences
to the guitarist. For me, as well as for other performers
today, te power of the Rodriguez and the sweetness of the
Contreras are unexcelled!'
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15
CLOSING THE GAP
LEO WITOSZYNSKYJ talks to Mary Hayes
WHEN Leo Witoszynskyj came to London I asked if I
could interview him. He is an exceptionally fne guitarist,
and has given many performances at the Wigmore Hail and
throughout England in recent years. He is dedicated to the
promotion of cultural musical development in his native
Austria, working hard to break down old ideas and to
establish a meeting of the roads within the boundaries of
music; and to explore new avenues of thought as to where
technical developments are moving and progressing within
modern and contemporary music.
During the interview Leo Witoszynskyj mentioned the
necessity of 'closing the gap' between highly developed
technique and natural musical feeling. It is a theme that con
cerns all true guitarists, and could well be explored more
fully on another occasion.
MH: Do you. come from a musical background?
LW: Not in the sense that my parents were professional
musicians. My father used to play the violin and my mother
sings a lot, and we would sing together frequently in my
childhood. That was my frst encounter with music. Within
my family we have many relatives who are composers,
choirmasters, pianists and teachers. Music was for me a
very substantial part of my life.
What attracted you to the guitar?
I originally began learning the piano when I was a child.
We had a piano in the fat, but since it was not the property
of my parents we did not have it for long. It was removed
from the fat, and I had no chance to play it any more. Then
one day I happened to be given a guitar by my parish priest.
I did not know anything about the guitar as an instru
ment, or about guitar music. I hadn't heard or seen guitar
music, as there was no television in those days, nor had I
heard it on the radio. But I was very lucky to fnd a good
teacher, Luise Walker. I started to learn the guitar with her,
and this was a very good chance for me. Afer some weeks I
heard Luise Walker give a recital, which made a deep
impression on my life. When I came home from this recital I
said to myself, this is what I want to do for the rest of my
life. I could have had a very good excuse to stop practising
and playing the guitar, because shortly afer the recital I
broke my arm. But the impression made upon me was too
deep, and the wish to play the guitar too strong, and 1 con
tinued to practise the guitar.
Luise Walker was my frst teacher, and I studied with
her for eight years. Aferwards I continued and completed
my studies at the Academy of Music in Vienna. Later 1 took
part in three summer courses at Santiago de Compostela,
and had lessons with Andres Segovia and N arciso Yepes.
I have had very good teachers. Each one of them
infuenced me in diferent ways. Luise Walker taught me the
intuitive approach to the instrument, and to have a feeling
for the guitar. Andres Segovia was very important to me
from the. aesthetic and poetic side, and how to bring in
colours and improve the quality of sound. Narciso Yepes
infuenced me on how to analyse pieces and to develop a
technique which goes beyond the standards that were
taught in the sixties.
The composers I have met have had a great infuence
on the development of my views of music. Two of them
were very important to my development: one of them,
Alfred Uhl, taught me at the music academy in Vienna,
Leo Witoszynskyj
encouraging me always and giving me the confdence that I
needed. The other, Erich Markhl, was also Austrian, but did
not write for the guitar for many years because he said that
he didn't understand the instrument. Then came a moment
which made me very happy. He came to listen to me give a
recital, and afer a few weeks he turned up with a piece,
saying 'I have written this for you'.
Among the composers who are not living any more,
there is of course Bach, and I need say nothing more about
him. Another is Giuliani, who had wonderful ideas and was
a marvellous soloist, while at the same time he included the
guitar with other istruments in chamber music. He wrote
the very frst concerto for guitar and orchestra, and he
integrated the guitar into the highly developed musical life
of Vienna at that time. I think we should still pick up his
ideas, as they are very important.
Could you tell me how you tackle interpretation and
technique?
During the last 25 years, 1 haven't learnt a way to play
a piece, but I have developed an approach towards a new
piece which seems for me very satisfying. Maybe I will be
able to improve it more in the future. The main thing for me
is frst to understand the structures of the piece I have just
read through, and then try to understand what the intention
of the composer was. Then I try to bring together the
musical ideas with the technical demands of fngering. This
can be very difcult or very easy, depending on fhe piece.
You can spend a lot of time fngering according to the
phrases and structures of the piece, and a very substantial
part is to include breathing; it has again to be according to
phrase and structure. This makes playing much easier and
more fuent. So I try to bring together the music and the
16
body; you can call this body language and body movement.
If you have the feeling that they are in harmony and go
together, you do not need to practise the piece any more.
At your recent concert at the Wigmore Hall, you gave a
perormance of Alberto Ginastera's Sonata Op. 47 and of
Richard Rodney Bennett's 'Impromptus'. They were in such
contrast to the rest of your programme -could you tell me
why you chose them?
To compose a programme takes me weeks if not
months sometimes, and I have to consider which new pieces
I want to bring into the programme, and which pieces I
haven't played for years. You have to select the pieces
which you are considering putting into a programme, and
then make a choice and ty to fnd a contrast between them.
I try to select pieces which have a variety of diferent
moods. A very fast, exciting piece must be followed by a
rather calm piece.
This is an aesthetic principle which you will fnd in
sonatas and composition forms. You must always think
about the audience and catch its attention. You can't play a
set of pieces at the same speed or in the same key. In this
particular instance I chose the Bennett because I thought
that afer Bach you have to play a piece which is a big con
trast to Bach. I think the 'Impromptus' can be played with
plenty of colour and diferent, subtle rhythms. Afer this
very delicate music of Bennett's I found the Ginastera
Sonata the right thing to play. It is suggestive music, and
Ginastera is a composer who tries to catch the attention of
the audience. His musical idea is that a piece of music is
written for the audience.
Do you intend to include more contemporary music in
your future programmes?
I certainly will. It makes me very optimistic that in the
last ten to ffeen years there are pieces written which are
very good, and I look forward to new pieces which are also
very good. To include contemporary music in the
programme is the expression of our musical life. We can't
tink in the standards of Renaissance and Baroque music
only. We have to express our musical feelings in a language
which is inspired by the development of technical standards
which bring new ideas into our art and so into music, and
this must be refected in the music.
Do you think that contemporary music is going in a
direction whereby the range and possibilities within guitar
music are stretched?
In contemporary music there are included many new
ideas on how to use the guitar as a percussion instrument.
This is a very fne idea, and to go to the sound point gives a
good resonance. You are using parts of the guitar which
were not used before. You also play at the top of the head
now. It is a very human trait to try and develop the
possibilities and the techniques of an instrument.
We have to be warned that every development has its
price. The development of technique in other areas pays a
price in neglecting nature and intuition, and this you fnd
within the development of music as well. You can see the
general audience likes pop music very much, and therefore
avant garde music is still neglected by the general audience.
Unfortunately there is a gap between both felds, and I think
we should try and close this gap again. We need to take
advantage of our technical developments to express musical
ideas which can be followed by a bigger audience. Maybe
by doing so we can become close to natural musical feeling
again.
In your role as Assistant Director of the Hochschulefur
Music in Graz, have you concentrated on making the guitar
a more popularly available instrument in Austria?
I am afraid I didn't make too much effort to make the
guitar popular. It was popular without me, and still is
popular! What I try to do is integrate and include the guitar
into the musical life here. That means the guitar has to be
used in programmes with chamber music, and I have made
efforts to improve this situation with the Hochschule fr
Musik. This is good for the Hochschule. It happens to have
a jazz department now, and new ideas come from this feld.
This means that the students have a wider range of choices
by learning about jazz music as well as classical guitar
music. I think that from this integration there will be some
very interesting results. This opens up chances in the way I
mentioned before - that is, we must close the gap between
highly developed techniques and natural musical feeling.
What led you to dedicate part of your career to
teaching?
When I was 23 the teaching job in Graz was offered to
me, and I was very lucky to get it. Later on I was ofered a
professorship. As you know, many soloists who tour would
like to share their experiences with students and to give
. master classes. I am very happy to share my experiences
with students. It can sometimes be a burden, knowing you
have to do it regularly, I admit this, but generally speaking it
is very satisfying work, especially when you have students
who appreciate the way you teach. This makes one happy
about teaching.
Being an assistant director of a Hochschule is a
challenge for me, and I am very lucky to have a directpr
with whom it is easy to co-operate. I do not have to do
much administration work, but of course my responsibilities
are time-consuming and sometimes it afects my practising.
That means I am unable to play as many new pieces as I
would like at the moment. But knowing I can bring in new
ideas from my role as a performing artist to music culture
and to cultural politics makes it a very important aspect of
my life, and I think that this is appreciated in my country.
And so I am encouraged to continue my work here.
I hope that in the future I will have more time to con
centrate on my music. To fnd time to practise is not so
much a question of practising this day or not. I have to
think in terms of periods. I have periods when I concentrate
very much on concerts and recordings, and then I have to
accept that I can't look at the guitar for one or two days
because there is maybe a meeting or a discussion or I have
to negotiate my work. But one manages to ft it into one's
schedule, and so it is not frustrating, especially when you
know that what you are doing makes sense. You just
manage to fnd a way of combining both very challenging
positions.
Would you like to extend your discussion on cultural
politics, and how important do you think it is for musical
progress?
Yes. Cultural politics is like a white sheet whereby you
look at the goals of musical education and think about how
to put accents on the feld of creative arts, or performing
arts, and look for new ways on how to include the general
audience into our cultural life. The Hochschule is only a
small part of culture, but one which infuences te direction
of cultural life to some extent. If we look at the whole feld
of culture and the way to make it more accessible to the
general audience, you put an efort into improving this
problem and hope you can see some results in the future.
What advice would you give to aspiring guitarists?
I expect every student to learn music as language in a
very comprehensive manner, as a comprehensive language
of harmony rules and rhythmic patterns, and then to learn
the techniques of the instrument. To bring together the
idioms and patterns of techniques which are helpful to
understanding the guitar. You can't play the instrument
17
1
795
when you don't understand the language you're speaking.
Music has a wide range of possibilities, and the goal is to
gain a wider view of and an understanding of music. One
does not play music only for oneself; to be a musician, you
have to make music for the audience.
NEWCASTLE GUITAR SOCIETY present
DAVID RUSSELL
FRIDAY 9 SEPTEMBER
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PEOPLE'S THEATRE, NEWCASTlE UPON TYNE
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18
IN CONVERSATION WITH
ROBERT WELFORD,
Cambridge Luthier
CHRIS KILVINGTON
I WAS frst introduced to Robert Welford and his excellent
guitars when I moved to Cambridge in 1979; since that time
I have had the pleasure of playing many of his new instru
ments and have thus been a frequent visitor at his home. He
conveys a joy in his work and a genuine enthusiasm for the
high quality of his craf which made our conversation easy
and informal.
CK: When did you begin to make guitars?
RW: I've been making for something like a quarter of a
century! I completed my frst at the age of seventeen but
long before this I loved the sound of the guitar and loved
wood - I was always making something -and it seemed
te most natural and delightful thing to do. Composers and
players construct the music; I wanted to construct the
physical medium of communication to the best of my
ability, using the best possible materials.
Yes, the machineheads you use, they're pretty costly
aren't they?
I believe they are the fnest available. They're made by
David Rodgers of Leicester and cost fractionally above
100 but this includes V AT! My instrument's head -
shape is carved on the sideplate. They really are superb.
A nd timbers?
Well, the usual really; Indian or Rio rosewood, Swiss
pine for the table; I love pine, it gives clarity and directness
right through the range, the sharp focus of the so-called
'English' sound. Of course, I appreciate the rich warmth of
cedar - but I have to make it in my own way. It is
impossible to be all things to all men and even more difcult
to defne a guitar for all players, in fact one would not wish
tis; individuality is what makes the world of music special.
I know that you make your own rosettes; I presume this
is because you want to create as much of the instrument as
possible, barring machineheads and strings?
Exactly! It's very time-consuming, of course, perhaps
twenty hours on one rosette, but it's never time begrudged.
All my evening class students do this, it's an excellent
discipline.
Do you enoy teaching?
Very much indeed. I get to know the students well,
they're all enthusiasts, and my role is simply to impart my
experience in a common cause - we're all working
together with a single aim and the interest that each person
will take in another's work is really quite amazing. It's a far
cry from the proft and loss of daily life.
You give each instrument a female name; I wonder
why?
I like to have reference to each guitar, each is individual
and I can actually remember many, if not all, of them. I hate
numbers, and I happen to think that the gentle curves of the
guitar are visually feminine rather than masculine. It's not
like a christening! The new owner will ofen stipulate the
name, it doesn't have to be my choice. Maybe a string of
names is no better than a list of numbers, but I believe it is,
so that's why it's done.
To what extent do you experiment?
I normally make two guitars together and constantly
make extremely fne adjustments, perhaps to the thickness
Robert Welord
or placement of a bar for example; I thus have reference to
any minute changes which may take place. We are talking
in very small terms, you understand; I suppose this is the
elusive search for perfection. I work by 'feel', it's almost a
mystic thing; what I do is instinctive, not scientifc. I have
recently experimented in a quite diferent way -Alexander
Macdonald asked if I would make him a long scale six
string bass guitar for ensemble and continuo work and this I
did. It's tuned an octave below the guitar's standard pitch
with two extra frets. Obviously this is not my customary
work but I certainly enjoyed it.
What did the new owner think of it?
He seems very pleased -perhaps I shouldn't say that!
At present he's experimenting with string tensions and
gauges so perhaps it will be a little while before we hear it at
its best.
Did you enjoy hearing it for the frst time?
I really did!
How do you feel when you hear your instruments
played?
When I fnish a guitar I will have spent something like
two hundred hours on it. It is then still silent, waiting. I want
to hear it, that's why I'm so keen for you to play for me
whenever the purchaser, for one reason or another
perhaps if it's .going abroad - cannot do so. It's a need,
only now is the process complete as far as I'm concerned.
This is probably not quite the same as when you hear
one of your instruments in a recital?
19
True. In fact I get really nervous, the situation is fragile,
I am absolutely reliant upon another person over whom I
have absolutely no control, it's all so unpredictable - this
is not to say my guitars are unpredictable, I'm sure they're
pretty consistent. But we've reached the stage where I no
longer exercise any authority nor have any right to do so. I
certainly become very involved but whatever pleasure I
obtain - and this can be great -must remain a private
pleasure, although internally I can be on a 'high'. This is the
real moment of discovery; only in performance can it be
possible for me to really know my instrument. It's like my
students. They pour themselves into their work for quite a
long period of time but the strong fascination with what
they are creating inevitably reaches its highest point when
the strings are plucked. I've never lost this feeling; I think if
I ever did I could never again be the same as a maker.
The
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VLADIMIR MIKULKA
Friday 28 October 1983
A 11 details from Bristol Spanish Guitar Centre,
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NAPOLEON COSTE'S DUETS
FOR OBOE AND GUITAR
SIMON WYNBERG
THREE years ago, when Michael Macmeeken of Editions
Chanterelle approached me with the idea of collecting
together the complete works of Napoleon Coste for
republication, I was more than a little sceptical. Although I
had examined the works for solo guitar fairly thoroughly, I
had acquaintance with neither the duets for oboe and guitar
nor those for two guitars. The large collection of MSS was
also largely unfamiliar to me. A fll third of the project was
therefore completed uncharted territory. It transpired that
the MSS and ensemble works were some of the most excit
ing fnds in the Coste canon and presented the most
demanding editorial challenges.
My enthusiasm for Coste's music was shared by several
non-guitarist musicians, whose excitability at unfamiliar
repertoire is usually checked by their frst-hand experience
of the music of 'the great composers'. The following short
article appeared as part of the introduction to the oboe and
guitar pieces in Vol. VIII of the nine volume set of Coste's
works.
Coste's works for oboe and guitar are an important con
tribution to the duet repertoire; not just because of their
charm, melodic grace and the unusually even spread of
material between the two instruments, but because of their
fexibility - the fute or violin (with some minor adjust
ments) being as well suited to the melodic line as the oboe. It
is quite clear however, from the various title pages and
dedications discussed below, that the oboe was Coste's frst
choice. This is particularly unusual as there are
extraordinarily few duets especially intended for oboe and
guitar -even in the twentieth century when there has been
so much experimentation with instrumental combinations.
Perhaps Coste was drawn to the oboe because of its
pastoral character, perhaps because of his friendship with
the celebrated Parisian oboist Charles Triebert (1810-1867).
Whatever the reason, he was sufciently motivated to
compose several works with oboe (some with piano rather
tan guitar accompaniment). Several survive i MS copies
in the Copenhagen Royal Library, a number were
published. All of those with guitar are included in the new
C hanterelle edition.
Three of the works in the Chanterelle volume COp. 25,
34[a] and 36) were composed for or dedicated to Charles
Triebert, the principal oboist of the Theatre Italien opera
orchestra and a teacher at the Paris conservatoire. Two of
Triebert's pupils, Delaby and Larrieux, were in fact the
dedicatees of Coste's Fantaisie de Concert Op. 35 for two
oboes and piano. It is quite possible that Coste and Triebert
frst met at this institution, for we know Coste had some
links with the conservatoire. His Op. 15 Le Tournoi
dedicated to Hector Berlioz (issued in Vol. III of the
Chanterelle Coste series) was performed there by Coste
himself. At any rate, both Coste and Triebert appeared on
the same bill at a concert held in late April or May 1855.
The advertisement in the Revue et Gazette Musicale (22
April 1855, p 127) reads as follows:
L'habile guitarriste, Nap. Coste, annonce une soiree
musicale dans laquelle on entendera M. Paulin, ex premier
tenor de l'Academie Imperiale de Musique, Mme. Numa
Blanc de Labante, et MM Lebouc, Guerreau, Casimir,
Ney, Triebert et Klose. Le benefciaire executera aussi
plusieurs de ses compositions.
We do not know whether Coste and Triebert actually
played together on this occasion, but it is probable that
Coste had completed the duet Op. 25 Consolazione by this
time and perhaps Op. 33[b] Marche et Scherzo and Op.
34[a] Le Montagnard as well. By the time Coste had
published Op. 36 Les Regrets, Triebert was dead, for the
work is dedicated 'A la Memoire de Charles Triebert'.
Of these four works, three were published. Op. 34[a]
was issued by Harand afer 1851 (Hopkinson) with the
following title page:
A son ami / Triebert, / 1.er Hautbois du Theatre Imp
Italien. / LE / MONTAGNARD, / Divertissement /
PASTORAL, / POUR / hautbois ou VIOLIN et Piano / ou
Guitare / PAR / NAP. COSTE, / Op: 34 N 1. avec Piano,
N? 2. avec Guitare, Pr: 7! 50 / A.V. / PARIS / Maison
LEMOINE aine HARAND success. /20, rue de l'ancienne
Comedie. / A. Lafont / Prop pour tous pays. (Plate nos. on
music only: H. 1292. {version with piano} & H. 1292(2)
{version with guitar}).
This version, with guitar accompaniment, was used as
the basis of the Chanterelle edition. The work was also
issued by Salme using the same plates (plate no. H. 1292.
21
1862. {the date?}). There is also a fne MS version in the
private collection of Robert Spencer. It is dated 1863 and
agrees with the published version in all but a few fngering
variants. This MS is almost certainly the work of a copyist
rather than a Coste autograph. I have reached this conclu
sion afer examining the various MSS in the Royal Library,
Copenhagen, some of which are almost certainly working
copies of the composer. (These MSS are represented in Vol.
IX of the Coste series which deals with unnumbered and
unpublished works.) Robert Spencer also possesses a proof
reader's copy of the piano score of Op. 34[a]. This has
probably been corrected in Coste's own hand. On the back
cover is pencilled: 'Envoyer ces planches a la correction
chez Mr. Benoir et me tirer une 3e Epreuve apres corrections
Mo Salme'.
Le Montagnard is one of Coste's many works which
demonstrates his obvious fascination with nature - the
Doubs area of his youth is a particularly beautiful region
and is of course close to the Jura mountains. While Le
Montagnard is not strictly programmatic (unlike Richard
Strauss' rather more elaborate and extended alpine com
position!), there is a tangibly pastoral atmosphere which is
encountered frequently in many of the solo guitar works,
Op. 47 La Source du Lyson or Op. 44 Souvenirs de Jura
(both included in Vol. V of the Chanterelle series) being the
more obvious examples. The introductory Allegro perhaps
represents the knapsack loading, leave taking, before the
gentle departure (Andantino) and ever brisk er and exhilarat
ing ascent to the mountain top. The Spencer MS has a short
work entitled Romance sandwiched between the two latter
movements. This is actually a version with guitar
accompaniment of Consolazione, Romance sans Paroles
Op. 25 which was issued at least twice, both times with
piano accompaniment. The frst edition was most probably
that of Colombier with the following title page:
i son ami Ch. Triebert / CONSOLAZIONE /
ROMANCE / SANS PAROLES / Composee pour
hautbois ou violon, ou Violoncelle, / avec Accomp! de
Piano, / PAR / NAP. COSTE / Op: 25. Prix: 6[ / PARIS
COLOMBIER editeur, / Rue Vivienne, N 6 au coin du
Passage Vivienne. / Prop pour la France et l'Etranger.
(Plate no. N.C.)
It was' probably published before 1851 (Hopkinson).
The guitar part for the Chanterelle edition is that of the MS
in the Spencer collection while the phrasing, slurring,
expression and dynamic signs of the oboe part follow the
Colombier edition. A later version of Consolazione issued
by Frederic Triebert, the younger brother of Charles and
also an oboist, includes another one-movement work,
Coste's Op. 36, entitled Les Regrets. Again this was
published with piano accompaniment. A copy in the Paris
Bibliotheque Nationale has the date 1868 stamped on the
title page, the possible melody instruments now include
fute, violin, 'cello or oboe. However Les Regrets was also
issued singly by Millereau in the late 1860s (perhaps
earlier). The Triebert edition uses the same plates as this
probably earlier issue. The title page is as follows:
LES / REGRETS / Cantilene pour HAUTBOIS / (ou
saxophone ou Clarinette) / Avec Accompagnement de
Piano / PAR / N. COSTE / l! / Partie Solo. 3( / PARIS /
MILLEREAU, Editeur, Fabricant d'lnstruments de
Musique / Fournisseur du Conservatoire / 66, Rue
d' Angouleme. (Plate no. M. 710.)
There is also an MS of Les Regrets in the Copenhagen
Royal Libraryl (probably an autograph) which is sub-titled:
'Cantilene - pour hautbois ou Violon et Guitare [sic] ou
piano ou harpe . . . Extrait de la Fantaisie pour les memes
Instruments'. Presumably then, this piece was part of a
22
larger work, perhaps the Fantaisie Sonate Op. 34[b] for
oboe and piano, which will be touched on later. The MS,
although also written with piano accompaniment, expressly
indicates the possibility of using the guitar. The arpeggio
patterns are immediately recognizable as idiomatic to and
eminently playable on the latter instrument. I have therefore
used this MS, together with the published versions, as a
basis of a transcription of Les Regrets included in the oboe
and guitar collection.
These two short but ravishing melodies Consolazione
(Romance) and Les Regrets are thus available together once
again, but with guitar rather than piano accompaniment.
They can either be performed as a pair, as they were once
published, or as slow movements to Op. 34[a] (as in the
Spencer MS) and Op. 33[b] Marche et Scherzo
respectively.
The last-mentioned work is unique. The only copy
seems to be in the Spencer collection and at the time of
writing no published edition had been found. The title page
. is headed: 'Napoleon Coste, / Op. 33 / Marche et Scherzo /
Pour Hautbois et Guitare. / 1862.' There are options for the
violin in the oboe part which clearly indicate that the work
may be played on either instrument. The Chanterelle edition
of this work is certainly the frst published version in recent
times, if not the frst ever. Although not as demanding
technically or musically inventive as Le Montagnard, it is
nevertheless a witty and joyful piece. Again Coste's pre
occupation with pastoral elements is apparent, particularly
in the Scherzo movement with its repeated pedal point in the
bass.
Although guitarists will be most interested in the above
works, which are all included in the Chanterelle volume, for
the sake of completeness it is worth describing the
remainder of Coste's duo output. One of the most attractive
is the Fantaisie de Concert Op. 35 for two oboes and piano.
The work comprises a beautiful, restrained theme which is
followed by three quick variations. The last is particularly
famboyant and technically exacting. It was published by
Richault and by Triebert in the 1860s and twenty years
later by Millereau.
The MSS in the Copenhagen Royal Library for oboe
and piano are generally less musically worthwhile than the
published ones. The three major works are the Sonate Pour
Hautbois ou Violon et Piano2, the Fantaisie Sonate ... Op.
34[bP, mentioned previously and a Concertino pour
Hautbois4, inscribed on the cover: 'i son ami Charles
Triebert N. Coste 30 Xre [Octobre ?] 186 [omitted]'. These
pieces are purely vehicles for the oboist's brilliant technique.
Their main value for the researcher lies in the fact that they
provide some insights into deciding on Coste's musical
hand. They also demonstrate Coste's versatility in being
adept at not only the intricacies of the guitar but those of
the oboe as well, unusual in a guitarist of the day.
Simon Wynberg, 1983.
Notes
1. mu 7909.1781
2. mu 7908.2381 and mu 6612.2289
3. mu 7909.1783
4. mu 7908.0990
Bibliography
Hopkinson, c., A Dictionary ofParisian Music Publishers, 1700-
1950 (London, 1954)
Acknowledgements
I am indebted to Robert Spencer for allowing me to examine his
collection of Coste compositions and to the staf of the Royal
Library Copenhagen, in particular Jytte Torpp Larsson who was
of great help in assembling the Coste sources.

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SCALE FINGERING PART III
NEILSMITH
THE previous article hopefully gave some indication of the
importance of position changing on string instruments. If
te lef hand is unskilled in this respect, diatonic and
chromatic links and sequences become difcult and, what is
worse, actually sound difcult to a listener. The chromatic
scale (single string) shown in Ex. 1 is normally fngered as
the upper fngering (Le. 1234 then change position) and,
though this is a conventional pattern, very many alter
natives exist. Several are shown below. The superiority of
one particular fngering can ofen be determined by the pre
vailing rhythm (Le. position of accents and relatively long
sounds) and the clarifcation of the links with both the pre
vious and ensuing phrases. In this complex area, good
fngering shows respect for every detail, an awareness of
what has just been played, what is being played and what is
about to be played.
Ex. 2 shows a development of these ideas in that the 2 is
preplaced where the arrow indicates and later slides to the
note E. Without knowledge of the technique involved, such
fngering would seem strange, yet the move is perfectly
correct if the higher position demands this solution. Ex. 3
shows a more advanced fngering in that the two fngers are
preplaced. If the 3 and 4 are preplaced at (*) then the 1, 3
and 4 can all slide up the strings. Though these moves are
not all embracing, I hope that they show some possible solu
tions for ascending passagework. In descent, the reverse
process often works but not every case can be simply
'played backwards'.
If these ideas seem like a 'set of tricks' for the lef hand,
I can assure the reader that they have practical uses. In Ex.
4 (Adelita/Tiega) the 1 can be preplaced on string (1) to
steady the move to B and to aid the slur. Players with large
hands can ofen reach the B itself but small hands can still
Ex. 1
3 .
2
.
place the 1 at any fret behind the 3 and 4. Yet another
development would be to preplace the 2 on string (2) to stay
on to slide to G (all four fngers could press in advance, if
required). It can be seen tat even if the Tarrega fngering is
used, the actual manner of placing the fngers is by no
means certain; the more we look, the more we see
unanswered questions. Could this be why the opening notes
are always fngered 3 and 4 perhaps? Ex. 5 shows a solution
to a Carcassi Etude problem; the 3 takes the upper voice
and the bass values can be realized (how ofen is this bar lef
unfngered ?). In Ex. 6, also from Carcassi, the C# with 2
becomes D (with 2) hence the 2 should slide (this link is
rarely shown). Ex. 7 (Tarrega/Etude X): the three high
notes (E, D#, D) can be placed simultaneously as the pre
vious B is played.
Since thousands of connections of this type exist (or
can be created) I cannot analyse all possible moves.
However, certain principles can be deduced and used in
other works. Interested students should look again at
difcult passages and try to introduce new ideas. Sliding
connections work best on the treble strings, but of course,
they exist in the lower voices also. In general, once again,
scalework can help. Notes can be held on, released or pre
placed according to musical context, and this creates the
not inconsiderable problem of solving all possible technical
links in a scale before moving on to discover new fngerings
for the same notes.
Recommended Study:
Arrangements and music by Trrega, Liobet, Pujol.
Arrangements of Bach Cello Suites (John Williams) (Schott).
Arrangements of Cimarosa, Buxtehude, Boccherini etc. (Julian
Bream, Faber).
1-1 2 3 4
1 2-2 3 4
1 2 3 4
Ex. 2
Ex 4
1 2 3 -3 4
1 2 3 4 -4
1 3
1
--
- -
-
-
r
1-1 2 3
1 2-2 3
1 2 3-3
Ex. 3
Ex. 5
*
1 -1
3
0
.
3-
-- 3 -- 3 ___ 3
2
2
23
r
CONCERT DIARY
September
1 Thursday
Edinburgh: GREGORY NEWTON. St
Mark's Unitarian Church, Castle Terrace,
5 pm
3 Saturday
Edinburgh: GREGORY NEWTON. St
Mark's, 5 pm
Sawbridgeworth: TERRY SPOONER. Old
Malthouse Music Society, Knight St., 8 pm
4 Sunday
London: NI GEL NORTH (Baroque lute and
19th cent. guitar). Wigmore Hall, 7.30 pm
(Weiss, Hagen, Bach, Giuliani, Sor)
5 Monday
Edinburgh: GREGORY NEWTON. St
Mark's, Castle Terrace, 12.30 pm
6 Tuesday
Edinburgh: GREGORY NEWTON. St
John's Church, Princess St., 6.45 pm
7 Wednesday
Edinburgh: GREGORY NEWTON. St
Mark's, 12.30 pm
9 Friday
Newcastle upon Tyne: DAVID RUSSELL.
Newcastle Guitar Society, People's Theatre,
Newcastle upon Tyne, 8 pm
II Sunday
Southill: MARTIN MASTIK. Southill Park
Arts Centre, 8 pm (0344-27272)
13 Tuesday
Hull: MARK STOCKL. Bridge Guitar Circle,
Ferens Art Gallery, 8 pm (info: (0482)
634407)
17 Saturday
London: THE ALBANY DUO. Leighton
House, Holland Pk. Rd., 7.30 pm (Albeniz,
Gow, Burkhart, Bach, Duarte, Biberian)
Sawbridgeworth: MICHAEL LAUCKE. Old
Malthouse Music Society, Knight St. 8 pm
(0279 722318)
18 Sunday
Scarborough: DAVID RUSSELL. Scarboro'
C.G.S., The Corner, North Bay, 7.30 pm
London: BARTOLOME DlAZ. Wigmore
Hall, 7.30 pm (Villa-Lobos, Castellanos,
Falla, Diaz, Ponce, Bach, Rodrigo).
22 Thursday
London: MICHAEL LAUCKE. Wigmore
Hall, 7.30 pm (Narvaez, Sor, Walton,
Papineau-Couture, Bach, Rodrigo)
23 Friday
Enfeld: MARCOS. Enfeld C.G.S., Millfeld
Arts Centre, Edmonton N18, 8 pm (info:
0707 874726)
London: JOHN WILLIAMS with English
Chamber Orch. Royal Festival Hall, 7.30 pm
(I st perf. Concerto for Guitar by Patrick
Gowers)
London: ROD WILLMOTT. Leighton
House, Holland Park Rd., 7.30 pm (Romantic
and Neo Romantic Guitar)
Presteigne: DA VID RUSSELL. Presteigne
Festival, St Andrews Parish Church, 8 pm.
BBC Recording (Info: 0544 267419)
24
25 Sunday
Philadelphia, USA: BENJAMIN VERDERY
(guitar), RIE SCHMIDT (fute). Philadelphia
C.G.S., Jeferson Alumni Hall
October
I Saturday
Romford: CARLOS BONELL and MARA in
Waves. Romford Central Library, 7.30 pm
4 Tuesday
Cambridge: CARLOS BONELL with the
Vivaldi Chamber Ensemble. Guildhall,
7.30 pm (Carulli and Vivaldi concertos)
5 Wednesday
Stroud: ROBERT BRIGHTMORE. Stroud
International Festival.
London: CONSORT OF MUSICKE.
Wigmore Hall, 7.30 pm
6 Thursday
Stroud: ROBERT BRIGHTMORE. Master
class. Stroud Int. Festival.
London: CARLOS BONELL. Mill Hill
School, 8 pm
8 Saturday
London: GORAN SOLLSCHER. Sounds of
Sweden Festival. Wigmore Hall, 7.30 pm
Newark: CARLOS BONELL and MARA in
Waves. The Dome, Kelham Hall, 7.30 pm
9 Sunday
Birmingham: P ACO PEN A (flamenco
guitar). Midlands Arts Centre, 7.30 pm (Box
Ofce 021 440 3838)
London: JAKOB LINDBERG (Renaissance
and baroque lutes). Wigmore Hall, 11.30 am
(Dowland, Cutting, Bach, Weiss etc.)
Bracknell: MARTIN MASTIK. Berkshire
Guitar Soiety, Southill Park.
London: JAKOB LINDBERG (Renaissance
and baroque lutes). Wigmore Hall, 11.30 pm
(Sounds of Sweden Festival)
London: AGUADO GUITAR DUO. Pur cell
Room (Scarlatti, Giuliani, Mendelssohn,
Tchaikovsky, Keenan, Petit, Debussy, Falla)
10 Monday
Newcastle: GUILLERMO FIERENS.
Newcastle Playhouse (Newcastle Festival),
7.30 pm
14 Friday
Chesterfield: CHRIS KILVINGTON.
Library Lecture Hall, New Square, 7.30 pm
(0246 33496)
Esher: GUILLERMO FIERENS. Claremont
Fan Court School (in aid of Joyce Grenfell
Centre), 7.30 pm
18 Tuesday
Dublin: VLADlMIR MIKULKA. Irish G.S.,
Newpark Music Centre, Blackrock (Dublin
893740)
London: LONDON EARLY MUSIC
GROUP (dir. James Tyler). Wigmore Hall,
7.30 pm. Frescobaldi 400th anniversary
Croydon: GUILLERMO FIERENS.
Fairfeld Hall, 1.15 pm
Oxford: GUILLERMO FIERENS. Holywell
Music Room, 8.15 pm
19 Wednesday
Limerick: VLADlMIR MIKULKA. Villiers
School (Limerick 51447)
20 Thursday
London: LONDON PRO MUSIC A with
Christopher Wilson (lute). Wigmore Hall,
7.30 pm (16th cent. Italian music)
21 Friday
Southampton: VLADIMIR MIKULKA.
Southampton C.G.S., Southampton Art
Gallery, 8 pm (Ringwood 6477)
22 Saturday
Wheatl ey: VLADIMIR MIKULKA.
Wheatley Park School, Holton, Wheatley,
Oxford, 7.30 pm (Banbury 65133)
Sawbri dgeworth: DAVID PARSONS
(Renaissance and baroque lutes). Ol d
Malthouse Music Society, Knight St., 8 pm
(0279 722318)
23 Sunday
Scarborough: HARVEY HOPE. Scarboro'
C.G.S., 7.30 pm (Venue yet to be decided)
London: VLADlMIR MIKULKA. Wigmore
Hall, 7.30 pm
Exeter: CARLOS BONELL. Exet er
University, 7.30 pm
Gloucester: AGUADO GUITAR DUO.
Courtyard Arts Trust, 7 pm
24 Monday
Luton: FRANKFURT GUITAR DUO.
Luton Library Theatre Tel Luton 21628
25 Tuesday
Dallas, USA: ELIOT FISK. Majestic
Theatre, 8.15 pm
Ewell: GUILLERMO FIERENS. Bourne
Hall, 8 pm
26 Wednesday
Winchester: SEGOVIA. St John's House,
8 pm. Tickets 15 (0962 55438)
27 Thursday
Rotterdam: CARLOS BONELL. De Doelen,
8.15 pm
28 Friday
Bristol: VLADlMIR MIKULKA. Bristol
Polytechnic (info: Bristol 47256)
Swi ndon: GUILLERMO FIERENS.
Thamsedown Studio, 7.30 pm
29 Saturday
Cambridge: VLADlMIR MIKULKA. (Cam
bridge 276763)
Stamford: ARANJUEZ GUITAR TRIO.
Stamford Theatre, 7. 30 pm (Scariatti,
Granados, Falla, Albeniz, Granados, Albeniz)
30 Sunday
Cambridge: VLADIMIR MIKULKA.
Master classes (Cambridge 276763)
London: CARLOS BONELL AND HIS
ENSEMBLE. Queen Elizabeth Hall, 7.15 pm
(Spanish, Japanese and S. American music)
Windsor: GUILLERMO FIERENS. Arts
Cente, 8 pm
i
RENAISSANCE (AND
BAROQUE) MAN
DA VID PARSONS in conversation with Colin Cooper
WHEN David Parsons made his Wigmore Hall debut, The
Times paid tribute to his 'warmly euphonious' playing, his
'admirable sense of rhythm' and his eloquence - all richly
deserved, as anyone who was there can testify. I was
particularly impressed by the quality of his tone, both on
Renaissance lute and, though it was quite diferent, on
Baroque lute. When you have adjusted your hearing to the
tiny volume of sound, a process of sublime transformation
sometimes takes place, when the sound seems to expand
and fll every corner of the hall. 'The whole instrument
resonates' says David at one point in this interview.
It may help to explain why, in this nuclear age, the lute
has come back into favour. A potent cell, humming with
vitality, it generates a power out of all proportion to its
physical dimensions.
Colin Cooper
CC: Were you a guitarist before you became a lutenist?
DP: Yes. I have a very odd background for a so-called
serious musician, because I started of playing the electric
guitar at school, and throughout my teens I was devoting
myself to the idea of becoming a jazz or blues guitarist. I
managed to end up doing the classical guitar, but for a very
short while because I suddenly came across the lute and
changed to it.
This was the frst time I'd heard the lute played in what
I call an 'authentic' way. I hasten to add that it wasn't
because it was authentic that I liked it.
You had to change your whole style of playing?
Completely. Now I'm at the stage where I don't
actually play a guitar at all. It is quite a diferent technique,
and it takes, really, years to get it sorted out properly,
playing with the fngertips. It's quite a different way of
drawing out the sound. It's not just that you're playing with
the fngertip instead of with the nail; it's the actual way you
draw the sound out, the way you pluck the sound - it's quite
a diferent approach from nail playing. That's not to
discourage people, because I hope more and more people
will experiment.
Many lutenists also play early guitar, with a similar
technique. Do you?
I don't, and it's simply because I decided to play all
kinds of lute, and I fnd that is quite specialist enough. The
lute changed dramatically with the styles of music, so that
you have a Baroque 18th century instrument that is almost
unrecognizable from its 16th century predecessor. Also I
have never found the 19th century guitar repertoire terribly
interesting. The guitar repertoire I like to hear is 20th
century.
Are there any moves to modernize the lute in any way?
I don't think it needs modernizing. I think the reason
it's taken a long time to get going in this century is that
people have been trying to modernize it, and it's only now,
when people know something about the technique and the
way the instruments were built, that the lute has become to
David Parsons
be heard again for the instrument it is, not as an instrument
trying to sound like another instrument. It has a very special
quality which, in a way, does ft into the modern day,
because it's unlike any other instrument.
Was Julian Bream's lute a mistake, then? A blind
alley?
I tried one once. I was impressed, not only with the
inventiveness of Thomas Goff but also with the skill of
Julian Bream in acually managing to play it. Quite unlike
anything else I've ever played! But no-one wants to be harsh
about that generation, because without them nothing would
be happening now anyway. People heard the music; they
heard it on something like a lute, and they got an idea of
what it was all about.
Harpsichordists too. George Malcolm is perhaps rather
out of fashion now, yet he's a marvellous player and got a
lot of people interested in the harpsichord who wouldn't
have been otherwise. Maybe people will be saying the same
things about people like me in twenty years' time!
So there's a lot more to be discovered?
Probably. I don't know how the generations of lute
players will turn out. The guitar was once a dilettante's ins
trument; it has become a schools instrument and therefore
we're gradually getting these very, very brilliant young
players who manage to keep it going in the same way as a
pianist or a violinist.
The lute is still a specialist thing - because it's not
played in schools - and so the lute players have had to
make up for missed years. Luckily, most of us have played
the guitar beforehand for ages, and that perhaps does make
25
up for what we might have been doing at school. I don't
quite know how it will change. It all depends on how it's
accepted into the 1980s.
Do you think it needs any stimulus in the way of con
temporary music, or is it happy to stick with its old
repertoire?
I've tried quite a lot of contemporary music, and I
haven't yet found anything which I think is anywhere as
good as the old music. The thing you have to remember
about the lute repertoire and its composers is that they were
all players. They learnt from a very early age to be great
lute players. I'm not saying they all succeeded, but
obviously a lot of them did. And therefore the music that
was written is beautifully written around the instrument,
whether Renaissance or Baroque. I fnd that nearly all the
modern pieces I've tried seem to be pastiches, trying to
sound like old music, which they can never do.
The classical guitar has had the same problem. Of
course now you have a lot of very fne modern composi
tions for it, and I hope composers will be encouraged to
write for the lute in the same way. Maybe lute players are
too fussy about what they play, but I don't think so. Certain
qualities make the lute justifed, and the wrong sort of com
position will not bring those out.
I happen to have done some modern arrangements for
the lute, which is a little bit cheeky. I work with a singer,
Nigel Perrin, who used to be with the King's Singers, and
although we're doing a lot of the standard repertoire - we're
making a record of 17th century songs and lute solos - we
decided to do a few modern arrangements, and in fact we're
doing some Beatles and Gershwin, for counter tenor and
lute. It may horrify some people, but it's a nice way to end a
club act - because we play a lot to societies and clubs, as I
do on my own - and also it shows that the instrument is
versatile enough to play other kinds of music. It's not just
an antiquated stone age instrument; it can actually play all
sorts of music.
You do a lot of touring. Are there many lutenists in that
position?
I'm tempted to say that the lute player's lot is not a
happy one, yet as well as my larger concerts I play to a lot
of small societies, and I always very much enjoy the reac
tion people give me. They're so delighted to hear something
slightly diferent. I've built up lots of contacts and friends
through doing this, but it does seem a little strange; playing
all this aristocratic and highly cultured music, fogging up
and down a motorway!
A nd then you end up by playing it in front of a bunch of
guitarists ...
That's right! But I've never yet, in my experience of
playing to guitarists, played to an audience that questioned
the way I play, which is quite unlike a modern guitarist.
Nobody's ever said 'That's a funny way to play'. They seem
to accept that this is a diferent instrument.
It's marvellous that that has happened, because when I
started playing the lute it was still considered to be some
thing to do with the guitar, and people thought you were
slightly odd if you didn't play it like a guitar. It's very nice
that it's come that far and people will accept it for the in
strument it is.
I think the reason guitarists have an interest in it, apart
from the fact that they obviously like the music, is that, as
people who play an enormous amount of lute music and
early music on the guitar as part of their standard
repertoire, it's very interesting to hear it played on the in
strument it was written for. If guitarists are in any way at
fault in their playing of old music, it is perhaps that they
don't always quite understand how it might have sounded
on original instruments. If they could perhaps bear that in
26
mind a little more, I think they would be prepared to make
their own transcriptions more, which I'd like to see them do,
and to get something of the instrument it was written for on
to the guitar.
In so many modern editions of lute music for the
classical guitar I notice that things are refngered out of all
recognition. Although, having said that it was a diferent in
strument - and some might say that if it's a diferent in
strument one should do it in a diferent way - I think it's
silly, when it's still a plucked instrument, not to pay some
homage to the instrument it was written for.
The Renaissance lute repertoire can work quite well on
the guitar, because in its simplest form the Renaissance lute
had six courses or sets of strings, and the modern classical
guitar has six strings. It's tuned in intervals of a fourth, with
a third, as is the classical guitar, except that the third is in a
diferent place. In that sense I think the music can work. I'm
a little bit sceptical about Baroque music on the guitar
because the Baroque lute tunings are very far removed from
the modern classical guitar tuning.
It's quite interesting that at the beginning of the 17th
century the French lute players experimented with a whole
lot of new ideas for improving the lute. They had many new
tunings which became known as the accord extraordinaire,
and this eventually settled down towards the end of the 17th
century - by half way through the 17th century in France
and right the way through the 18th century in Germany
to this tuning on a D minor chord, with an instrument which
had 13 sets of strings by then, 13 courses, and this is very
far removed from the modern classical guitar.
I'm not saying that Baroque music such as Weiss can't
be done on the guitar, but I think one has to be very careful
to keep these very characteristic things in the music. Weiss's
music in particular is full of these campanela efects, which
are absolutely built round that D minor tuning, and
guitarists should perhaps pay a little more attention to
getting that efect on the guitar, which they can do in a
different way.
One can't get away from the fact that the lute is a very
quiet instrument. Do you fnd this a problem?
It has been a problem in some halls, but I can't think of
a specifc occasion on which it didn't work. It's just been
more efective in some places than others. In a normal sized
place that most music societies and clubs are in, it has
always worked very well.
What you have to remember is that the whole basis of
the fngertip technique on the lute, on playing these double
courses, is the quality of the sound rather than the volume.
If you are able to draw the sound from these double courses
in exactly the right way, the whole instrument resonates. In
a way you're charming the sound from the instrument
rather than hitting it out of it - which is again another facet
that perhaps doesn't go with the modern day terribly well.
Perhaps the lute is, in a way, symptomatic of a trend
towards older values?
I think so. In the modern day - I'm beginning to sound
like a very old man, talking about the modern day - you
have qualities of volume and speed. Now I've explained
about the volume on the lute; it is there, but it's there in a
diferent way. As regards speed on the lute, anybody who
knows Renaissance lute music particularly well knows that
there are enormous opportunities to go like the clappers in
some of these divisions, and yet I don't think that was what
they were really afer. My teacher at the Royal College,
Diana Poulton, always used to tell me of if I was trying to
play things too fast, saying "Don't forget, the fastest thing
they knew in the 16th century was a horse!".
It's quite true that you forget how much things have got
out of proportion. When it's played well the lute has
_____________________
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Wasn't the lute ever treated more casually, as a kind of
background music?
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The aristocracy themselves liked to play ...
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I was struck by the diference in sound between a
Renaissance lute and a Baroque lute. What accounts Fr
this contrast in timbre?
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One theory is that all the extra strings made it too
dif cult for amateurs to play?
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1 sometimes wonder i the guitar is going the same way,
with so many 8-string, 9-string and JO-string instruments
appearing.
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Once the amateur fails to get results from an instru
ment, it's on its way out as a popular instrument.
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That frm statement seems a good point on which to
end. Cqn you tell me something of your plans for the future?
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CLASSICAL GUITAR
AT THE
WIGMORE HALL
A SERIES OF CELEBRITY CONCERTS
Presented by
CLASSICAL GUITAR MAGAZINE
ROBERT BRIGHTMORE
SUNDAY 8 JANUARY 1984
DA VID RUSSELL
SUNDAY 19 FEBRUARY 1984
NEIL SMITH
SUNDAY 11 MARCH 1984
JORGE MOREL
FRIDAY 13 APRIL 1984
All Concerts begin at 7.30 pm
Tickets: 3.50, 3.00, 2.50, 1.80
From
Wig more Hall Box Offce, 36 Wigmore Street
London WIH 9DF. Telephone 01-935 2141
28
THE FLAMENCO GUITAR
JUAN MARTIN
FINGERNAILS
YOUR fngernails of the right hand are going to be very
important to you i playing the famenco guitar. It is the
impact of the nail which makes the string vibrate, so each
must be long enough to produce a clean, incisively clear
note. The nails must not be so long, however, that they
hinder the mobility of the fngers.
If the nails are the right length, then in apoyando and
tirando playing the feshy extremity of the fngertip will just
touch the string before the latter is hit by the projecting end
of the nail. This light brush with the fesh helps guide the
nail onto the string but it makes no signifcant contribution
to the sound. In rasgueo, too, the nails are essential in
producing the brilliant 'attack' so characteristic of the excit
ing sound of Flamenco. With the thumb, as already
mentioned, sound production is by a combination of nail
and fesh.
There are some guitarists who become nail-neurotics:
they talk fngernails, think fngernails - perhaps even
dream fngernails. But this does not mean that the proper
care of your nails has to be a daunting and difcult
business. They need careful shaping and strengthening to
meet Flamenco's demands on them, but you will fnd that
time devoted to their preparation and protection is amply
rewarded by your greater enjoyment and progress. You
should soon be able to fnd a routine that suits you.
Shaping
Shaping of the ends of the right hand nails (and the
smoothing of any projecting irregularities on their playing
surface) is best done with fne-surfaced emery-boards. The
nails can then be further smoothed with the very fnest
grade of emery paper. Coarser abrasives such as metal fles
should be avoided. One can give the tips a fnal polish by
rubbing them against a piece of leather or, to follow a
practice among some professionals, against the back (not
the sides) of a match-box.
With the palm of the hand facing you and the tips of the
fngers level with your eyes, the nails should project about
1/16 inch (1-1.5 mm) beyond the fngertips. Hold them up
to the light and you will get a good view of the translucent
tips of the nails. Diferent players may prefer slightly
diferent lengths of nail but you are strongly advised to start
with the relative length illustrated before you consider
making any slight modifcations to suit your own playing
style as it develops.
The little fnger-nail can be longer than the others. It is
used only for rasgueos, where its extra length can partially
compensate for the shortness of the little fnger compared to
the other fngers.
Correct shaping of the right hand thumb-nail is critical,
particularly on the side where it contacts the string, so that
fesh and nail can strike together. People often remark with
surprise on the length of the rest of the thumb-nail; this
helps the thumb to produce a good sound, particularly in
upstrokes as you will later fnd used in the technique of
alzapua.
The fngernails of the lef hand are kept smoothly
rounded and fairly short. They must not be too short, since
they are required to give a frm backing to the fesh: this will
allow you to produce a strong sound in /igado 'pulling-of.
Protection and strengthening
Even the thickest fngernails will need some protection if
they are not to be abraded and damaged by impact with the
strings. If your nails are thin, they will need additional
support and strengthening for good tone-production.
Several methods are used. A good method is frst to
apply a base-coat 9f a clear nail-lacquer, Cutex 'Strongnail'.
Once this is dry, one or more thin coats of cell ulose glue can
be applied evenly over it and can be built up in layers to the
required thickness. In Spain, 'Pegamento Imedio' is the
famencos' favourite. In the UK 'Durafx' by Rawlplug has
fairly similar properties. The glue should not be applied
directly to the nail but only to the base-coat of Cutex. It is
best spread thinly and evenly to prevent bubbles forming as
it dries. Place a small blob from the tube onto the surface of
the lacquered nail and quickly spread it out with a fnger of
the lef hand, using a diferent (and corresponding) lef hand
fnger for each nail so that you have a clean fngertip for
smoothing the glue on each right hand nail. Some players
like to provide added strength by applying the glue together
with one or more layers of thin tissue, 'Micropore' adhesive
tape or teased out cotton wool, but glue alone is usually ade
quate.
To prevent the nails drying out from these applications
it is advisable to remove the protection every day. Some
times it peels of easily. Otherwise, use nail-polish remover
which contains added oil.
All sorts of things, to be applied or consumed, have
been advocated at one time or another as indispensable for
strong nails, but many seem based more on superstition
than science. Eating gelatin every day (most easily in the
form of jelly-cubes) really does seem to help.
Various commercial preparations claim to strengthen
nails. 'Tuf Nail' can be helpful if used sparingly as a
moisturiser. One should be careful of preparations contain
ing formic acid since they seem capable of sofening the
nails unduly if used for long. An occasional application of
Mavala may help harden the nail and may reduce the risk of
faking and splitting.
Precautions
You will soon develop a heightened awareness of the many
hazards to nails you are likely to meet in everyday life and
will learn to take the necessary avoding action. Handles,
switches and clock-winders are just a few of them.
It is vitally important not to expose nails to the drying
action of detergents and soaps. Washing-up is out of the
question. Even the use of rubber gloves can cause trouble.
Carry an emery-board with you at all times to provide
frst-aid and to prevent small cracks becoming bigger.
Larger cracks, tears or faking may require careful repairs
with glue and possibly paper. New cyanoacrylate adhesives
which 'bond instantly to skin tissue' (as the makers warn)
may perhaps be useful in emergencies if used with proper
caution.
Don't blame your nailsl
Students of Flamenco ofen worry about the shape or
strength of their nails and feel they are going to present an
insuperable obstacle to playing in a really famenco way.
This is always an unnecessary fear.
29
Experience has shown again and again that a little care
and attention will ensure that the nails can be brought to a
satisfactory condition. Nino Ricardo had nails, as he said,
'coma papeles' (as thin as paper) yet, with the help of Pega
mento, he could produce an incomparably strong sound
from the guitar.
This series on the Flamenco Guitar by Juan Martin is
adapted (with permission of the publishers) from his highly
acclaimed 'Guitar Method - El Arte Flamenco de la
Guitarra' published by United Music Publishers, 42 Riv
ington St., London EC2A 3BN. This best selling method,
which comes complete with a 60 minute cassette played by
Juan Martin, is available from music shops throughout the
world.
JAZZ & POPULAR SONGS
Aranged for classic guitar
by John Duarte
Spanish Harlen, Am't Mlsbehavm, The
Girl Next Door, Taking A Chance On
Love, Lullaby Of Blrdland, Eleanor
RIgby, Basin Street Blues, On The
Sunny Side Of The Street. Far Away
Places, Whit A Wonderful World,
(They Long To Be) Close To You, Don't
Get Around MusIc Anymore, When
Sunny Gets Blue, Stardust. Fly Me To
The Moon,] Fall In Love Too Easily,
'
DiYs Of Wm e And Roses, Sophlstlcited
Lady, Stormy Weather. The Girl From
lpanema ' 3.99 ine. P&P
Available from The Ashley Mark Publishing Company,
Saltmeadows Road, Gateshead NE8 3AJ
THE FIRST
INTERNATIONAL FESTIVAL
OF GUITAR MUSIC
WEMBLEY CONFERENCE CENTRE
SATURDAY 19 NOVEMBER 1983
FEATURING THE WORLD'S GREATEST
GUITARISTS
With Father and Pioneer of the electric guitar
The Legendary Les Paul- Jazz
Paco Pena Flamenco
Gary Moore Rock
Barney Kessel Modern Jazz
David Russell Classical
Jorge Morel Classical
Adrian Legg Country
Big Jim Sullivan . Ragtime/Blues
Guy Van Duser Stride
Denny Wright
Martin Taylor ,
Django
Diz Disley
Bireli Lagrene
Show to be fmed by
THURZA PRODUCTIONS
JUAN MARTIN'S Guita Method
EL ARTE FLAMENCO DE LA GUITAR RA
Price: 12
complete
Method:
176 pages
12" x 9"
100 pages of
m usic In staff
notation and
clfra
140
photographs
13 rhythmic
forms -
torques
Dally Exercises
Improvisation
Background
and History
Practical
Advice
Cassette:
47 musical
examples
played by the
author
(Dolby Systeml
60 minutes
A vailable from your dealer or:
UNITED MUSIC PUBLISHERS L TD
42 RIVINGTON STREET, LONDON EC2A 3BN
Telephone: 01-729 4700
PUJOL:
GUITAR SCHOOL
Vols. 1 and 2 published as a single
volume
Translated into English by Brian Jefer
Edited by Matanya Ophee
Published by Editions Orphee, Boston
Exclusive distribution in the UK and
British Commonwealth:
Tecla Editions
Preachers' Court, Charterhouse,
London EC1 M 6AS.
Now available at 19.50 from all
good music shops or direct from
Tecla Editions
(price including postage: 21.00)
30
A DOUBLE CELEBRATION FOR
JULIAN BREAM
BURNETT JAMES
Donald Sin den presenting the tantalus to Julian Bream.
JULY 14, quatorze juliet: among other more mondial
celebrations and French connections, this was the day pre
ceding Julian Bream's 50th birthday. Accordingly, upon
that day -since Mr Bream had a birthday concert at the
Wigmore Hall the following evening - a reception was
organised by RCA to celebrate the birthday and Julian
Bream's 25 years' contract with that company. It took place
i the River Room of London's Savoy Hotel on an evening
so hot and sticky and so uncomprisingly English that even
the Test Match found a way of having itself stopped before
time. A light breeze meandering through the open windows
just contrived to stave of fainting fts and other symptoms
of human fallibility.
It was a distinguished gathering of Julian Bream's
friends, colleagues and well-wishers. At various times there
were to be seen Mr Clement Freud, MP, fastidiously tasting
tasty morsels according to his custom; Mr Donald Sinden
enlived the company in several ways and told an excruciat
ing story at the cutting of the cake, which he claimed (I
think) to have originated on one of the celebrant's many
overseas tours. Dignitaries from the press and the recording
industry abounded; but I did not notice an abundance of the
same from the guitar world itself, except for John Williams
looking so unlike John Williams the last time I saw him that
Edward Greenfeld (of The Guardian) and I almost did not
recognise him at frst glance.
As was to be expected the Savoy did us proud. Indeed,
when hot snacks were handed round they proved to be even
hotter than the day, and for a while aferwards otherwise
unimpeachable guests were to be observed gasping open
mouthed for what collant there might be around.
The birthday cake (need I say it?) was in the shape of a
guitar. When it came to cutting time Julian Bream posed
pugnaciously under the probing eyes of Leicas and
Hasselblads, and at least one video camera. The cake was
then borne away by attendants and dissected for our enjoy
ment. It was an excellent tasting cake too.
Afer that Julian Bream opened his presents. At the
head was a large and ominous looking box which showed
some resistance to being opened. We began to wonder if it
contained a monster: there was some apprehension that it
might escape and do mischief. It turned out, however, not to
31
.. _____
Cutting the cake.
be a tarantula but a tantalus, a most handsome two
decanter one, silver bound. Mr Bream noted with such
evident satisfaction that it could be locked that one was
moved to suspect that he must have quite a few somewhat
loose-lipped friends and colleagues. Another, equally large,
box was found to contain a bottle of Beaujolais, a gif from
ReA Holland and Belgium.
A thoroughly enjoyable and rewarding celebration,
then. Julian Bream himself was in prime form as he moved
to his half century. As we lef the wish formed that we might
all be around for another of the same when he notches up
his ton.
New Guitar Catalogue
A new catalogue of music for the Guitar is now
available from United Music Publishers Ltd. It has
been completely revised and represents a
comprehensive listing of all the music for Guitar
which we distribute, ranging from Solo Guitar
through Guitar Ensembles to Guitar with Other
Instruments.
If you would like to receive a free copy of our
Guitar Catalogue, please apply to:
United Music Publishers Ltd,
42 Rivington Street, London EC2A 3BN
Telephone: 01-729 4700
Julian Bream and Burnett James.
GUITAR WEEKEND
at the South Bank
Ftday 30 September; Saturday 1 October; Sunday 2 October
THE MUSIC BOX
Royal Festival Hall - 7.30 pm-1 0.00 pm
FREE concerts by leading classical folk and jazz guitarists
TERRACE EXHIBITION AREAS (levels 2/3, Red Side)
Royal Festival Hall - 12 noon-S.OO pm
Displays and demonstrations by leading guitar makers
and master craftsmen
GUITAR WEEKEND is organised by Westland Associates
in association with the GLC.
For further information please contact:
Westland Associates, 23a Kings Road, London
SW34RP
The Catalogue of
reveCo-cornisJ muic
is now available. Amongst the new
publications are; -
Guitar Music by Oliver Hunt.
The Barber of Baghdad (Bound) 3.00
Babushka, Theme & Variations (Bound) 2.50
Introduction & Toccata (duet) .3.0
Improvisation on the Classical Guitar 10.00
Prices include postage and pcking.
Overseas customers should add 40p, pyable by Bankers Draf
or International Money Order in Sterling, from - Penny Cottage,
3 Middle Rod, Harrow-on-the-Hill, Middlesex, H2 OHW.
32
ARE YOU A 'NUT' CASE?
TOM P. DA VIES
A rather unusual heading? But read on -it may apply to
you!
Luthiers go to endless trouble to ensure that te scale
length is right for their instruments. Compensation is
carefully made so that the strings stay in tune throughout
their length; frets are carefully set in their exact positions;
saddles are set at the minimum height for the best sound
and ease of playing; and fnally, the strings are tuned and
tempered so that the notes sound correct in as many posi
tions as possible. One would be entitled to thik, afer all
this thought and meticulous care, that problems with tuning
would be non-existent or at least minimal. However, this is
not always the case, as many players have found, even with
top quality instruments. How often do we see a recitalist
giving a quick tweak on the tuning machine-heads in the
middle of a prelude - perhaps to correct the diference
between an open and a stopped string, in spite of careful
tempering? Hardly anyone is immune from this frustrating
and annoying problem, sometimes worsened by the poor
quality of some makes of nylon strings.
We can, however, minimize or alleviate this difculty
by paying some attention to the nut tat ofen-neglected
piece of bone or ivory that holds the strings apart. Minute
variations in the length of the strings do occur which can be
traced to the nut, depending on how well the slots were cut
and tailored to the individual strings. In theory, all the
strings should rest and be stopped on the front of the nut,
but in practice this is not always the case due to incorrectly
cut slots. The strings should also angle down from the front
edge of the nut to the machine rollers.
One way of overcoming the problem is to make use of
what is known as a 'zero-ret' -not normally found on a
classical instrument, but a useful innovation nevertheless.
(On some steel-strung guitars the zero-fret is, in fact, an
additional fret placed between the fngerboard and the nut.)
The nut itself acts purely as a string-spacer, having deeper
slots than normal, while the strings rest on the zero-fret,
thus ensuring the same scale length for each string.
Zero-fret
String _ _ _
Fingerboard
Fig. A - Side view.
An easy way of applying this principle to the classical
guitar is to make a new nut of bone or ivory which
incorporates the zero-fret as shown in Figs. A and B. The
height of the zero-fret should be about 1/16" above the
fngerboard, depending on the size of the frets on your ins
trument. To check that the height is correct, press down
each string in turn at the third fret; there should be a
perceptible clearance, approximately the thickness of a
playing card, at the frst fret. Insufcient clearance will
cause the strings to rattle on the frst fret; too much
clearance makes for difcult playing in the frst position.
The new nut should be made slightly longer and deeper than
is actually required; the edges and bottom can then be fled
Exposed portion showing
above fngerboard
// __ /i/_'/' . . , _ - .. ,. './// / .
End of fngerboard
I / ..
Fig. B - Front view.
off to give a perfect ft. Finally, the slots in the nut must
obviously be deeper than the height of the zero-fret; this is
most easily achieved by sawing the slots at an angle from
the rear of the nut, and in line with the existing slope (Fig.
A). The top of the fret should be slightly rounded, and not
lef with a sharp edge, otherwise the strings could be
damaged.
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33
i'
.
,MUSIC SUPPLEMENT
EDITED BY NEIL SMITH
TOCCA T A IN C by Jose Seixas, arr. Martin Grayson
Seixas (1704-1742) was organist at the Royal Chapel,
Lisbon. His stylish writing, here in binary form, requires
considerable lef hand skill to accomplish all of the orna
mentation (mordents on the beat; trills upper note to begin).
Of particular interest is the way the composer introduces
the same idea twice (bars 6 to 17) without transposition
(bars 38 to 49) and the cantabile fguration (bars 21 to 24
and 54 to 57), the device used by so many guitarist
composers almost a century later.
JHA CHE V ALLE by Agustin Barrios Mangore
A vivacious 'Danza' by Barrios would make a good partner
for his better known Paraguayan Dance. The upper line
(6/8) is superimposed on the crotchet bass fgure and this is
both attractive and technically quite awkward, the central
(A) section should present fewer problems. The trio is
written in Quadruplets (four in the time of three) and should
be related to the count in the second time bar of the B
section.
This piece is reprinted with permission from the music book
'Barrios Vol. 1'. This book is published by Zen-on Music
Company Limited, Tokyo, Japan and is distributed in the
United Kingdom by Alfred Kalmus, 213 Fareham Street,
Dean Street, London WIV 4DU.
BERCEUSE/Isaac Albeniz arr. J. Morel
A most appealing arrangement for all Albeniz fans. The title
(suggesting a lullaby) is the best guide to tempo, the chords
at the opening should be fngered to allow smooth lef hand
movement. Notice the dominant pedal (a frequent device in
this style of music) appearing throughout the work. Links of
this type can be a great aid to the memory. In bar 39, the A
would work as a harmonic if the reach to VII is difcult.
'LOVE YOU MADLY' by Frank Evans
,Dedicated to Duke Ellington, 'Love You Madly' is a low
ballad featuring chromatic harmonies. The composer tells
me that the crotchets (quarter notes) should be held long
34
(not detached) and if the long reaches (lef hand) are too
difcult, then the bass can be omitted. Be prepared to use
barre with other fngers than 1 (see bar 18).
MUSIC SUPPLEMENT (November/December 1982
Issue)
Sine Nomine (A Christmas Hymn) by Vaughan Williams
arranged by Eric Hill. We would advise readers that rights
to this hymn are controlled by the Oxford University Press.
Due to copyright restrictions the piece should not have been
included in this supplement. We apologise to the Oxford
University Press for this oversight and thank them for
drawing our attention to our error.
Supplement Errata - Vol. 1 No. 6
Prelude by George Zarb should read as follows:
Bar 9 -3rd harmonic F#
Bar 10 - Rhythm as Bar 1
Bar 13 -3rd beat A# only (no 0)
Bar 17 -Last triplet, G#, D#
Bar 22 -2nd beat E#
Bars 42 and 44 -2nd beat E#
Bar 47 - Last note G.
Bar 48 - Last triplet note B.
Bar 58 - 1st note, 3rd beat F#
Bar 60 - 3rd beat E.
Vivace by Bernardo Pasquini should read:
Bars 2, 5 and 1 1 - right hand should indicate 'a'
IN OUR NEXT ISSUE
A SPECIAL INTERVIEW WITH
JUAN
MARTIN
ORDER YOUR COpy NOW
ISRAEL'S FINEST
GUITAR STORE
OFFER AN EXTENSIVE RANGE OF INSTRUMENTS
AND ACCESSORIES
12 EDELSON STREET
,
TEL AVIV
TOCCATA IN C
Allegrissimo
1983 MARTIN GRAYSON
JOSE ANTONIO CARLOS DE SEIXAS
(1704-1742)
ARR. MARTIN GRAYSON
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'The Broken Melody'
42
dreamy
NARCISO YEPES
A REAPPRAISAL
IVOR MAIRANTS
Narciso Yepes with Juan Orozco.
THE name of Narciso Yepes frst became known to me
through his 1959 recording of the Rodrigo Guitar Concerto
on Decca SWL 2091, and two years later he made his
London debut with a concert at the Wigmore Hall on 17
February 1961.
I attended both the Wig more Hall concert and his sub
sequent recital at the Spanish Institute, but did not actually
meet him until he came into my store in search of some
music. Afer further meetings we became better acquainted
and had many discussions about our favourite subjects
guitar and music. Naturally I asked him about his technique
and particularly about his phrasing which ofen sounded
odd to me, compared to that of Segovia with which I was
more familiar.
When I became rather relentless in pressing home
points of comparison, Narciso (who had studied interpreta
tion with Enesco and Gieseking as well as having attended
master classes with Segovia at Siena) became somewhat
irritable (as he had every right to be) and answered 'I have a
great admiration for Segovia and everything he has done for
the guitar and its history, but I do not have to put on a
record of Segovia and play the music exactly as he does.
No, I don't think so!' (My Fity Fretting Years by Ivor
Mairants, p. 286.)
The years have rolled by and N arciso has become one
of the handful of internationally known guitarists who have
stamped their individuality on their performances (the
others being Segovia, Bream, Williams and Diaz). One may
ask what has brought him added respect and admiration
when, in the past, his performances have aroused divided
opinions among audiences and critics. In order to discover
an answer to this question (and, of course, to see him play
afer a few years' absence), I took the opportunity of attend
ing the May 4th Queen Elizabeth Hall concert.
The frst half of the programme, while not appearing to
herald music of great consequence, nevertheless introduced
rarely-heard composers.
The frst piece, Cantigas de Santamaria was attributed
to Alfonso El Sabio (Alfonso IX-1188-1230), the learned
king of Lean who gave great encouragement to the study of
astronomy but would hardly have been remembered for this
musical offering. David Kellner (b. Leipzig 1670
d. Stockholm 1740) was very popular in his day and among
other works wrote a book of lute pieces, but the Aria and
Phantasia played here was not very memorable either.
Another rare ofering was Sonata No. 2 in E major by
Adam Falkenhagen, which reminded me of Scarlatti and
acted as a forerunner to the two Sonatas actually written by
D. Scarlatti, of less interest than the Falkenhagen.
Although I tried to enjoy the Sarabande and Double in
B minor by J. S. Bach, I came to the conclusion that they
were played too slowly; in spite of the big treble tone and
the massive low bass notes down to low B, the phrasing was
too drawn out to sustain my interest, and the three-part
Suite by Michael Conge did not stir me either, although the
sounds emanating from the guitar were full and bold.
The frst half was brought to a close contrary to normal
expectations with Erik Satie's Gnossienne, a
nostalgic piece arranged by Narciso in such a way that the
extra bass strings were brought to play so as not to disturb
43
I
I
I
the fow of the chords and suspensions of the sustained
melodic line. The sum total resulted in full-toned authorita
tive serenity, very pleasing to the near-capacity audience.
In the second half Yepes demonstrated his love of
patria by including four Spanish composers, namely Regino
Sainz de la Maza, Federico Mompou, loaquin Rodrigo and
Francisco Tarrega, and ending with a brilliant composition
by the Argentinian composer Alberto Ginastera (b. Buenos
Aires 1916*) thus bringing the programme to an exciting
close (apart from two encores).
It is a measure of Narciso's versatility that afer giving
a masterly performance of the romantic Sueno (Tarrega) he
was able to change the mood and the musical era with the
completely contrasting Sonatafor Guitar by Ginastera. It is
a solo piece composed of harmonic and technical excur
sions into the avant garde, replete with percussive and syn
copated passages, yet recognisably melodic because of the
secure expressive rendition by Yepes.
As listeners to a recent BBC Third Programme will
have heard, he also demonstrates in his playing an equal
depth of understanding for his other adopted composers -
Baccarise, Ohana and Balada. Although Narciso, at times,
displays waywardness in phrasing when performing some of
the popular guitar classics, he is unique in demonstrating
the works written for him by the contemporary composers
mentioned above. Comparing his playing today with that of
twenty-two years ago, I would say that he has developed his
tonal control to such an extent and so positively that it has
become a personal hallmark. A startling demonstration of
tone control and dynamics was supplied by his frst encore,
his adaptation of an 11th century Irish march. The music
began with the most distant of pianissimo sound and as if
manipulated by a fnely tuned potentiometer, the volume
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gradually increased to a double forte of undistorted full
tonal capacity. Having risen to the maximum sound
possible, the music faded in the most gradual disappearing
trick. I have ever experienced.
This is one of the many attributes that places Narciso
among the previously mentioned handful of master guitar
individualists and in spite of the number of young players
who may soon increase the handful of elite to two handfuls.
His next year's appearance will be eagerly awaited by those
who enjoyed his Queen Elizabeth concert and should not be
missed by those unable to have been there in 1983.)
*Ginastera died on 25 June, afer this notice was written.
GREGORY NEWTON
CONCERTS AT THE
EDINBURGH FRINGE FESTIVAL
St. John's Church; Princes Street:
Tuesday 30 August - 6.45 pm
Tuesday, 6 September - 6.45 pm
St. Mark's Unitarian Church, Castle Terrace:
Thursday 1 September - 5.00 pm
Saturday 3 September - 5.00 pm
Monday 5 September - 12.30 pm
Wednesday 7 September - 12.30 pm
VIRTUOSO
SOUTH
AMERICAN
GUITAR
JORGE MOREL
GUITAR SOLOS
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arrangements of traditional South American themes by
the brilliant Argentinian guitar virtuoso, lorge More!'
The 32 page book contains the following titles, 'El
Condor Pasa', 'Misionera', 'Carnavalito', 'Danza
Brasilera', 'Romance Criollo', and 'Danza in E Minor',
arranged note for note by lorge Morel as he plays them
on his latest Guitar Masters recording GMR 1002.
A vailable from good music shops throughout Great
Britain, 'Virtuoso South American Guitar Solos', retails
at 3.99.
In case of difculty it is available direct from the
publishers (add O.SOp for postage).
ASHLEY MARK PUBLISHING COMPANY,
Saltmeadows Road,
Gateshead NE8 3AJ
I
I
44
AN ANALYSIS OF
-
MUSICAL PERFORMANCE
Part 11
MANUEL ANDERSON
Intensity Discrimination
Intensity discrimination is usually accepted as being
primarily an aural faculty, and secondarily cognitive. It is
difcult to separate one from the other, for no sooner is a
sound heard (i.e. perceived through the Organ of Corti and
auditory cortical area) than it is interpreted, through the
association areas. One factor which appears to have been
ignored by most writers, however, is the necessity for pre
determining, in performance, the actual degree of physical
force or speed of movement, necessary to produce a note of
a particular intensity on an instrument. Again this is decided
by kinaesthetic considerations. A pianist knows before his
fnger touches the key how hard he is going to strike it, how
far the key will descend, and is able again, to 'prehear' the
note at the desired level of intensity. This ability is deter
mined, then, by joint and muscle sense, as well as by the ear.
Time
Judgment of time (i.e. of interval and duration) is an innate
human faculty, and is determined - in performing - by
the ear, cortical auditory association and especially by
kinaesthetic impulses. Just as the tennis player can judge at
what point in the fight of the ball he should bring his racket
into contact with it, so a pianist can judge minute time
intervals. His muscles and joints must preselect their posi
tion, so that they are adequately prepared to strike a given
note at a precise instant and a series of notes at precise
intervals of time.
This capacity for timing may be so accurate that an
expert pianist may take exactly the same interval of time in
playing a lengthy composition on several diferent occa
sions. I witnessed a striking instance of this a year or two
ago in the BBC Studio in Belfast during a broadcast of all
the Brahms Waltzes. The broadcast of this group had been
rehearsed and timed to last ffeen minutes. The pianist
who gave a superb performance -did not even glance at
the studio clock during the broadcast (this would have been
prejudicial to a good performance) yet, completely absorbed
i the music, fnished the group at the end of ffteen minutes
as accurately as though she had timed herself with a stop
watch. That this faculty for judging lengths of time is innate
is further illustrated in the regularity with which one wakens
a few seconds before an alarm clock is due to sound, and
also in the uncanny accuracy of timing in phenomena of
post-hypnotic suggestion.
Psychologists tell us that the sense of pitch and sense of
time are two different endowments. The latter has been
shown to be more closely related to intelligence than the
former, and is probably related to the subject's reaction
time.
Consonance
So long as he produces the required notes accurately at the
pitch required, judgment of consonance is not of funda
mental importance to the performer - with the exception
of the conductor, who is strictly speaking an integrator and
interpreter rather than a performer. Yet it is a necessary pre
reqUisite both for adequate self-criticism and for good
interpretation. It will not be discussed here, though I hope to
deal with it at length in a subsequent article dealing with the
faculty of listening. Seashore's sixth prowess -the ability
to remember what has been heard -will be discussed later
under the heading of Memory.
Rhythm
Rhythm has been defned as 'the grouping and organisation
of temporal phenomena'. This is a useful defnition applied
to music, poetry and dancing, though it is incomplete when
applied to the visual phenomena of rhythm in painting and
sculpture. The ability to appreciate rhythm appears to be
another inborn faculty. Many of the most primitive bodily
functions are of a rhythmic character - for example, the
heart-beat, peristalsis, respiration and even the cerebral
function as shown in the evidence of electro
encephalography. A stroll round any zoological gardens
will testify to the universal order of rhythmic expression
throughout the animal kingdom: the elephant, ponderously
swaying his head from side to side; the gibbon swinging
from a branch; the panther treading endlessly backwards
and forwards behind the bars of his cage and the python
swaying his head from side to side -these are refections
of the sensual pleasure derived from movements of a
rhythmic nature.
A small child will derive obvious pleasure from the
rhythmic banging of its head or arm in a pillow, or from
shaking its cot regularly from side to side. Every mother
takes advantage of this phenomenon in rocking her infant to
sleep. "The indulgence of the rhythmic sense", says Howes,
"if it is only kicking one's heels with dangling legs while
sitting on the parapet of a bridge, yields an immediate and
irrational pleasure that has all the marks of the gratifcation
of instinct". The most primitive forms of music consist of
pure rhythmical expression. The native beating his tom-tom
i the jungle, the schoolchild tapping her foot in time to a
dance tune, and the concert-goer nodding his head violently
i time to a virile passage in a Beethoven symphony are all
paying homage to the God of Rhythm, and, in this respect
at least, experiencing a similar sensual enjoyment. With
amateur musicians, playing duets or accompanying, this
nodding of the head and tapping of the feet are ofen so
prominent -especially in syncopated passages -that one
can almost see the bar lines sticking up like lamp-posts
throughout the score. Eugene Veron, in his discussion of
Aesthetics* says: "A very important characteristic of
ancient languages was rhythm. The more or less regular
recurrence of intonations and of similar cadences con
stitutes for children and savages the most agreeable form of
music. The more the rhythm is accentuated, the oetter they
are pleased; they love not only its sound, but its movement
also ... The most civilised nations cannot escape from this
tyranny of rhythm ... Rhythm seems, indeed, to contain
some general law possessing power over almost all living
things".
45
I
e/ d(
II$,& t W I
J
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pe lib)
// E g 1 1
The human ear seems to demand of music the recognis
able presence of a unit of time -te 'beat'. This is so even
in music purporting to have a free rhythm (such as
plainsong, recitative, or certain folk music). If no rhythmic
indications are present in. the score both the performer and
the listener tend to invent them. Research along these lines
(Bolton's experiment) has shown that when a stream of
auditory impressions of equal intensity and occurring at
regular intervals reaches the ear (Bolton used a series of
clicks in a telephone receiver) the subject automatically
tends to group them by selecting and accenting every
second, third or fourth impression. The mind imposes order
on a meaningless string of sounds -perceiving something
which is, in fact, not there -thus giving those sounds an
added interest and evoking a sensuous pleasure.
On the strength of these fndings Seashore has
attempted a new defnition of Rhythm as "an instinctive
disposition to group recurrent sense impressions vividly and
with precision, mainly by time or intensity or both, in such a
way as to derive pleasure and efciency through the group
ing".
Despite this tyranny of rhythm, deviations from the
rhythm in a piece of music usually increase the interest and
variety. This is very evident in mid-European folk-music
and was successfully exploited by Bartok, both in his folk
music transcriptions and in his original compositions, where
unusual and striking compound rhythms are found. These,
however, pale into insignifcance beside the incredibly
complex compound rhythms of primitive and oriental drum
players, who, with the aid of a piece of stretched skin and
two unaided hands can produce a combination of rhythms,
cross-rhythms, accents and sonorities much too elaborate to
be scored on paper by even the most able of composers,
with all the technical equipment of musical notation at his
disposal. Anyone who has heard such a performance
cannot but marvel at the miracle of muscular co-ordination
of which the human hands are capable.
In addition to the visual, aural, motor and kinaesthetic
factors on which the ability to appreciate rhythm in musical
performance depends, there is also an important analytical
factor. A simple demonstration of the analytical approach
to cross-rhythms is offered here (Example l(a)). The reader
should attempt to play this passage with the right hand
only, on the piano, fngered as indicated. Even experienced
5 4 4
S .
""..
"
..
I'
pianists are inclined to stumble over such a passage as this
until it is analysed and recast mentally as in Example l(b).
E....
We have discussed here some of the basic physiological
equipment enabling an individual to strike up a series of
sounds on an instrument. He requires more than these
fundamental tools, however, before he can become a perfor
mer. The factors which together constitute aural endow
ment do not include such attributes as the ability to learn,
the personality and emotional reactions of the performer,
the exercise of will and those subtle powers of analysis,
integration and organisation which together constitute
Interpretation. I hope to attempt an analysis of these in my
next paper.
(to be continued)
46
GUITARES
by
Michel Foussard
PHOTOGRAPHS
BY
MAURICE BERARD
The most beautiful book on guitars as
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Magnificent photographs illustrate the
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Price 40.00 U K, post and packing
2.50. Available from Ashley Mark
Publishing Company, Saltmeadows
Road, Gateshead NE8 3AJ
Franz Jahnel
Manual of
Cuitar Technology
Manual 01 Guitar Technology
An authoritative book on the evolution. technology. and
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The standard source of information on the guitar family first
I publishd in German in 1963 is now available in English
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Based on the autho(s lifelong work with guitar makers and
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Analyses all the aspects of the subject - history. design,
materials, scientific principles.
Size 24 cm x 33.5 cm, 240 pages.
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18 design pla,ls (1: Z) of aciual instrulllents.
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lorge Morel
JORGE MOREL
College of Art & Technology, Newcastle
upon Tyne. 25 May 1983
lorge Morel has become a regular visitor
to Newcastle and he has inevitably built
up a nucleus of admirers. The fact that he
was presenting a completely new
programme was an added attraction.
Morel is known for his prowess as an
arranger and composer as well as a
performer; his arrangements of the
Albeniz works were as efective as any I
have heard. His Gershwin Suite retained
all of the essential elements of the com
poser's score; the Rossini piece became a
virtuoso showpiece for guitar. These
works had the hallmarks of successful
arrangements They transferred the
beauty of the originals to the guitar and
they sounded as though they had been
written for the instrument. If they had
any weakness it was that few performers
could play them nearly as convincingly as
lorge Morel.
The programme was a little short on
original compositions, but those there
were demonstrated what afcionados
already knew, that Morel is a composer
of Latin American music at once
idiomatic and original. Although the
works are light and accessible, they
display a fair for melody, harmony and
rhythm that ensures an almost universal
appeal. Some, such as Pampero, are
evocatively impressionistic, others, such
as the Andante from Latin Impressions
(published in the lan/Feb issue of this
magazine) are sweet and lyrical with bags
of saudade, yet others, such as the
Allegretto from the same suite, are spicy
and humorous, this one making extensive
use of 2nds. The 'piece de resistance'
must be the Danza Brasilera which
should be a hit single. It is one of the
catchiest sambas ever.
The audience have come to expect a
fne show from lorge Morel and he
delivered the goods in no uncertain terms.
From the opening number, Pampero,
he showed an easy virtuosity which
remained with him all evening. He went
on to demonstrate a dazzling profciency
at scale work in Canciller (composed by
his one time teacher, Pablo Escobar).
The Barrios selection was a happy
choice, with the artist totally at home
with this music. His renditions were based
more on the recordings of Barrios himself
than on published editions, and one could
really imagine that Barrios himself was
playing, so well was Morel's temperament
attuned to the music. His own Latin
Impressions, which followed highlighted
the parallel between himself and Barrios.
If you wished you had seen Barrios in his
prime, go to see lorge Morel now and
witness a similar legend in the making.
Morel has a powerful empathy with
Gershwin (and. other great US com
posers) and the three songs from Porgy
and Bess were, for me, the highlight of the
second half Once again the performer
was completely at home with the idiom.
The Tarantella by Rossini displayed
breathtaking speed, musical drive and
technical skill. It was a showstopper that
failed to stop the show. An enthusiastic
ovation from the audience was rewarded
by two encores; the audience would have
liked still more, but Morel was exhausted
having spent all day in a recording studio
(good news, that means another record in
the ofng).
lorge Morel is one of a handful of
truly compelling performers on the guitar.
He is, in fact, unique. He grabs your
attention and you are swept along by his
verve. He has a truly virtuosic technique
which is always geared to musical
purpose. He has a great musical skill and
the ability to convey his concept of the
music to the audience with an apparent
ease reminiscent of a really good singer.
Every lover of the guitar (no matter of
what persuasion) should make an efort
to see him in concert, or at least to obtain
his recordings; this audience was
positively thrilled by the evening's
entertainment.
Brian T. Arthur
PAUL GREGORY and GABRIEL
ESTARELLAS
Purcell Room, London. 21 May 1983
The Spanish guitarist Gabriel Estarellas
has done a lot for contemporary British
music. Eleven years ago I heard him give
two frst performances in one evening -
Richard Stoker's Improvisations and
Lennox Ber kel ey' s The me and
Variations. As i f that were not enough, he
included Tom Eastwood's Amphora,
premiered the previous week by Thomas
Hartman.
Eleven years on, at this 1983 recital,
he gave the frst performances of Stephen
Dodgson's 3rd Partita as his solo con
tribution to the duo performance. It was
an intelligent, highly charged reading of a
highly accessible work that seems
destined for a permanent place in the
repertoire.
The Great British Guitar Public's
reward for Mr Estarellas's skilful perfor
mances of their native music is to stay
away in large numbers from his concerts.
The handful of people who attended this
recital, on a not very wet night, was small
even by Purcell Room standards. Recent
solo recitals, even when indifferent music
was being played (certainly not the case
on this occasion), have been much better
attended. Either the GBGP doesn't go to
a guitar concrt to hear good music, or it
just doesn't like duos.
Paul Gregory's solo contribution
consisted of the Suite Valenciana by
Vicente Asencio, preceded by his own
graceful tribute to the Spanish composer.
'The rising tones of the coda create the
efect of an ascent to Heaven' says the
hel pf ul pr ogr amme not e about
Zarabanda; it may be a play on words,
but the sincerity of both conception and
execution was transparent. The Suite
Valenciana showed a similar commit
ment, unifying the muted colours -
unusual for Spanish music -into an elo
quent whole.
Stephen Dodgson's 3rd Partita is full
of melodic ideas, compressed so as to
make the maximum efect in the shortest
space of time. This is one of the things the
guitar does well, and I think Mr Dodgson
knows it. The liturgical feeling of the 2nd
movement, with the harmony changing
on virtually every beat, is broken by an
animato long enough to count as a
separate movement, before the Adagio
returns with some melodic interjections to
form the fourth movement. The ffth,
Allegro, is marked con umore - light
hearted and robust, says the composer in
his programme note. And also very
English, he might have added. Despite
some beautiful moments, I did not feel
that any signifcant new ground was
being broken, but perhaps that was not
the intention. There are bound to be
many more performances; meanwhile
there is no doubt at all that an attractive
and enjoyable piece of music has been
added to the repertoire of play able con
temporary music.
The duo has improved a lot since
their preview at the October Gallery last
year. The ensemble is well balanced and
clear; their ability to anticipate. each
other's movements fnely developed.
Bach's French Suite No. 3 exemplifed
their general approach: tidy, well-chosen
tempi, relaxed, nothing sensational, but
good, thoughtful playing. The ponticello
in the Minuet was well managed, putting
the change of tone in a proper musical
perspective. Afer some excellent con
trapuntal work in the Gavotte; the Gigue
was fast without being rushed. If short on
immediate excitement, the musical
integrity of this performance more than
compensated. Sor's Fantasy in E
produced some fne tone, and an agree
able idiomatic style was achieved.
47
Ol i v e r Hu n t ' s n e w wo r k ,
Introduction and Toccata, was originally
for solo guitar, but it seemed over
ambitious to the composer afer the frst
draf. He rewrote it, fnding two guitars
better than one for the purpose of exploit
ing his 'musical fguration', to borrow a
phrase from the programme notes. The
long melodic line was received with
pleasure by an audience already made
grateful by Dodgson's digestible tonality.
A good climax was achieved, beginning
on one guitar and ending on two, and the
energy generated in the closing passages
made an impression that was more than
feeting.
The last work, Castelnuovo
Tedesco's Sonatina Canonica, served
mainly as a vehicle for the duo, by now
operating smoothly in top gear. The
Fandango had some of the best playing of
the evening by a richly talented duo, who
on this occasion achieved musical results
of a satisfying order. It only remains for
them to fnd a satisfactory audience.
One word about the encore, Pujol's
arrangement of the Intermezzo from
Goyescas, by Granados: Paul Gregory's
stretch is so great that he can rest the side
of his hand on the saddle while his thumb
operates over the soundhole, out of which
he charms the richest and roundest
pizzicato ever to roll around a London
concert hall. An extraordinary efect,
complemented by Gabriel Estarellas's
sensitive but crisply formed melodic line.
If the depressing experience of a too-small
audience does not deter them, we may
expect much good work in the future
from this accomplished duo.
Colin Cooper
MARTIN MYSLlVECEK
Wig more Hall, London. 20 June 1983
Opinion was divided about the frst half
of the programme chosen by the Czech
guitarist Martin Myslivecek, who was
making his London debut. The following
descriptions are intended to refect both
points of view.
The two Pavanas by Luis Milan
have been heard and played so ofen that
it is hardly necessary to play them yet
again. They are well-constructed
examples of early Spanish contrapuntal
writing, and well worth reviving to show
modern audiences what the guitar can do
with them. There is always someone
hearing them for the frst time.
Abel Carlevaro's arrangements of
Gaspar Sanz's Spanish Dances are fussy
and superfuous. Cleverly adapted for six
string guitar by a contemporary master of
the fngerboard, they reveal the Baroque
age of guitar music in all its glory. Sor's
Four Minuets are insubstantial salon
pieces with a certain romantic charm,
useful as encores but scarcely suitable for
playing in groups of four as if they
somehow constituted an important
sonata. They have established themselves
as frm favourites in the guitar repertoire,
and no true guitar recital is complete
without at least some Sor. These
characteristic pieces have considerable
charm, the second in particular, with its
pizzicato trumpet-like tune and delicate
fligree work.
Turimi's Sonata Op. 61 is a pleasant
enough little work by a minor composer,
useful enough for starting a recital with,
but not really up to occupying the centre
of the stage in the most important part of
a recital, the twenty minutes before the
interval. It is a beautiful and charac
teristic work by a master of great refne
ment; dedicated to Segovia, it contains
abundant poetry and emotion in a
classical framework that makes it a
worthy addition to any guitarist's
repertoire.
Well, take your pick. There can be
no argument about Martin Myslivecek's
superb playing of these masterpieces or
minor works. He is not always careful
with his tone, but his dynamic range is
impressively wide and his sense of
rhythmic structure rock -solid so that he is
able to project a piece of music as an
entity with satisfying shape and form.
Myslivecek gives the impression that no
notes ever written are beyond his ability,
though there were one or two minor and
forgive able fufs. His real strength comes
from his unerring ability to pinpoint
tempo and rhythm with the precision of a
ballet dancer, achieving a unity that must
put him into the class of great or
potentially great guitarists. Attention to
detail is exemplary -the way he handled
a crescendo in the fourth Sor minuet, for
example, and an equally sensitive
diminuendo in the last Soliloquy of
Tucapsky in the second half. At times the
strong contrasts of his essentially
dramatic playing tended to resolve
themselves into pure black and white,
whispers and shouts, but general clarity
of expression made the experience one to
be enjoyed. The full-blooded rasgueado in
the last movement of the Turina would
have done credit to any famenco player.
The second half found the guitarist
on pretty unassailable ground, with three
works by contemporary Czech com
posers. Petr Fial, born in 1943 and the
youngest, dedicated his Five Epigrams to
Myslivecek. Short and pithy, they exploit
the guitar's resources in a competent way
without doing anything particularly
disturbing or strikingly new. The last of
them, an allegro energico, seemed the
best, with some interesting ideas une
quivocally clothed in contemporary
techni ques. Peter Eben ( b.1929)
represents an older generation. His
rhapsodic variations Tabulatura Nova
were prefaced by the delightful experience
of hearing a classical guitarist actually
sing on the Wigmore Hall platform.
Myslivecek did it quite well, all things
considered. It took courage, but he is the
sort of born performer who could
probably play and sing while standing on
his head, i he thought the circumstances
required it. Eben's work uses the full
range of the guitar, but it was slightly
disappointing that more was not made of
traditional Czech forms. Soliloquies, by
Antonin Tucapsky (b. 1982) had more to
hold on to in the way of melody and
harmony, and produced some graceful
playing where it was needed - in the
Allegretto Grazioso -and an expansive
grandeur of tone in the fnal allegro.
'I will play the programme from the
beginning again', announced the guitarist
i response to a request for an encore,
bringing to mind Vladimir de Pachmann's
reply to a similar request afer he had
played the Hammerklavier: 'You like?
Pachmann play it again'. But Pachmann
did play it again; Myslivecek was only
joking, something at which he is as adept
as playing the guitar. In the event we got
the now-familiar Villa-Lobos Study No.
1, a busy Toccata by Eben and a sonata
by Carlos de Seixas.
Colin Cooper
Carlos Bonell
CARLOS BONELL
Wigmore Hall, London. 5 June 1983
There is more than a hint of the showman
about Carlos Bonell. Indeed, there are
echoes of Liszt or Paganini in the long
hair, the fanciful attire and the expansive
gestures with which the instrument is
attacked. However no ladies fainted in the
aisles at this recital for rather than the
demoniac poise of the nineteenth century
virtuoso, Bonell's manner on the concert
platform is relaxed and warm, chatting
uninhibitedly between works and over
coming technical difculty not only with
ease but with pleasure. Nor can he be
accused of vapid exhibitionism, for
underlying his technical mastery is a
strongly felt poetic spirit most at home in
music that allows a measure of expressive
licence.
The evening began with works by
Napoleon Coste, possibly receiving their
frst performance for over a century. The
Grande Serenade is not an easy work for
the audience; rather long and highly
virtuosic, it too ofen appears to
deteriorate into mere gesture. The
Andante opus 39 and Polonaise opus 1 4
contain more of the fne melodic sense
that is Coste's greatest asset. The
polished and romantic performance these
works received will undoubtedly add to
Coste's growing reputation.
48
Ginastera's Sonata is turning up
quite frequently in programmes at the
moment so one wonders whether Bonell's
apologia for its more unusual sonorities
was really needed. Those who did fnd the
'special effects' troubling would do well to
shut their eyes for they are far more
disturbing visually than aurally. Bonell
played with such conviction and unstopp
able energy that even the most conserva
tive listener must have been won over. In
the Sonata Ginastera has created a
musical language in which pitch has
become secondary to colour and texture.
What lies beneath the exciting and
innovative exterior only time will reveal.
Afer the freworks of the frst half
Walton's Five Bagatelles were surpris
ingly reserved. It was probably to the
good that Bonell tempered his poetic feel
ings a little in this work which certainly
does not beneft from an excess of
romanticism. It is to be feared that the
year of Walton's death will bring many
second-rate performances of the
Bagatelles, so i t was gratifying to hear a
good one.
Granados' Spanish Dance No. 6 was
heard in a new arrangement for guitar
and electronic watch alarms. Despite the
interruptions Bonell was completely in his
element with this piece, exploiting to the
full his remarkably fuid approach to
tone. Likewise Barrios' Armonias de
America and La Catedral were ideally
suited to Bonell's temperament. If Barrios
is remembered for one work and no other
it will surely be La Catedral which so
remarkably evokes the sound of a mighty
organ thundering away. In this work
Bonell's virtuosity and romantic spirit
were in perfect balance creating a perfor
mance that was, for this reviewer at least,
the high point of the recital.
Encores of a Paganini Menuet and a
Mudarra Fantasia rounded of a recital
that combined the popular and the
unusual. Though a little inclined to let his
hands run away with him Bonell dis
tinguished himself as a musician of con
siderable gifs not the least of which is the
ability to give pleasure to his audience.
Nicholas Hudis
NEIL SMITH
Bristol Polytechnic. 3 June 1983
This concert was an important event for
guitarists and one which drew an
audience from many miles around. It
marked the return to Bristol afer an
absence of two years of the ever popular
Neil Smith to give the latest concert in the
marvellous season promoted by the
Bristol Spanish Guitar Centre. The
audience was treated also to the frst
performance of a new work by the
English composer Gareth Waiters so it
was in all an auspicious occasion.
The recital began with the Pavanas,
Espanoleta and Canarios by Gaspar
Sanz before moving on to a group of
pieces by Sor. The frst of these was the
perennial Variations on a theme of
Mozart in which Neil Smith displayed
some marvellous phrasing and virtuosity.
Some of the last variations were played at
a phenomonal speed but the performance
was nothing short of excellent. Neil
followed this with a thoughtful interpreta
tion of the Andante Largo Op. 5 and
fnished the group with the Gran Solo Op.
14. I have heard Neil Smith play this
work several times and was most
impressed by the way his interpretation of
the piece has grown over the years. His
performance showed plenty of dash and
verve but in the few moments of repose
that the piece offered the contrast
obtained was beautifully sensitive.
Then we moved into the 20th
century with John Duarte's Danseries
No. 2 which is a tongue in cheek look at
two types of dances: the tango and the
tarantella. The works are full of
unexpected chromaticisms and Neil
Smith gave a humorols, almost theatrical
performance of these quite technically
demanding pieces.
The frst half of the recital ended
with two favourites by Timega - the
Capricho Arabe and the famous
Recuerdos de la Alhambra which,
although it contained a couple of very
minor slips, was given a marvellous
performance.
Afer the interval we heard works by
three composers, the frst of which was
Barrios. Neil Smith played a 1914 version
of La Catedral and the 'difcult' version
of the Danza Paraguaya which was
absolutely astonishing.
Next came the frst performance of
Gareth Waiters' Jigges and Fancies. It is
a short four movement work consisting of
two jigges and two fancies, its title relat
ing back to the Renaissance, and this
reference to times gone by was refected
in the mood of the opening Fancie which
was slow, brooding and nostalgic. The
Jigge, in contrast, had a jaunty, rhythmic
vitality. The second Fancie had much
more forward momentum than the frst
and was the most memorable of all the
movements. Leaning quite heavily on
tonality it had a very pleasing melody
although again it was mostly solo line
work. The piece ended with another
rhythmic and syncopated Jigge which
made more use of controlled dissonances,
fnishing with a pleasantly unresolved
chord. In all it was an interesting and
pleasing new work which was well
received by the large audience who gave
both the performer and the composer a
warm reception, and because the work is
not too technically demanding it should
prove a popular addition to many a
guitarist's repertoire when it is published
by O.U.P.
The programme ended with a sub
stantial group of pieces by Albeniz. In the
Rumores de la Caleta we see probably
the most obvious use by Albeniz of his
native famenco idiom and Neil Smith
played it with plenty of latin verve. Neil
then almost danced his way through his
own arrangement of the Capricho
Catalan but it was a very efective
interpretation with a good deployment of
tonal contrasts. The concluding Leyenda
was played at a breathtaking speed
though Neil Smith was in enviable
command of the technique of his instru
ment. The audience clearly enjoyed every
moment of the recital and Neil had to
give two encores -the Xodo de Baiana
by Reis and a Danza by Ruiz-Pipo.
Neil Smith undoubtedly has a
mastery of technique and in my opinion
his playing has matured considerably
over the years; the communication and
rapport that he can create with an
audience shows him to be an artist of the
very highest degree, destined to become
one of the great guitarists of our day.
Important also is that he is always keen
to pass on his knowledge to other
guitarists as he did the day following the
concert in a workshop which was also
sponsored by the Bristol Spanish Guitar
Centre. Unfortunately I was unable to
attend on this occasion due to illness, but
reports suggest that it was a most
illuminating experience and one which
proved to be a big success.
Dave Shepherd
ROBIN PEARS ON and KATE
DICKINSON
Churchill Hall, Work sop College. 27
May 1983
The distinctly 'English' setting of
Work sop College recently played host to
a concert by Robin Pearson (Midlands
Spanish Guitar Centre Principal) and
Kate Dickinson.
The sparse attendance of only 76,
albeit devotees, was probably occasioned
by the clash of dates with the FA Cup
fnal replay!
However, the empty seats didn't
deter Robin and Kate from providing a
memorable evening.
The frst duet was Andante from
Concerto in G by Vivaldi. Under
standably, for the opening piece, the
sound was a little impassive, although the
performance was predictably precise.
Kate Dickinson then performed two
solo items; Passacaglia by Weiss, and
Sor's Marlborough Variations. Her
technique was virtually fawless, but she
tended to difuse a rather too formal
atmosphere.
This solemnity was dispersed on the
return of Pearson. He radiates personality
and warmth, and established a comfort
able rapport with the audience.
Afer a confdent rendition of
Yokoh's Variations on Sakura, Pearson
performed one of his own compositions,
Guitar Calendar. This marvellous entity
consists of twelve passages representing
the guitarist's musical interpretation of
the year. To allow the piece to fow
uninterrupted, the audience respected
Pearson's request not to applaud for a
year!
After the interval, Kate performed
three pieces including Barrios' Choro de
Saudade, a little pedantic despite the
impressive and colourful array of sounds.
Robin then re-appeared with a
spirited Variations by Rak, and followed
49
this with three of his own items from La
Guitarra Flamenca which admirably
displayed his technical fortitude.
The evening closed with seven duets
from Pearson's Side by Side. Despite the
apparent simplicity of the pieces, a pleas
ing tone was produced, drawing an
interesting recital to a ftting close.
Gareth Thompson
GILBERT BIBERIAN
Rosslyn Hill Chapel, Hampstead. 7 June
1983
'If you don't eat up your Smith-Brindle
you can't have your Albeniz'. This
attitude ofen seems to accompany the
presentation of contemporary works in
guitar recitals, where, sandwi ched
penitentially between salon pieces and
lollipops they are heard to poor
advantage. Thus it was pleasing to hear a
recital devoted to contemporary music. In
fact Bach and Villa Lobos were also on
the programme but the real business of
the evening was the performance of
works either written for, or by, the soloist.
The latter made up the bulk of the
programme, allowing the audience to
become completely absorbed into the
musical language of one man. It is a
remarkable language. Biberian spoke of
the importance of improvisatory techni
ques in his compositions and indeed, like
improvisations, his ideas grow naturally
and logically out of the fngerboard. One
could say there is a level at which these
works are the apotheosis of the 'doodle'
- those fragments we have all heard in
our inner ear and failed to bring to sub
stance. However, this is only one level,
for in Gilbert Biberian's hands the
'doodle' has grown into an intense and
fully worked out whole, bearing witness
to considerable thought. The composer
has said that Beethoven is his musical god
and this infuence can certainly be discer
ned in the uncompromising development
of themes and particularly in the way
every note emerges full of signifcance.
Six Haiku (1978), like the poems
which inspired them, are a remarkable
feat of compression and intimacy which
at this recital somehow won a battle
against Hampstead's operatic blackbirds
with their Boeing 747 continuo. At times
the mingling harmonics, which are a
special feature of the work, seemed to
resonate throughout the whole chapel.
Monogram (1977) grows from silence
and returns to silence and in between
makes an involved exploration of its
material. Structurally, it must be one of
the most satisfactory works written for
the guitar.
Preludes Book I was receiving its
second performance. Despite the implica
tions of the title these works are not
miniatures. Each is a complex and highly
developed sound poem and the group as a
whole adds up to an experience on a scale
rarely heard in guitar music. Gilbert
Biberian's Near Eastern background is
particularly apparent in these works, not
as undigested folkiness or sentimental
nationalism but welded with other ele
50
ments into a language that is modern and
immediate as well as rooted in traditions,
both ethnic and classical. Although one
must not be rash with predictions it is not
beyond possibility that time will prove
Gilbert Biberian to be one of the most sig
nifcant fgures to have devoted himself to
writing for the guitar.
There was more contemporary
music with the third performance of
Alfred Nieman's The Earth is Your Shoe.
'Mac the Knife' in the 'Threepenny
Opera' might be talking about this work
when he says 'It's not nice, you fool, it's
art'. It was written, I am told, to startle
conservative guitar audiences. This it did
not really do, although at least one person
visibly stifened when the bottleneck was
produced. He was not seen again afer the
interval. The work was subtly disturbing,
with a nightmarish kaleidoscope of
sounds, few of which were familiar or
comfortable. Another critic has described
Mr Nieman as being like a young
schoolboy. The 'schoolboy' was present
this evening, tall and white h aired , to
embrace and congratulate Gilbert
Biberian on his convincing rendering of a
work which cannot be any easier for the
performer than for the audience.
This reviewer has dwelt on Biberian
the composer but Biberian the performer
is a no less formidable fgure. No whizz
kid, he plays with dignity and total com
mitment. His tone is rich but with a
poignant edge capable of producing on
the lower strings some of the most beauti
ful sounds I have heard from a guitar. No
matter if his Bach and Villa Lobos were a
little rushed, they were not the point of
the occasion. This was afer all no
ordinary recital but a chance to share the
vision of a truly remarkable and original
musical mind.
Nicholas Hudis
DAVID RUSSELL
Lucy Cavendish College, Cambridge. 26
June 1983
The relaxed atmosphere and pleasant sur
roundings of Chris Kilvington's Cam
bridge Guitar Workshops provide
excellent conditions in which to hear
major guitarists. On this occasion an
appreciative audience responded enthusi
astically to the light and entertaining
programme played by David Russell.
Although it must be granted that we
live in more musically enlightened times
than previous generations, it is difcult to
understand how Ponce's Suite in A could
ever have passed as genuine Weiss. It is
about as baroque as chili con carni. This
was never more apparent than this
evening when it was followed by the
utterly authentic keyboard Suite No. 7 by
Handel. A rich dose of romanticism in
David Russell's interpretation showed
that he had no doubt about the historical
position of the Ponce. A rollicking Gigue
brought the work to a satisfying conclu
sion.
The Handel was a triumph; even the
sceptical could sit back and forget about
harpsichords. There was never a moment
lacking in musical energy and the cross
string trills in the frst movement were
breathtaking. In one contrapuntal section
a beautiful thin tone was produced (how
many guitarists can produce a beautiul
thin tone?). Above all there was the
Russell hallmark of an interpretation that
always seems spontaneous but con
trolled; always powerful but never exces
sive.
Before the Baroque and psuedo
Baroque we heard Napoleon Coste's
Introduction and Polonaise Op. 44. With
its wealth of good tunes, this is 19th
century salon music at its very best.
Coste may be becoming the fad of the
day, but this work should be here to stay,
particularly if it is always played with the
charm and warmth David Russell
brought to it.
Apart from two short works by
Gibert Biberian the rest of the pro
gramme was Spanish. The Biberian, a
Chopinesque waltz and a prelude,
revealed the composer in one of his more
tonal moods. T!ega's totally grotesque
Variations on the Carnival of Venice
were played with appropriate humour
and a wry smile at the pauses. It is hard
not to sing along whichever set of inane
words you know.
Ro drigo's Invocacion y Danza
brought the recital into the famenco in
spired idiom in which it remained through
Turina's Sonata and Tango and
Seguidilla by Pujol. Of these works the
Rodrigo comes closest to evoking Lrca's
'Lanto de la guitarra' but ultimately in
music of this kind it is the tunes that
count, and tunes were in abundance.
Perhaps David Russell's programme
lacked a little in substance but he is the
kind of guitarist who could captivate an
audience with Twinkle Twinkle Little
Star. It is not simply faultless technique
nor a deceptively carefree stage manner;
it is sensitive and natural musicianship
that puts David Russell into the top rank
of guitarists.
Nicholas Hudis
ROBERT
BRIGHTMORE
'CLASSICAL GUITAR'
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from:
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Julian Bream
JULIAN BREAM
50th Birthday Celebration
Wigmore Hall, London. 15 July 1983
It is rare for a Bream concert to go by
without at least a few words spoken by
the maestro, however informal. This was
one of them. Obviously pleased by the
warmth of his reception, he returned to
the platform again and again, but only
once to play an encore -a repeat of the
Zingara movement from Schubert's
quartet version of Matiegka's Op. 21
Trio. The prolonged cheering and
applause could have lef a stranger in no
doubt about the esteem and afection in
which this most poetic of guitarists is held
i his native city. How pleasant to
observe, for once, a prophet with honour
in his own land.
The Schubert/Matiegka Quartet/
Trio had some excellent dialogues
between viola, cello and fute (John
Underwood, Stephen Orton and William
Bennett respectively), complemented by
sturdy if sometimes over-emphatic guitar
work from the subject of the evening's
celebrations. The Lento produced a true
Schubertian favour, making the addition
of the cello part seem less like an
unwarranted tampering with another
composer's work and more like a stroke
of genius.
Bream's own transcription of
Schubert's G minor quartet (D 173) for
two guitars is less successful, so many are
the problems involved in turning four
parts into two. But a fne pace was
generated and maintained, and as a tour
de force in a 'modest celebration'
(Bream's own words) it worked pretty
well and was received with enthusiasm.
John Williams was not only the obvious
choice as a partner but undoubtedly the
best and, artistically speaking, possibly
the only. The two guitarists know each
other's work so intimately that they can
take liberties that would require many
hours of rehearsal for less gifed players.
Telemann's Partie de Polonaise, written
for two lutes, preceded the Schubert, and
illustrated the thesis that the Bream/
Williams partnership is more a matter of
contrast than of concordance, containing
an element of the ping-pong battle that
does not however confict with the need
to make two guitar parts into a coherent
whole. Some defly phrased bass in the
Combattans movement was a measure of
the high quality.
Julian Bream's prowess on the lute
was evoked in a short but exquisitely
phrased group of Dowland songs, in
which the excellent Robert Tear darkened
his voice to striking effect for If My
Complaints, reverting to light and
humour even more efectively for Sweet
Stay A while. Tear's superb diction made
Britten's Songs from the Chinese easy to
follow for once, with a corresponding
boost to one's perception of the difcult
guitar part. John Wiliiams made light of
difculties that for many guitarists are a
deterrent to learning the part at all,
imbuing the music with a sparkle and
incisiveness that played a large part in
making this group the critical success of
the evening. It was also the best thing I
have heard John Williams do for some
time -a well-aimed shaf in the direction
of those who tend to see him as a once
fne player ruined by popular success.
Nothing could be further from the truth.
The superbly executed Jigados in
Depression, the almost nonchalant treat
ment of the descending chromatic chords
in Dance Song and the stimulating vigour
of The Big Chariot represented classical
guitar playing at its best, the equal in
every way of Robert Tear's fnely crafed
and supremely intelligent handling of the
vocal line. No one could have had a
better ffieth birthday present.
Colin Cooper
THE OMEGA GUI TAR QUART ET
with THE ENDYMION ENSEMBLE
1983 Y outh & Music Cushion Concerts
Royal Academy of Arts, London. 7 July
1983
The discomforts of sitting on a cushion in
an over-hot room soon disappeared as the
Omega four attacked Grieg's Holberg
Suite with their customary zest and preci
sion. Bernard Watson's arrangement -
based on the original piano version, but
with reference also to Grieg's own
arrangement for string orchestra -
stands up as well as ever, though I wish
they wouldn't take the Rigaudon at such
a furious lick. With such clear and strong
professionalism having gone before, it
comes as something of a shock to fnd
details suddenly becoming blurred.
Episodes from Falla's El Amor
Brujo, arranged by Colin Downs, had
some excellently idiomatic rubato in the
Tango; a model of ensemble playing by
four guitarists who have been playing
together long enough to be able to time
their attack to a split second.
A cO,ol and refreshing account of
Ravel's Introduction and A l/egro for
Harp, Flute, Clarinet and String Quartet
was marred only by the rising pitch of the
wind, to which the strings adjusted,
leaving the harpist out on a limb. By the
time Spohr's Nonet in FOp. 31 was
reached, with no harp to consider, tuning
had adjusted to the severe humidity. The
guitars, for once, did not seem to be
unduly afected.
Paul French wrote his Ibizan Li
Music for the combined forces of Endy
mion and Omega. A good joke, but not
quite pointed enough. The guitars did not
have a lot to do, which was a pity.
It was sad to hear that the Omega
Guitar Quartet have decided to split up.
Pressure of other engagements seems to
be the main reason. So well-adjusted an
ensemble cannot maintain standards with
deputies, and the increasing risk of con
ficting engagements made the future
more than ever a matter of uncertainty.
For more than ten years the Omega
Quartet have led the way in guitar
ensemble music in this country, achieving
international recognition in consequence.
They stimulated a quite remarkable
amount of original composition, and pre
sented other and established works in
skilful and efective arrangements by
founder Gilbert Biberian, Colin Downs,
Bernard Watson, John Taylor and others.
Bach, Handel; Debussy and many other
'classics' all had their genius displayed in
these unusual circumstances. One of the
most astonishing feats was to transform
Giovanni Gabrieli's pieces for antiphonal
brass into pieces for antiphonal guitar,
and still retain the overall efect.
Ensembles come and go in all
spheres of music. Other quartets survive
to carry on the good work. The members
of the Omega Quartet - Colin Downs,
Barnard Watson, John Taylor and
Forbes Henderson - will undoubtedly
fnd other ways of making an efective
contribution, but their uniquely combined
efort will be greatly missed.
Colin Cooper
GE RA LD GARCI A, GI LBERT
BI BERIAN and PERI ASTON
Rosslyn Hill Chapel, London 5 July 1983
Biberian's Pierrot for two guitars and
mime was the main work in this
programme, and was performed with elo
quence and grace by Peri Aston and the
guitars of Gerald Garcia and the com
poser. Thi&is Biberian in lyrical mood,
abandoning the density of thought and
texture that makes sure of his music too
'modern' for ears unwilling to make the
efort of comprehension. The French
song Au Clair de la Lune is treated in a
number of ways, and so is another 'folk'
song that turns out to be an invention of
the composer. The lightish texture makes
for easy digestion, while the melodic
invention and the frm rhythmic base lend
delights of their own. It is the harmonic
structure of the work that yields the most
enjoyable reward, however. Surely an
advance on Columbine, Pierrot is one of
Biberian's most telling works.
Some scrappiness in ensemble
reduced the impact of Bach's second
English Suite, though some notable
51
Appell,'-in
were',
profundity was achieved in the Sarabande
despite a misunderstanding. George
Zarb's three Preludes received a deserved
outing in Gerald Garcia's capable hands.
Melodic, not difcult to grasp at a frst
hearing, they show an intuitive under
standing of what makes good guitar
music, with some eve changes of
mood nicely placed by the composer and
fully appreciated by the performer. James
Patten's a frst performance,
was more difcult, with abrupt phrases
coming and going before they could be
assimilated. There clever res
onances, and good use was made of over
tones in the frst section. Percussiveness,
carefully placed dissonances and an
awareness of tonal values all made an
impression, and a further hearing should
make things clearer. Gilbert Biberian
played with his usual great care to present
the composer's case in as favourable a
light as possible. His arrangements of
Bartok's familiar Roumanian Dances for
two guitars are so enjoyable in their astr
ingent brevity that one is continually
regretting that they are over before the
taste buds can adjust.
Robert Brightmore
MUSIC OF SP AIN
Colin Cooper
Queen Elizabeth Hall, London. 3 July
1983
Difculties with the orchestral parts
deprived London of the opportunity to
hear Rodrigo's Madrigal Concerto for
two guitars, originally written for Presti
and Lagoya but eventually performed by
the Romero brothers. David Russell and
Robet Brightmore were to have perfor
med the work. I hope difculties will be
overcome and the event restaged.
On this occasion Robert Brightmore
performed the Aranuez instead, and
although opportunities for hearing it in
London appear to be limitless, the
integrity of his playing and the qualities of
the Bournemouth Sinfonietta made it an
unusually pleasurable experience. Good
52
cor anglais tone complemented Bright
more's firm and resonant sound,
heightening the tension to a satisfying
degree. Something of this intensity carried
over to the last movement, where con
ductor and performers appeared to prefer
a continuation of the frst movement's
heady poetry to the lightness of spirit
suggested by Rodrigo's phrase 'the
hidden breeze that stirs the treetops'. The
fnal descending passage came over as a
refective epilogue to a deeply felt
experience rather than as a lighthearted
fourish.
The frst performance in London of
Rodrigo's Musica para un codice
salmantino was a notable event. Set to
distinguished verse by Miguel de
Unamuno, it is almost operatic in its
treatment. The powerful and sonorous
bass voice of Noel Mann did much to
bring about success. So, possibly, did the
decision (made with the composer's per
mission) to use a full body of strings
instead of the original 'one-of-each-plus
a-handful-of-wind' formula. The warmth
of the Bournemouth strings gave the
singer a Veridan backing that he
appeared to relish.
Rodrigo's Canticos Nupciales was
also receiving its frst London perfor
mance -and its third ever, including one
in Portsmouth in June and one on the
occasion of the composer's daughter's
wedding in 1963. Without the trappings
of the marriage ceremony itself, the
'jubilant discords' fell a little below the
required feeling of joy, though organist
Derek Fry made so good a use of the
opportunities ofered to him in solo
passages that Rodrigo ought to write him
an organ concerto.
Two choruses from Atlantida show
Falla at his most devotional, a mood
reversed at the end of the evening with a
lively account of the music from the ballet
El Amor Brujo, in which paganism and
ritual are the basis of sheer musical
inventiveness. This was undoubtedly the
most exciting music of the evening, the
warm sound and crisp attack of the
Renaissance Choir and the Bournemouth
Sinfonietta serving as a reminder of the
great wealth of professional talent exist
ing and, it is to be hoped, fourishing in
the provinces of Britain.
Colin Cooper
JOHN WILLIAMS AND FRIENDS
Royal Festival Hall, London. 29 June
1983
Several thousand people paid large sums
of money to hear the great guitarist and
his friends perform an odd mixture of
music from the banal to the poetic. Few
of these eager consumers would even
imagine themselves at a Wigmore Hall
recital; for them, there is only one
guitarist in the world, and his name is
John Williams. It is a strange phenom
enon.
Reasonably, a concerto by Vivaldi
arranged for two guitars (Gerald Garcia
was the other guitarist) was greatly
enjoyed, but so apparently was Brian
Gascoigne's somewhat meandering
Stream, written for the ensemble. The
applause for Vivaldi's little concerto for
sopranilo recorder was no greater -or
less - than that for the guitar pieces by
Barrios, played by John Williams with the
skill and insight that perhaps we tend to
take too much for granted. It was difcult
to decide where the audience's tastes lay.
Possibly people ask for little more than
seeing their favourite group enjoy
themselves with some not very demand
ing music. Enjoy themselves they
certainly did, with acrobatic work by the
percussionist, some def footwork by the
clever player of the recorder (and the
fute, crumhorn and tin whistle) and the
sort of rapport among musicians that
makes observers feel lef out if they
cannot go all the way with it. In fairness,
just about everyody seemed more than
willing to go all the way with it.
The Guitar Is The Song is the title of
a medley of popular and traditional music
from many countries, arranged with a lot
of percussive efects that only ocasionally
enhanced the music. Only towards the
end did some unadorned folk music
emerge, when two South Americans took
the stage with cuatro and charango to
show how little arranging is needed in the
best folk music.
Colin Cooper
ANGEL RO MERO wi th th e
Bournemouth Symphony Orchestra
(cond. Van Pascal Tortelier)
Colston Hall, Bristol. 8 July 1983
The Aranjuez must surely be one of the
most overplayed works in the classical
concerto repertoire but such is its intrinsic
quality and charm that one never really
tires of it. Add to this the large number of
interpretations one hears and there is
always some new aspect of the work to be
found in each performance. This was
certainly the case on this occasion when
we were treated to Angel Romero's
sparkling interpretation, imbued with a
strongly nationalistic quality for this most
characteristically Spanish work.
The opening rasgueados of the frst
movement showed the way for a clear
and uncluttered account while the second
movement was once again the highlight of
the evening; one could almost compare it
with a soulful famenco player, such was
the range of emotions displayed. From a
lyrical beginning it developed through
moments of passion and refective
solitude. The cadenza itself was
br e a t ht a ki ng a nd wa s p l a y e d
tremendously fast though there was
nothing at all technically lacking from the
performance. Afer all this the last move
ment seemed almost like an anticlimax.
The performance was memorable
indeed from the technical and musical
aspects but was far from being perfect.
Angel Romero chose to use amplifcation
in the large hall but unfortunately the
balance wasn't as good as it might have
been, with the guitar at times still not
being heard clearly, and with some loss of
tone colour and quality. Also, the evening
was very hot and humid - quite
appropriate for an evening of Spanish
music but unfortunate for the tuning of
the instrument. However, the audience
thoroughly enjoyed the performance and
insisted that Angel Romero returned to
the platform to give an encore for which
he played the Fantasia from his father's
Suite Andaluza. This was like a cross
between Tarrega and famenco and was
rather short on good music but brimful of
technical devices such as pizzicato, har
monics, tamboura, rasgueado, etc. The
big audience loved it, although its
suitability is really only as an encore and
as such it should prove to be popular.
Dave Shepherd
GEORGE ZARB with the LAVRION
STRING QUARTET
Woodford Bridge. 26 June 1983
Some mature playing from the Lavrion
String Quartet at Woodford Bridge in
June. With George Zarb (guitar) they
played two of Boccherini's Quintets, No.
7 in E minor and No. 4 in D. The guitar
came through well, a tribute not only to
the confdent playing of Mr Zarb but also
to the good habits acquired by the quartet
members, three of whom are still at
school. They listened to the guitar and
adjusted their volume accordingly
something that many older and more
experienced string players still do not
always do.
The youthful players seemed happy
with the pleasant task of persuading
Boccherini's Italianate melodies to fower,
but less able to reveal the strength of
Haydn's more complex development in
the Op. 76 No. 4 Quartet, despite the
excellent shape they gave to the opening
Sunrise theme. Op. 20 No. 4, in a less
complex form, gave their talents more
opportunity to shine, though even in this
early Haydn work the presence of a
baroque cello provided uncomfortable
contrasts of tone. The quartet members
were: Katherine Shave, Bradley Winand,
Nikos Zarb and Jan Spencer.
Colin Cooper
WEEKEND CLASSICAL GUITAR
COURSE AT DURHAM
JIM GIBSON
DURING the weekend 23-24 April a classical guitar course
organised by Simon Cohen and Peter Cruddas was held at
the Castle Chare Community Arts Centre in Durham. The
main aim of the course was to provide an opportunity for
guitar-minded people to get together for a concentrated
weekend session, the emphasis being on a relaxed, friendly
and informal approach. The format of the weekend was as
follows:
Friday evening
A time for introductions, a substantial cold bufet and a
chance to examine the large selection of music on display
collections and compilations of the works of the major
guitar composers, individual pieces and numerous duets,
trios and quartets at a variety of standards. A 'playaround'
for anyone who wished to participate, and solos and a duet
from Simon and Peter to round of the evening.
Saturday
Working through Trinity College Grade lists in some depth.
As well as the technical and musical problems presented by
the pieces, other aspects covered were the use of the rest
stroke, alternative lef-hand fngerings, care of the nails and
various 'damping' methods and vibrato techniques.
Lunch in the adjoining 'Pot of Basil' restaurant
followed by an afernoon of loosely defned groups working
through duets, trios and quartets, and individuals in quiet
corners getting to grips with some of the techniques covered
in the morning session. Simon and Peter were constantly on
hand with advice and encouragement.
Late that afernoon local lutenist Jim Bickel gave a talk
on lutes and lute making, and afer discussing how tablature
difered according to its country of origin, he demon stated
his points by playing a variety of examples of music for the
lute. A number of instruments were passed around for in
spection and all questions were readily answered.
Sunday
A seminar on Sor's Variations on a Theme o/Mozart, in
which Simon compared a copy of the original version with a
later edition. Some of the diferences to emerge included
altered fngerings, the addition, deletion and regrouping of
notes, and, in the later version, the omission of the entire
introduction! Simon ended the seminar by performing the
whole piece, and the lesson to be learned here was always to
go to the original to be sure of authenticity.
Following Peter's display of Sanchis and Cuenca
guitars (all at discount prices) was the Neil Smith
masterclass on Sunday afernoon, during which a number
of us were put through our paces. Neil's approach was
down-to-earth, encouraging and totally professional, and I
was particularly interested in his observations on the group
ing of notes in some of the music of Sor, Carcassi, Giuliani
and Carulli, and how the manner in which the stems of the
notes are written can be taken as an indication of the
separation of the parts, or instead of phrase marks. Equally
informative was the chat during the cofee break in which
Neil was asked about the lifestyle of the professional
classical guitarist - meticulous planning and constant atten
tion to detail seem to be the watchwords here.
Sunday evening's student concert brought the
opportunity to show our colleagues what we could do, and
it was pleasing to note that a lot of the programme consisted
of ensemble pieces performed by people who had been
strangers at the beginning of the course. Indeed some of the
players had hardly ever performed to anyone before, and
the concert provided a nerve-racking but fulflling end to
what had proved to be a packed weekend.
In retrospect, the main impressions to stay with me are
the importance of the fun and enjoyment inherent in guitar
playing (but which can sometimes be overshadowed by
problems of technique or interpretation) and the
individuality of the instrument. My own major discovery
was that there is no right or wrong way to play the guitar
it is that which.suits the player concerned which should be
the main consideration.
53
REVIEWS
LE DUO ROM ANTIQUE
FEDERICO MOR ETTI: Sonata;
FERNANDO SOR: L'Encouragement;
LUIGI CASTELLA C CI: Hu i t
Monterines; AUBERY DU BOULLEY:
Trois contredanses; Trois valses; JOSE
FERR ER Y ESTEVE: Serenade;
Bolero; MAURICE DE RAOULX: Duo
in A major; Duo in C major
Domi nique Maca and Francoise
Emmanuelle Denis (guitars)
Pavane Records ADW 7112
Domi nique Maca and Francoise
Emmanuelle Denis both trained at the
Royal Conservatory in Brussels and the
most striking thing about their record of
original 19th century guitar duets is the
unfamiliarity of the repertoire; only the
Sor would be known to most people. The
music is played on original instruments
(Lacote and Roudlhof using gut strings
and tuned a semitone lower than modern
concert pitch. The resulting sound is very
pleasant, the bass being particularly full
though the upper register tends to lack
sustain. The fairly close recording does
not help this problem of balance and I
found one of the instruments, on the right,
rather more resonant and mellow than the
other; how important it is in duet playing
to have, as far as possible, matched in
struments. The playing is clean and lively
and the ensemble, for the most part,
excellent. The opening exchange of
phrases in the Moretti Sonata shows up
clearly the diference in the two guitars; I
found the ornaments in this work
perfunctory and, as in the other pieces,
there is such a restrained use of rubato
that the playing sounds a bit wooden -
surely inappropriate to the period and to
a duo with such a name.
The works by Aubrey du Boulley
and Raoulx I found the most unmemor
able with a monotony of key and chord
sequences; perhaps not really worthy of
recording unless played with immense
panache and injected with Bream-like
doses of interpretation. Once or twice the
Duo Romantique achieve this: in the last
Monterine by Castellacci and in the two
pieces by Ferrer y Esteve which I found a
pleasant discovery. The Sor sufers most
from lack of freedom in the playing and
the sharing of the parts only further
highlights the problem of balance.
Moving into the waltz and at fnal
cadences there is actually a slight
accelerando which I found most distaste
ful and harmful to the musical purpose.
Were all this music available it
would be excellent for reading and
teaching material - the parts are very
equal - and all credit to the Duo
Romant i qu e f or unear t hi ng i t .
Unfortunately their playing is rather
unromantic. The sleeve is well produced
with helpful notes by Mile Denis. Perhaps
the most lasting impression given by a
whole record of salon music is that it
54
shows Sor in his true light, as a bright star
in a rather dull constellation.
Peter Batchelar
FERNANDO SOR: Duo Op. 38, 41, 54
and 63
Maria Kimmerling and Leif Christensen
(guitars)
Paula Prod. nr. 14 (distributor in the UK:
Tecla Editions)
This record by Maria Kimmerling and
Leif Christensen contains music which I
have known for many years. First,
though, I should declare an interest: my
company, Tecla Editions Ltd, is the UK
distributor for Paula Records of
Denmark (see this and the next two
reviews); but it is only because they are
so good that I took the trouble -which
necessitated a trip to Denmark - to
obtain the distribution.
In fact, Souvenir de Russie is so
fresh and so moving on this record, it is
as though one is hearing it for the frst
time. The celebrated Russian melodies
weave in and out, te guitars respond elo
quently to each other. They are guitars of
the period, a Panormo of 1824 and a
Lacote of 1830: Sor worked with both
these makers, so the instruments could
not be more appropriate. And Kimmerl
ing and Christensen obviously feel the
music. There is no technical problem at
all: only musicality.
The other pieces on the record are
the celebrated Les Deux Amis, Op. 40,
which Sor wrote for himself and Aguado
to play; the Fantaisie, Op. 54 bis, which
contains the Allegro 'in Spanish style';
and a shorter Divertissement, Op. 38. All
the music on this record is available in
Vols. 8 and 9 of the Complete Works for
Guitar of Sor (Tecla Editions). These
players are rapidly making a name for
themselves and we shall hear more of
them. This record in highly recom
mended.
Brian Jejery
GIULIO REGONDI: Guitar Works
Leif Christensen (guitar)
Paula Prod. nr. 10 (distributor in the UK:
Tecla Editions)
This record contains Regondi's works for
guitar Ops. 19 to 23, in their entirety, all
composed in the mid-19th century. They
are virtuoso works - demanding
technically, and very musical. Regondi
was a child prodigy, to whom Sor
dedicated his Op. 46. He went on to be a
famous virtuoso on the guitar; lived in
London; and is buried in Kensal. All
these works show that his fame in his own
day was fully justifed.
Christensen plays them on a Lacote
of 1830, and the richness of the tone is
startling to our ears. The clarity of the
individual notes and counterpoint, and at
the same time the warmth and strength of
the sound, yield nothing to any more
modern guitar that I have heard. As for
the performance, it is magnifcent.
Christensen takes the difculties in his
stride and gives each piece its full stature.
All the music on this record is avail
able in Giulio Regondi: Complete Works
for Guitar, ed. Simon Wynberg (Editions
Chanterelle, distributed by Tecla Editions
Ltd).
Brian Jeery
MIGUEL LL OBET: Obras para
Guitarra
Leif Christensen (guitar)
Paula Prod. nr. 20 (distributor in the UK:
Tecla Editions)
This recording presents thirteen Catalan
popular songs arranged by Llobet for
guitar solo, and nine original composi
tions of Llobet, all played by the brilliant
Danish guitarist Leif Christensen.
According to the sleeve notes, it appears
that this is the frst recording of all of the
Catalan folk song arrangements, while
some of Llobet's original works here
recorded will be unfamiliar to many.
"Llobet was a great and passionate
romantic in heart and soul: one of the
intrument's greatest", say the sleeve
notes; and listening to this record, one
cannot but whole heartedly agree. The
lyrical Romanza; the virtuoso Scherzo
vals; the famous Catalan songs: all add
up to a collection which is one of the most
magic in the guitar's repertory.
Christnsen's performance responds
to the composer's achievement, bringing
out the strength of the Variations on a
Theme of Sor, the restlessness of the
i mp r e s s i o ni s t i c pr e l ude s , t he
melodiousness of the songs of this com
poser's native country. One of the fnest
of guitar records.
Brian Jejery
A MUSICAL VOYAGE
Gerard Rebours and Francis Cadour
(guitars)
S.E.L./Levain SEL 300 203
The sleeve notes invite us to take a
journey through time; 467 years in all,
beginning with Paduana alla Veneciana
by Capirola (1517), played by Francis
Cadour on his self-made Renaissance
lute. Roncalli's Prelude, Gavotta and
Minuet (1692) are played on a baroque
guitar, and so is the familiar Passacaille
by de Visee and La Burlesca by Santiago
de Murcia (or Murzia). _
Romantic guitars (Lupot 1778 and
Pons 1820) play a Mozart transcription,
efective despite or even because of its
sweet sound, and continue with two
arrangements by Sor of waltzes, one by
Mohor sounding plus Sor que Sor, the
other by Sor himself This is a pretty,
tinkling thing, played with such verve that
the delicious morsel is snapped up with a
greedy pleasure that demands more of the
same. But time moves on, and classical
guitars occupy the remainder of the side
and of the record. Pujol's Manola del
A vapies has a fexible grace. Gismonti's
Dam;a no. 2 ushers in the contemporary
guitar with a percussive clang. Liverpool
Sound, an improvization devised by
Gerard Rebours and based on Beatles'
works, concludes side one and lasts
nearly seven minutes, the longest work on
the record. A certain dreaminess, though
pleasant, suggests nostalgia rather than
the down-to-earth Liverpool lads.
Side 2 begins with several of
Vladimir Bobri's arrangements of popular
traditional music from Russia, Hungary
and Rumania. None of them is a waste of
anyone's time, though the deeper emo
tions are seldom engaged. A transcription
of some children's piano pieces by the
contemporary Turkish composer I1han
Baran strikes an unfamiliar and
refreshing note among all this Tziganery.
The intervals are strange, the rhythms
intriguing, and a certain astringency
about it makes a welcome contrast to all
the sweetness that has gone before.
La Rue des Reves is Hajdidakis in
his familiar style, with the guitarists
reproducing the bouzouki sound with
slightly tongue-in-cheek but wholly
delightful gusto. Such lively music ought
to be happy, but there is an underlying
melancholy. There is a truly funky bass
note at one point, apparently produced by
an instrument called .the 'folk theorbo
guitar'. A tarantella arranged by Bobri
concludes the Mediterranean section,
after which we make i landfall in South
America: Mexico (Bobri again, arranging
Viva la Chontalpa, Argentina (Tango by
Nunes), Paraguay (Danza no. 1, Barrios)
and Brasil (Tco-Tco no Fuba).
The Barrios piece was arranged for
two guitars by the composer, as was the
Nunes work and the Pujol piece on side
one. The other two pieces are cheerful
nonsense, barely over two minutes in
combined length, and guaranteed to raise
a smile on the coldest English day,
though perhaps not in the coldest
intellectual circles.
Rebours and Cadour formed their
duo in 1978, and so have had time to
settle down. Familiarity allows them to
play very fast and still retain a oneness.
They can take unblushing liberties with
rubato and still stay together. Their
playing, over so wide a range and on so
many diferent instruments, is never less
than very good, and sometimes brilliant.
As a celebration of nearly fve hundred
years of fretted music, this enjoyable
record will do as well as any, and better
than most.
Colin Cooper
JADE EYES
HEITO VILLA-LOBOS: Blue Dusk
(Tarde Azul; Love Song (Cancao de
Amor); XAVIER MONTSALVATGE:
(from Cinco Canciones Negras), Punto de
habanera (Lujan); Cancion de cuna para
dormir a un negrito (Valdes); Cuba
dentro de un piano (Alberti; ANON:
(Elizabethan) I saw her; JOSEPH
CANT ALOUBE: (from Songs of the
Auvergne) Lo Fiolaire (Series 3 No. 1);
L'Aio de rotso (Series 1 No. 3a);
FEDERICO MOMPOU: Esta noche un
mismo viento; Solo las fores sobre ti; Te
presentia como el mar; ENRIQUE
GRANADOS: La Maja de Goya;
SERGEI RACHMANINOFF: Vocalise
Opus 34 No. 14
Riki Turofsky (soprano) and Michael
Laucke (guitar)
Aquitaine
Comparisons may be odious; but, on
hearing te frst fve songs on this record
I found myself measuring the work of this
Canadian couple against the similar com
bination of the Brazilian contralto Salli
Terri and guitarist Laurindo Almeida in a
1958 recording Duets . with the Spanish
guitar (Capitol P.8406) - a record
which bids fair to become an 'evergreen',
its popularity compelling several re
issues. Noting that Miss Turofsky hailed
from Toronto and for many years lived in
the Yukon, I wondered how she would
come to terms with the Brazilian and
Iberian music which predominates on the
record. In fact, in trying to achieve the
simple style of what is basically folk
music, the singer produces a rather thin
tone, which is sometimes out of tune. The
tone required is more one of warmth and
sunshine; ofen it is breathy, and is
neither concentrated nor focussed.
However, on some of the 'art' songs, she
achieves quite an exuberant operatic tone
which is more her natural voice. Listening
to the present record one is forced into
regretful comparisons.
In Punto de habanera the singer
achieves a fair degree of Latin verve, and
cleverly parodies an operatic style, with
comic efect in Cuba dentro de un piano.
The Elizabethan I saw her is a beautiful
song, and here is beautifuly sung, but, by
virtue of the guitarist's very full
accompaniment, sounds strangely
'modern' (possibly because these days we
have such a plethora of performers
accompanying such songs on the lute, or,
if on the guitar, with an authentic
'Renaissance' sound!).
Cantaloube's Songs from the
Aubergne, as has been superbly demon
strated by Joy Hyman with the brilliant
young American guitarist, Gregg Nestor,
are ideal material for the combination of
voice and guitar; truly complicated
'duets', to which both singer and player
here do justice. The trio of songs by
Mompou are well varied with the guitarist
demonstrating his sympathy with the
singer. La Maja de Goya is, of course,
well-known to guitarists as being one of
the favourites in the repertoire of Segovia.
The final piece (new to me) by
Rachmaninof has a beautiful, haunting
melody; a wordless song with an
accompaniment of dark sombre guitar
harmonies.
All in all, despite my initial reserva
tions, I think that enthusiastic guitarists,
and those who favour the combination of
guitar with the singing voice, will possibly
fnd a sufcient variety of sound on this
record to give pleasure.
Charles Scott
FE RNANDO SOR: LA GUITARE EN
DUO
Divertimento Op. 62
Les deux Amis Op. 41
Le premier pas vers moi Op. 53
Andantino, Allegretto
Fantaisie Op. 38
Souvenir de Russie Op. 63
Philippe Lemaigre, Guy Lukowski
(guitars)
Pavane Records ADW 7016
Sor's reputation as the foremost of the
classical guitarist composers rests on a
handful of his compositions. It is
therefore interesting to see a record
devoted to a less familiar part of his
output. This record is not a musicological
exercise and the interpretations are very
modern, exploiting to the full the
resonance and power of the post-Torres
guitar. Both Lemaigre and Lukowski
produce a rich bell-like tone, and there
are times when they seem to overwhelm
the music. Perhaps fesh technique and
early guitars would have been more sensi
ti ve. However if scrupl es about
authenticity are cast aside the lively and
romantic mood of this record is very
pleasing.
As for the music itself, Sor handles
the medium of two guitars with impres
sive crafsmanship. Both guitars are kept
busy and the texture is rich and varied.
The shorter pieces work best, such as the
delightful Andante Cantabile from Op.
62. In the longer works a lack of drama
and a sameness of tonality resulting from
the theme and variations form makes for
tediousness. Sor's fatal weakness is an
inability to develop his themes in convinc
ing ways. Ultimately he is just too
pleasant and urbane to back up his crafs
manship with inspiration. However those
who, like the present reviewer, retain an
afection for Sor's music, will fnd this a
welcome addition to the available Sor
recordings.
Nicholas Hudis
JOHAN N SEBAS TIAN BACH:
SIL VIUS LEOPOLD WEISS
BACH: Suite for lute BWV995; WEISS:
Prelude; Tombeau sur la mort de M.
Comte de Logy; Fantasy in E minor;
Tombeau sur la mort de M. Cajetan
Baron d'Hartig; Ciaccona; Plainte;
Gavotte
Oscar Caceres (guitar)
Pavane ADW 7040
The third of Bach's lute suites, syn
onymous with his Suite for 'cello in C
minor, is a gentle work when c.ompared
with the passion and exuberance to be
found in the others. Caceres captures the
refective mood beautifully in the expres
sive opening to the Praeludium and whilst
the Presto moves quickly enough there is
always a happy sense of containment.
55
This overfows into the Allemande which
-like the Courante, Sarabande and both
Gavottes -is played without a repeat of
its second section. I felt that the frst
Gavotte sounded simultaneously bland
and ungainly in view of what had gone
before but the concluding Gigue rounded
of the suite in style. Apart from a couple
of extraneous sounds, which on this frst
hearing could have been caused by any
thing from a microphone to a footstool,
this recording will give me continued
pleasure.
One wonders why the artist chose
not to include a complete suite by Weiss
for the second half of this recital; the fnal
three pieces, interesting enough, are
rather light in texture and I found that I
was missing the unity of development
which might otherwise have been present.
The side commences fortuitously with an
unbarred Prelude manifesting an
appropriate improvisatory freedom which
is again in evidence in the Fantasy where
an excellent choice of tempo leads to a
clear and unequivocal statement of the
second section. Of the two Tombeaux I
prefer Caceres' interpretation of that
dedicated to Baron d'Hartig; his weight
of attack and contours of phrasing
appear suited here, more so than the
other whose refned atmosphere of grief
requires absolute commitment to convey
its special eloquence -if but a couple of
phrases seem rather hurried and a chord
sounds out of timbre with its fellows then
the intense magic of the whole can be
dissipated. It's certainly not any easy
piece to hold on to. Oscar Caceres is well
known as a player with a fne reputation
and this disc will help to support that
opinion.
Chris Kilvington
NAPOLEON COSTE MUSIC FOR
GUIT AR AND OBOE
La Source Du Lyson Op. 47; Rondo Op.
40. Marche et Scherzo Op. 33; Andante
et Polonaise Op. 44; Adagio et Menuet
Op. 50; Le Montagnard Op. 34
Simon Wynberg (guitar)
John Anderson (oboe)
Chandos ABR 1031
This record will come as a big and
pleasant surprise to mlmy people,
especially those to whom the name Napo
leon Coste means nothing beyond a few
long and difcult studies tucked away in
one of those big general anthologies. It
would be too much to suggest that Coste
is the di scovery of t he current
musicological interest in the late
nineteenth century guitar. Certainly he
avoids the sentimental platitudes of Mertz
and, to judge by this record at least, is
less ofen seduced into excesses of display
than most other guitarist-composers.
Of course Coste is not the equal of
more illustrious contemporaries like
Chopin or Schumann. To hope for a
guitar composer of that stature would be
foolish. Yet he has a very individual voice
and a gif for good tunes which is seldom
compromised by the limitations of the
fngerboard. His musical language is one
56
of nature-inspired romanticism evoked by
expressive adagios and rustic dances in
which the infuence of French folk song is
seldom distant. The works for guitar and
oboe are particularly efective.
Simon Wynberg's interpretations are
well thought out and efective though he
is at times a little heavy handed and
insecure in quicker passages. In the duet
pieces a little more guitar sound would
have been nice as the instrument is not
limited to an accompanying role. The one
thing that seriously mars the record is the
quality of the sound which is not good
and makes the guitar rather boxy.
Despite this reservation Wynberg
and Anderson must be congratulated on
this venture; it is a brave undertaking to
produce a record devoted to an unknown
composer. It is even more remarkable
that it should succeed as well as this
record doe. Let us' hope that many will
hear it and be encouraged to explore
further into the works of this forgotten
composer whose works deserve a place in
today's repertoire as much as many
'major' twentieth century pieces.
Nicholas Hudis
GABRIEL EST ARELLAS
MANUEL PONCE: Suite in A; Tres
Canciones; Scherzino Mexicano; Pre
ludio y Ballet; Vals
Maller API-99
Segovia, Williams, Diaz, Hill, Matsuda
and Lundestadt are only some of the
names on previous recordings of these
pieces, so there is no shortage of alter
natives. That means that a player must
work all the harder to establish his own
individual voice, his particular interpreta
ti on, somethi ng that wi l l make
discriminating purchasers prefer his
version to others.
The young Spanish guitarist Gabriel
Estarellas succeeds very well in this
respect. Playing an exceptionally sweet
toned Bernabe guitar, he turns in a
serious and committed performance,
taking the view that even if the Suite in A
is pastiche, it has been written by the
most distinguished composer of. guitar
music in recent times and deserves every
possible consideration. It is an attitude to
be commended, and enables Estarellas to
bring the much-played old suite to life in a
convincing way. His tone is not deeply
resonant, but has a lightness that allows
clarity to prevail. It is however a clarity
that does not impede the underlying
romanticism of all Ponce's work, but in
fact ensures that sentimentality does not
intrude.
This is very noticeable in the three
Mexican songs, where guitarists are not
the only musicians who tend to drool over
Estrellita. Not so Estarellas, whose
elegant poise and touching simplicity of
approach make the old tune shine like
new. Hace ocho meses also has great
character and charm, and some beautiful
playing in Marchita el alma confrms that
Estarellas has a rare gif: the ability to
extract true poetry from music that has
been overplayed almost to the point
where nothing exists but its very
popularity.
Scherzino Mexicano must be
familiar to every Grade 8 student. The
notes are accessible to amateurs, but it
takes a player of stature to give it shape
and distinction. Estarellas attacks the
Prelude and Ballet - more pastiche -
with the same vigour that distinguished
the Gavotte in the opening work, but
saves his largest tone for the Waltz. The
crisp precision of all this makes for easy
and enjoyable listening.
The surfaces are good, with not a lot
of tape hiss. Modern taste seems to prefer
more resonance, but I personally am
grateful for a performance which can
convey the essential poetry of Ponce
without once descending into an all-too
common lushness.
Colin Cooper
THE CONTEMPORARY FINNISH
GUITAR
NORDG REN: Bu t t e r fl i e s ;
RAUTAVAARA: Monologues of the
Unicorn, Serenades of the Unicorn;
BERGMAN: Midnight; HEININEN:
... touching ...
Jukka Savijoki (guitar)
Bis LP-207
It is a fact (sad or otherwise) that whilst
many contemporary British composers'
works are known and performed in
Finland, very few Finnish compositions
ever reach our shores; the majority of
guitarists in this country would be hard
pressed to' name even one Finnish com
poser, let alone include a work in his/her
repertoire.
Jukka Savijoki's selection of fve
relatively new works serves as a useful
introduction to his music, even though the
quality varies.
Butteries Op. 34 (1977) by Pehr
Henrik N ordgren, inspired by the
butterfy stories in Lafcadio Hearn's book
'Kwaidan', is in fve sections totalling 12
minutes, and is based on the composer's
later manuscript, rather than the three
movement version published by Gehrman
(Stockholm), which difers considerably.
The composer describes the form of the
work as 'free and fantasia-like'.
The two Unicorn pieces by Eino
juhani Rautavaara were written in
response to a commission by Josef
Holecek, Serenades in 1977 and
Monologues i n 1980. Rautavaara writes,
'their world is the fabulous realm of the
Unicorn - a timeless creature'. In the
Serenades the unicorn is located in anti
quity, whilst in the Monologues, it
appears in the dreams of remote masters.
The above three works occupying
the frst side of the disc are intended to
represent the more traditional style of
composition and, generally, tiey succeed
admirably.
Side 2 refects the search for new
musical resources, and this is where the
project deteriorates.
Erik Bergman's Midnight Op. 83,
written in 1977, is his second opus for
solo guitar, following the Suite (1949),
and employs the usual tiresome efects
tremolando, Bartok pizzicato, spoons
(Bergman has the dubious claim to fame
of being the frst Finnish composer to use
spoons in his works) and percussion of
every conceivable kind. Since receiving
the record I have listened to this
particular track several times and I am
now convinced that Bergman's Midnight
is one of the poorest guitar pieces that I
have ever heard.
Whilst the fnal item, ...touching...
by Paavo Heininen, written in 1978, is
marginally better than the previous track,
little of interest is ofered. The constituent
parts of the work are 'characteristic
features or pairs of features': sostenuto
sonority/step like movement in quarter
tones, light percussive sound/rhythmic
repetitions, glissando/meandering zig-zag
movement, trill/pattering in close
intervals.
If this is all that Finland has to ofer
the contemporary guitar repertoire than I,
for one, can happily survice without it.
Jukka Savijoki is clearly a very fne
musician as this record and his previous
record of baroque music show, and it is
regrettable that the general standard of
the music does not measure up to the high
quality of performance.
The recording quality is excellent,
albeit a little distant, and the notes
provided on the sturdy gate-fold sleeve
are informative; Savioki's Fischer guitar
is credited, but is it really necessary to
credit the maker of the spoon?
Raymond Burley
ANSWERS TO
COMPETITION IN
ISSUE 6
1. MANUEL BARRUECO
CARLOS BONELL
2. HERMANN HAUSER
ROBERT BOUCHET
3. MANUEL PONCE
WILLIAM WALTON
4. AGUSTIN BARRIOS
LEO BROUWER
The frst three correct entries were
received from Angela Snowdon of
Skelmersdale, Nicholas Mackey of
Clitheroe and Tom Dupre of
London. They all receive a Guitar
Masters record as prizes.
WHEN REPLYING TO
ADVERTISEMENTS SAY
YOU SAW IT IN
CLASSICAL
GUITAR
1 st Birthday Quiz
devised by COLIN COOPER
Closing date 30 October 1983. Winner (frst correct solu
tion opened) will receive fve sets D' Addario Pro-Arte Str
ings.
All the answers can be found in the frst volume of
Classical Guitar. Add issue number and page number to
each answer. E.g. the answer to the question 'Who learnt
how to improvize by copying Jack Bruce?' would be 'John
Holmquist, No. 6, p 25'.
1. Chopin wrote a Revolutionary Study, but who wrote a
'pleasantly dissident Sonata'?
2. Who put forward the hypothesis that all modulations in
compositions of the 'classical' period are prolongations
of the Tonic chord?
3. Who stayed at home and watched Starksy and Hutch
on TV instead of going to a Julian Bream concert?
4. Who has 'ten strong fngers, a musical sense, and a
delight in the sound a guitar makes', but is 'just not a
string man'?
5. Who used to hate carrots and was given a chill by
Schonberg?
6. Napoleon Coste's career was brought to a sudden and
unfortunate end when he fell downstairs and broke his
right arm. Who described this tragic event as 'a bit of
bad luck'?
7. Who produced machine-gun-like fourishes?
8. On whose forehead was a pattern 'attractive in a
certain light'?
9. What was produced from a breast pocket with a
natural and appropriate dignity and applied to the bass
strings so as to produce a series of delicate sounds?
10. Who took to wearing black clothes and letting his hair
grow long?
11. Whose frst guitar experience was a beer advertise
ment?
12. What were Duke Ellington and Ravel doing while
Gershwin entertained on the keyboard?
13. Who forgot his evening dress in Cheltenham?
14. Who, when light music was mentioned, wondered what
'dark' music sounded like?
15. Where is 'the real teacher'?
16. For what did Alice Artzt and Carlos Bonell win a non
existent frst prize?
17. Who was tone-deaf but 'had a fne sense of smell when
it came ,to profts'?
18. Why are frst hearings of Martin Best's recordings 'The
Last of the Troubadours' and 'The Dante Troubadours'
likely to seem a little strange?
19. What is it better to know than to know nothing?
20. What arrangement contains the following devices: 'A
variety of contrapuntal styles, block chordal movement
in both classical, choral and jazz styles, various kinds
of voice leading, arpeggio backgrounds for the melody
in the bass or treble, tremolo, pedals, harmonics,
melody transferred to various voices, references to a
variety of historical periods, rhythmic variation -and
more'?
57
REVIEWS
CINQ NOUVELLES ESTUDINES for
solo guitar by Francis Kleynjans
Alphonse Leduc/Paris. 3.10 (62p per
page)
REVERI E PO UR DEUX
AMERTUMES; three pieces for solo
guitar by Francis Kleynans
Editions Henry Lemoine/Paris. 3.20
(80p per page)
TROIS CLIMATS for two guitars by
Francis K leynjans
Alphonse Leduc/Paris. 5.30 (76p per
page)
I have never previously heard of Francis
Kleynjans and becoming acquainted with
his work through the above publications I
am lef with the impression of a very
mediocre ability with rather shallow
musical ideas.
The fve Estudines are prefaced by
the following somewhat superfuous
remark from the composer: 'these pieces
will be seen in their true light by means of
a close collaboration between the perfor
mer and his instrument'. The frst two
pieces, Lent and Pas trop vite, are fully
representative of Mr Kleynjans' work in
that they are restricted to frst, and
occasionally second position, are"covered
in detailed markings by the composer and
seem, to me at least, harmonically very
cliched. Mr Kleynjans is obviously
obsessed with major 7th and minor 6th
chords since they occur in every one of
his pieces; Estudine 1 and 2 both end with
C major 7th. Number 3, 'with a mixture
of gaiety and nostalgia', has bar-loads of
E minor 6th and E9; number 4 has some
rhythmic and contrapuntal interest
though at crochet = 88 it is much harder
than the others despite its positional
limitation. There is an accidental missing
in bar 28. By the ffh piece the harmonic
obsession begins to pall; this time it is D
major 7th and E minor 6th. These
Estudines are grade 5 to 6 and for the
above reasons I would not fnd them
useful as teaching pieces.
The three pieces in Reverie pour
Deux Amertumes are titled Reverie and
Amertumes in D major and E minor. All
the above chords appear in large doses,
des pite the relief of the frst piece being in
Bb major. The fnal piece has a printing
error in bar 5 and conspicuously bad
fngering at the opening of the second
half. Marked 'tranquille' this seems to do
what all these pieces have been threaten
ing to do -turn into background music
for a third-rate flm. With directions such
as ' wi t h humour and deri si on' ,
'confdentially' and with 'force and
passion' one can but wonder about the
plot. (Grade 5 to 6 again.)
Trois Climats comes with a second
copy for the second guitar but there are
still two page-turn problems; surely
avoidable. At risk of labouring my point,
out of a total 85 bars in the frst Climat
the second guitar part has no less than 25
bars of E minor 6th and 9 of E9. The
58
other two pieces are similarly void of new
ideas and as with the frst Estudine the
third Climat begins and ends with C
major 7th. These duos do use higher posi
tions but at grade 6 to 7 they require a
higher standard of player than their
musical level demands. Mr Kleynjans is
once again lavish with his directions: 'ask
carefully', 'a little helpless' and over the
fnal bars of the 5th Estudine 'open and
lif up to the sky, then scatter. . .'. It may
seem chur l i s h of me t o be s o
unsympathetic, and no doubt my transla
tions are rather prosaic, but perhaps Mr
Kleynjans should restrict his creativity to
the written word for this is where he
seems to succeed best. Certainly at such
high prices I doubt these pieces will
interest many guitarists of grade 5 to 6
ability.
Peter Batchelar
DUETTINO, CANTABILE AND
VALTZ for violin and guitar; DUETTO
AMOROSO for violin and guitar by
Nicolo Paganini, ed. Paul Bulatof
Zimmerman/Novello. 2.88 each
TRE SON ATE for violin and guitar
(Nos. 1, 2, 4) by Nicolo Paganini, arr.
John Duarte
Zanibon. n.p.
It is all too easy for guitarists today to
claim Paganini for their own, especially
when nurtured on A. P. Sharpe's views on
the subject. But a quick glance at the new
Grove entry for Paganini shows that the
guitar gets short shif in the commentary,
while Grunfeld cites descriptions of
Ferranti and Regondi: 'What Paganini is
on the violin ... Ferranti is on the guitar';
'Regondi is the very Paganini of the
guitar'. However the checklist of com
positions reveals that the guitar fgured
large as an accompanying instrument to
either a solo violin or as a harmony in
strument with two or three other stringed
instruments, with a certain number of
guitar solos. Grunfeld goes so far as to
say that in duos the 'guitar makes of with
the lion's share of the music'. This is not
borne out however in the editions under
review, for in the Bulatof editions the
violin has the melody and the guitar a
discreet accompaniment. The violin parts
are not too difcult, and the Duetto
Amoroso could be managed equally well
by a fute.
In the introduction to his reworking
of Paganini, Duarte claims that the guitar
parts of these sonatas are 'notoriously
simple (Paganini wrote virtuosic parts
only when he intended to play them
himself'. He adds modestly that it was
Segovia who frst suggested he should 're
create' the guitar parts; and in crediting
Gregg Nestor with the fngering, men
tions in passing that Nestor is 'an out
standing young American whose teachers
have included Alirio Diaz and myseW.
One wonders why a composer of the
stature of Duarte should feel the need to
build himself up in this way. I cannot
judge his reworking as at present I have
no access to the originals, but if it has
rescued these works from oblivion, then
the venture has been worthwhile, for here
is certain recital repertoire. The violin still
sparkles as before, but the guitar, while
still retaining its role as accompanist, is
less demure and more nearly an equal
partner.
Mary Criswick
CIRCLE'S END by Steve Marsh
Hampton/Belwin. 2.95
The six solos by Steve Marsh were a
pleasant surprise, ranging from frst to
third year material (depending on the age
and ability of pupils) rather in the style of
Pieter van der Staak with 'appealing
modern sounds' as stated on the title
page. If this is typical of Hampton
publications, then their future is assured.
Mary Criswick
SONATA IN E by Mateo Albimiz, arr.
Hans Michael Koch
Schott GA 472. 2.40 (80p per page)
FUGATTO by Padre Ra/ael Angles, arr.
for two guitars by Oscar Caceres
Max Esching ME 8327. 1.95 (39p per
page)
SONATA IN E MINOR by Padre Jose
Galles, arr. for two guiars by Oscar
Caceres
Max Eschig ME 8328. 1.95 (39p per
page)
Mateo Albeniz, Galles, Soler, Serrano,
Ferrer, Angles -we know these names,
if we know them at all, as followers of
Domenico Scarlatti. They are widely
believed to have ignored the great
developmental thrusts of Haydn and
Mozart in order to carry on producing
work as much like that of their master as
possible. It is undeniable that if you listen
to their work, in particular that of
Albeniz, the similarity to Scarlatti is strik
ing. If imitation is the sincerest form of
fattery, then Mateo Albeniz fatters D.
Scarlatti with almost incredible sincerity.
It is not the whole story, however,
and in fact Albeniz went out of his way to
extol the virtues of Haydn and Mozart,
even going to the extent of issuing printed
examples to his students. It is all the more
remarkable that he appears to have been
content to model his own compositions
along the lines of an earlier master. But
Albeniz, like his son, was an organist on
Logroio and San Sebastian, and
therefore presumably more at home with
the eyboard works of the Spanish
domiciled Scarlatti than with the newer
works of the Austrian masters. Whatever
hi s reasons for not bei ng more
adventurous, he could knock out pleasing
and lively sonatas or 'exercises', which is
what Scarlatti modestly called his own
sonatas, and they lie well under a
guitarist's fngers. This example is in 6/8,
marked Presto, with a conventional
major-minor-major layout, a jolly piece
to be rattled of at a cracking pace if you
can play the passages i thirds incisively
enough. But perhaps you should work
through Scarlatti himself frst.
Much the same may be said of the
works by Rafael Angles and Galles, well
laid out for two guitars by Oscar Caceres,
and only 39p a page. Both these trans
criptions make an excellent addition to
the repertoire of a guitar duo. If such a
duo is considering playing a group of
works from this period, they might also
take a look at the arrangement of another
E minor Sonata by Galles, transcribed by
Castellani and Andriaccio and published
by Oxford University Press, New York.
This, like the other two works mentioned
above, is presumably taken from Joaquin
Nin's collection, though it doesn't say so.
Colin Cooper
THE CLASSICAL GUITAR: Solos,
duets and songs by Sor, Giuliani, Aguado
and other guitar masters of the early 19th
century. Sel ected/t ranscri bed by
Frederick Noad
Ariel Publications. n.p.
This is a rather rambling, ill-assorted
collection featuring, principally, works by
Giuliani and Sor; Aguado is accorded a
mere eight of the 144 pages, the same
number as Carulli who nevertheless does
not make the front cover. Regondi,
Diabelli, Legnani and Meissonier each
scrape in with one item apiece while
Carcassi manages to double this. 'About
the Composers' informs us that ' Schubert
and von Weber were players'; but guitar
masters? A fve stave song by Paisello,
from his opera La Bella Molinara is also
included. Neither Coste nor Mertz is
represented, unusually perhaps when the
editor confesses that the anthology is the
result of four years of labour, 'much of
the time having been spent in locating and
studying original editions and manu
scripts'. In his preoccupation with Sor
and Giuliani, which he admits in his
introduction, Noad appears to have com
pletely overlooked the possibility of
incorporating certain other interesting
composers into his book. The pieces are
set in an order of progressive difculty
more or less -and culminate with Sor's
Grand Solo Op. 14, Fantasy Op. 7, and
Minuet and Rondo ex. Op. 22, coupled
with Giuliani's Variations on a theme of
HandelOp. 107 and the Grand Overture
Op. 61. Some frm favourites, then, but
Noad is hardly breaking new ground
here. My feeling is that he would have
done better to have concentrated on his
two main composers entirely; there is an
air of half-leartedness about the whole
thing as it stands. Retail price will be
around 5.00; it would be interesting to
know its market intention -its 'general'
nature, coupled with far too wide a range
of technical requirement, would prevent
me from recommending it to any
particular level of student. Those not
dismayed by such comments will be
pleased to know that the print is clear and
that the volume opens easily; i terms of
quantity it's not bad value at all - just
feel the width.
Chris Kilvington
FIVE PIECES by S. L. Weiss, tans. for
guitar solo Martin Grayson
Hampton. 3.50
The name of Sylvius Leopold Weiss has
become familiar to guitarists through
transcriptions of his lute music taken in
the main from manuscript collections in
London and Dresden.
As well as being the most prolifc
composer in the history of the instrument,
he was thought by many to be its most
esteemed exponent. A contemporary,
E. G. Baron, writes in 1727: 'He has
brought the lute to the highest peak of
perfection'.
The style of his music is immediately
identifable with that 'of his friend J. S.
Bach, but distinguishes itself by falling
gracefully on its home instrument,
thereby bringing into question the sense
of arranging this C 18 tablature for a
medium so far removed as the modern
classical guitar.
Martin Grayson, in his introduction
to the above edition, muses on the
problems of transcription and provides
here a useful sample of a great man's
music arranged for the guitarist. Some of
the editor's fngerings do, however, seem
rather inapporpriate to the style .f
playing this music encourages, and I fnd
Hampton's cost of 3.50 rather high con
sidering the poor print quality ofered.
David Parsons
INTRODUCTION AND V ARIA
nONS ON A THEME BY MOZART,
Op. 9 by Fernando Sor, ed. by Narciso
Yepes
Mainz/Schott GA 612. 2.55 (36.4p per
page)
Of the fve editions of Op. 9 published
during the composer's lifetime, Narcisco
Yepes draws on three for the present
publication, Meissonier (Paris c.1820 and
c.1827) and the Royal Harmonic Institu
tion (London c.1821).
There is little point is analysing the
music in detail as the work is already very
well known - some might say too well
known!
The frst page of music appears on
page 9, following the Preface, facsimile
title pages (Meissonier 1820), the Mozart
original, Das klinget so herrlich, das
klinget so schon, and two pages of
editorial symbols. Whilst conventional
signs for harmonics, barre, etc. are
retained, less familiar symbols for
apoyando and tirando, placing the right
hand fngers prior to the moment of
playing (amongst many others) are also
employed.
Those not aware of Yepes' editorial
practices might well be baled or even
shocked by the eccentricities imposed on
such basic music.
Whilst this edition corrects many of
the errors that have achieved authenticity
through continual printing and reprinting,
the nonsensical editing goes a long way to
obscuring Sor's original musical inten
tions.
If you happen to be a Yepes freak,
this edition will provide an insight into
this player's solutions to the technical
problems of the work. If, however, you
are looking for a clean edition of the
piece, it might well be more benefcial to
purchase one of the facsimile copies
currently on the market; if you are
capable of playing the work, editing
should not be a problem.
Raymond Burley
SONATA FOR LUTE IN E MINOR by
Silvius Leopold Weiss, trans. by Michael
Lorimer
Pacifc/MeI Bay ML 103. 3.00 (37.5p
per page)
This Sonata, composed about 1720, is
taken from the Dresden Landesbibliotek
manuscript Musica 2841, V.l, and
represents one of the few complete Weiss
Sonatas to transfer readily to the classic
guitar. I am aware of two other published
versions of this Sonata (there may be
more), by Frederick Noad in his Baroque
Guitar anthology (Ariel), and by Karl
Scheit (Universal 14426). Both Lorimer
and Noad have elected to transpose the
work from D minor into E minor, whilst
Scheit's edition remains in the original
key.
The Sonata (or suite) in E minor is
made up of eight movements; an
unmeasured Prel ude, All emande,
Courante, Boure, Minuet 1, Sarabande,
Minuet 2, and Gigue.
Whilst the Sonata never reaches the
musical heights of the composer's two
magnifcent Tombeaux, it nevertheless
provides us with an excellent example of
the 13-course Baroque lute Suite.
The consistently high quality of the
music, together with Michael Lorimer's
informative Preface, makes the Sonata a
good all-round purchase.
Guitarists of around Grade 8
standard, not technically equipped to
manage a complete Bach lute Suite, might
well be able to do justice to this challeng
ing music; on the other hand, the better
Weiss Sonatas might make an alternative
to the rather predictable, almost com
pulsory, programming of the Bach lute
works.
Raymond Burley
THE CLASSIC GUITAR COLLEC
TION. VOLUME ONE for solo guitar
ed. Harvey Vinson
Ariel Publications. n.p.
This volume claims to contain music
from six centuries. Seventy per cent of
this is from the 19th century and a further
25 per cent from the 16th and 17th
centuries. This does not leave a great deal
i the remaining three. Although the
collection is aimed at the 'fairly
accomplished guitarist', the contents of
the present volume would only interest a
beginner.
A careful search through the book
will reveal many of the perennials of the
59
teaching repertoire; pleasant and easy
studies by Sor and Giuliani, the usual
Tiega and enevitable Romanza and
Saltarello. However, they are hidden
among a large quantity of dross and quite
a few oddities. The former is of the
'repetitious, roly-poly alberti' variety, to
borrow Duarte's delightful phrase. As for
the oddities, there is a 14th century
Estampe that is totally unguitaristic, a
fragment from a Bach gavotte, solos by
Kufner which a little research reveals are
really the frst guitar parts of duets, pieces
ascribed to Sor when they are in fact by
Coste and sound like it; and fnally,
thrown in, as if an afer-thought, a couple
of Bartok transcriptions.
The editorial policy is appalling. It is
almost as if the easier works of guitar
composers have been rifed at random.
Only in one case is an opus number or
source given. The fngering is thoughtless.
The fourth fnger is repeatedly used
unnecessarily at the third fret despite the
fact that there are few hands that cannot
make this stretch with the third fnger and
no hand that should not be encouraged to
do so. In Sor's Opus 60 No. I an attempt
is made to show actual note durations by
part writing. The result looks nothing like
the original and is highly confusing. It is
so much easier in a case like this to do as
Sor recommends in his Method and hold
the fngers down for as long as possible.
Finally, if you buy all three volumes
and put them together the front covers
add up to a picture of a naked woman
reclining beside a guitar. Not only is this
highly insulting to many potential users, it
is also a cheap and crude advertising
stunt that perpetuates the myth of the
classical guitar as a purely romantic and
sentimental instrument. Classic Guitar
Collection Volume One represents
everything that is bad about guitar
publication. The fact that it is a reprint of
an earlier publication does in no way
excuse it. The sooner editors and
publishers understand that productions
like this are totally unacceptable and can
have no place in the contemporary guitar
world, the better.
Nicholas Hudis
LEICHTE SOLOSTUCKE ALTER
MEISTER FUR GIT ARRE l ed.
Ehrenhard Skiera
Birenreiter. 3.96 (30p per page)
A collection of twelve easy pieces of the
16th and early 17th centuries. A single
later work; a menuet by De Visee stands
out as incongruous. The pieces are
thoughtfully chosen, well laid out, and
provided with practical fingerings.
Familiar pieces such as Greensleeves are
included as well as less common ones.
The editorial 'knife' has been freely
employed to simplify textures but all the
alterations are well judged and mentioned
in footnotes. This volume would be an
excellent introduction to the period for a
player of Grade I to II standard but for
two reservations; frstly, that historical
notes should have been provided and
secondly, the price which is out of
proportion to the value of the book.
Nicholas Hudis
PRELUDE No. 1 (Hommage a Claude
Debussy) for solo guitar by Phillipe
Lemaigre
Editions Musicales Hortensia EMH 604.
n.p.
This is the frst of six preludes by
Lemaigre published separately, in the
tradition of the Villa-Lobos Preludes and
Suite Populaire Bresilienne. An irritating
practice, because there is no real reason
for it except greed. What's next?
Publishing pieces in one-page sections?
It is written in tribute to his com
patriot Debussy, as are the other fve Pre
ludes. Not a novel idea but always an
interesting one, as it takes a great deal of
skill to imitate the style convincingly. The
biggest danger lies in 'a piece turning out
sounding more like pop music than
Debussy. This does not happen here
occasionally it comes a bit close, but for
the most part it is quite stylistic. Lemaigre
has done his homework, and it shows.
The structure alternates rhapsodic sec
tions with sections of free-foating
arpeggios, successfully incorporating
other Debussyian traits of songlike
melodic movement, spicy rhythms, use of
upper-extension chords and wide spacing
thereof, and most importantly captures
the colour, spirit and emotion of his
music.
The edition is intelligently fngered
and the printing satisfactory, although the
two page turns are rather inconvenient.
There are adequate dynamics, but
occasionally they are erratic - i some
places it is clear what the composer
wants, in other places it is not.
Technically, the requirements are modest
except that the arpeggios must be fairly
facile.
Its title will naturally invite com
parison with the Falla Homenaje. Maybe
this piece is not as successful or as
stylistically accurate. It is, however, a
charming work skillfully written by one
who knows the guitar, its capabilities and
limitations, very well.
Gregory Newton
RAIN SUITE for solo guitar by Chris
Kilvington
Hampton Music Publishers. 2.25 (37p
per page)
Lest we forget, there still can be beauty in
simplicity, and such is the case here. The
suite consists of four programmatic
movements, centering on rain-related sub
jects. It is primarily aimed at students,
providing a variety of good technical
work as well as uncomplicated yet
satisfying music.
Rainbird, describing a bird's foretell
ing of rain, is an arpeggio study using the
formulas p-i-m-a-m-i and p-i-m-a-p-i, and
the lef hand must deal with some
moderately tricky chord changes. It is full
o' f pleasing dissonances, with the melody
in the bass and the high E string acting as
a pedal. Rainbow, the shortest of the
movements, is a chord study which has
all guide fngers indicated. It is an
introspective little piece, creating a
dreamy' atmosphere through alternating
consonance and dissonance. Raindoctor,
portraying the repetitive chanting of a
tribal witchdoctor, provides more work
with chords, use of the right hand thumb,
and harmonics. Musically, it is modal and
make much use of parallelisms. This one,
although repetitive by design, might
nevertheless beneft from the deletion of
some of the repeats. Raindrops, intended
as a light shower rather than a downpour,
is another arpeggio study using a p-m-i
pattern. Once again the melody is in the
bass" with upper support consisting
entirely of the open 1st and 2nd strings,
and gentle dissonances adding to the
musical interest.
All of the movements are fully
fngered for the left hand; right hand
fngering is only present in the last move
ment. There are, unfortunately, no
dynamic or expressive indications, which
would have been of beneft. Notes on the
pieces and metronome markings are
included at the beginning. On this point,
the marking for the 4th movement is
184; since the piece is in , one assumes
this should actually read . 184. =
It is a nice addition to the repertory
of accessible contemporary music for
students of intermediate ability or higher,
and a good mixture of basic technical
subjects combined with enjoyable musical
settings.
Gregory Newton
TRE DUETTI for guitar duet by Filippo
Gragnani, rev. Ruggero Chiesa
Edizioni Suvini Zerboni. n.p.
The three duets (D major, A minor, G
major) are published separately and run
to 23, 24 and 27 pages respectively. Each
book also contains individual parts for
each player. Gragnani (1767-1812) wrote
attractively for the guitar and while these
pieces should be quite accessible to Grade
6 performers they would also represent
good recital repertoire for those with
more advanced techniques for whom the
essential challenges would be musical
rather than digital. Each has three move
ments, the outer being of some velocity in
every case and the central one marked
andante mosso in the D major and
adagio in the others. Chiesa's introduc
tion indicates editorial adherence to frst
publications and, when possible, the com
poser's manuscripts; apparently Grag
nani added virtually no fngering and
whilst Chiesa has fingered quite
extensively he has limited his marking to
the individual parts; incidentally, I feel
that these could have been a little more
carefully considered in order to reduce
page-turning difculties to zero. Bar
numbers are indicated throughout and the
print is clearly laid out on quality paper
within good covers. Guitarists seeking
something sparkling from the 19th
century period would do well to look at
these items.
Chris Kilvington
60
CONCERTO IN A MAJOR for guitar
and strings Op. 30 by Mauro Giuliani,
rev. Ruggero Chiesa
Edi zi oni Suvi ni Zerboni - Mi l ano
S 8856 Z. 12.00 (l5.5p per page)
There are several sources for this famous
Concerto; the version in question is for
guitar and string quartet which has the
same date of publication (c. 1810) as that
for guitar and large orchestra although,
as Thomas Heck writes in his The birth of
the Classical Guitar and its cultivation in
Vienna. refected in the career and com
positions of Mauro Giuliani, "The com
plete orchestral parts are not known to
have been published originally with the
quartet version in 1810". Chiesa
acknowledges his debt to Heck thus: "We
were able to consult this version thanks to
the courtesy of Professor Thomas F.
Heck, who was kind enough to send us a
photocopy of the original in possession of
the Guitar Foundation of America". A
description of the music seems almost
redundant; anyone who may be consider
ing this work for purchase must surely be
familiar with it through recordings (one
well worth listening to is that made in
1979 by Vladimir Mikulka for Supraphon
1110 2700, also based on the manuscript
owned by the Guitar Foundation of
America). The frst movement, Andante
maestoso, is approximately the same
length as the second (Sicilian a) and third
(Polonaise) combined; the whole is a
felicitous demonstration of the 19th
century virtuoso guitarist-composer's
work. In its present form it certainly
offers the genuine opportunity for
advanced players to achieve something in
a chamber performance, a string quartet
being somewhat easier to come by than
t he l a r g e or c he s t r a ot he r wi s e
necessitated. No fngering is given, nor
should it be required; any guitarist
seriously working on this piece should be
fully capable of his/her own fngering and
will in any case recognise certain for
mulae peculiar to the composer. The
edition is in score form with no separate
parts for either the soloist or the strings, is
clear, and although running to 77 pages it
nevertheless opens easily; the preface
indicates that the parts are on sale (No.
8857). Thoroughly recommended.
Chris Kilvington
24 STUDIES by Dionisio Aguado, ed.
Hans Michael Koch
Mainz/Schott GA62. 4.35 (1O.9p per
page)
This edition of 24 selected didactic pieces
by Dionisio Aguado, although it does not
say so, is a reworking of the well-known
o l d e d i t i o n 0 f 'E fid e n u n d
Tonleiterstudien' of Aguado, edited by
Fritz Worsching and published by Schott
in 1928. It has the same catalogue
number, GA 62. Twenty-two of the
pieces are the same, although in a
diferent order; two pieces have been
removed and replaced by others.
The edition does not have textual
authority. All the pieces in fact come
from Aguado's Nuevo Metodo para
Guitarra (Madrid, 1843). However, Herr
Worshing gave the title as 'Metodo [sic]
para Guitarra': Aguado wrote no work
with that title, although a version almost
certainly pirated and without authority
did appear with that title some forty years
after the composer's death. Herr Koch, in
his turn, gives the title as 'Metodo [sic] de
la Guitarra': again, Aguado wrote no
work with that title. Other dates and
statements in Herr Koch's preface are
incorrect.
In several cases, Aguado provided
his music with explanatory text, but Herr
Koch has omitted this text without telling
us that he has done so. Thus, Aguado's
original Lesson 29 in his Nuevo Metodo
para Guitarra described in detail how to
perform a double ascending and descend
ing appoggiatura on the guitar and then
gave a musical example; and Herr Koch's
No. 4 is merely the example shorn of
Aguado's own explanatory text. Similarly
with Aguado's original Lesson 47 which
described how to bring out three diferent
parts on a guitar, as though played by a
string trio, and his Lesson 31 which
discussed mordents and barres: these
have become Koch's Nos. 8 and 17 and
the text has gone without a trace. Yet
Aguado was a major theoretician of the
guitar and it is his text which informs the
musical examples and gives them sense.
Aguado taught an integrated system
of guitar playing in which fngering
played a basic part, and he provided
detailed fngering for all the pieces con
tained in Herr Worsching's and Herr
Koch's anthologies. This fingering,
provided by the composer himself, has
disappeared in both editions and has been
replaced by new fngering based on
different principles. No indication is given
that this has been done except by the un
specifc words 'Herausgegeben von Fritz
Worsching' and 'New edition, with revi
sions by Hans Michael Koch'.
Brian Jefery
(I should mention that the complete
original text of Aguado's New Guitar
Method, with all of his own words and
music and his own fngering and titles,
translated into English, is available from
Tecla Editions at 8p per page. A review
will follow.
Chris Kilvington)
MINIATURE SUITE for two guitars by
Paul Carr
Hampton Music Publishers HFO 12.
3.25 (40p per page)
Although this is a Hampton 'Facsimile'
Edition it is, despite a plethora of
accidentals and detailed fngering indica
tions (by Robin Pearson), clearly read
able.
Prelude has some dainty little frag
mentary melodies, echoed at varying
intervals by the second guitar, and moves
intriguingly through a number of minor
and major keys without creating any
unduly dissonant efects. Dance is fast
with the frst guitar pursuing a staccato
ostinato in double notes with accents on
the I st, 4th, 7th and 8th beats of 8/8 time.
The melody, apart from a 3/4 section, is
carried by the second guitar with some
'of-beat' accents that will tax the players'
sense of syncopation to the full. The end
product is a 'country' dance that is
refreshingly diferent.
In Summer Air has a gentle
melodious single string theme, weaving its
way through a succession of remote keys,
set against a second part of well-varied
harmonies and arpeggios - a section
that gives both players scope for expre
sive playing.
Cradle Song is a form aptly suited to
the intimacy of the guitar, a tuneful
merging of the two guitars.
And lastly, Finale. A jovial romp,
this; taxing, yet rewarding, for the
players; but also gaily and tunefully
optimistic.
Hampton quote the duo as Grade 7
8 but I feel that enterprising duos of
Grade 5-6 should fnd this an exciting
change from the standard 'popular' duets;
enjoy it!
Charles Scott
A T ARREGA COLLECTION for solo
guitar
Ariel Publications AY 15372. n.p.
According to an introduction by Luis de
Swart the common factor in these original
compositions and arrangements is that
they were all dedicated to Dr Waiter
James Leckie who, afer an unusual
medical career, became Timega's patron.
He had apparently made a fortune from
speculating in nitrate whilst in Chile, this
- together with a pension from the
Chilean Government -allowing him the
fnancial freedom to renounce his voca
tion. Mr de Swart states that Pujol, in his
biography of Timega, 'is unaccountably
prejudiced, giving the impression that
Tarrega found Leckie's company intoler
able and an imposition'. This view is not
substantiated in any way. An included
anecdote, i true, would leave me tending
to concur with Pujol's opinion: "Once, at
a concert given by Pujol at the Bechstein
(now Wig more) Hall, Leckie -who was
at the back of the hall - lef his seat
during a performance of Tarrega's
Capricho Arabe, walked the whole length
of the hall and, shaking the astonished
guitarist by the hand, cried out in Spanish
at the top of his voice: 'Long live
Tarrega'. He sounds impossible.
It is only mentioned in passing that
the selection of items for this anthology
was made by Carlos Bonell; the sources
are two manuscript volumes now in the
possession of Leckie's grandson.
The four original compositions
included here don't amount to much with
the exception of the tango Maria! (not to
be confused with the Gavota of the same
name). This always seems to be a popular
work. The arrangements vary greatly.
Two pieces based on compositions of
Verdi I found tedious while Seguidillas y
Tango by Juan Emilio Arrieta was quite
interesting; Schubert's Adieu was boring
61
but Jota de la Ratas by Federico Chueca,
six pages in length, was enjoyable and
guitaristic. So, too, was Ruperto Chapi's
Serenate Morisca, a lively piece very
much in the style associated with
Timega. The old favourite Serenata
Espanola by Joaquin Malats is present
and also Granada by Albeniz, both
proven in their altered forms. But Wag
ner's March (from Tannhiuser) - eight
pages - is not even remotely compar
able. I suppose this all truly represents
how Timega worked and perhaps one
should accept it on this basis; it certainly
provides an insight into his musical ideas
and it is all too easy to criticise when one
lives in an age of original composition for
the instrument. The answer is to take the
smooth and weed out the rough.
There are various other pieces in this
collection which I have not mentioned,
again varying considerably in their
quality; the whole runs to a total of 96
pages. As a representation of Tarrega's
talents as a composer it is miserable but I
presume this is because it is tied to the
items in the Leckie volumes; it is worth
buying, however, for the several fne
arrangements including some which will
almost certainly be unfamiliar to most
readers. With the odd exception I would
suggest that it would be best suited to
players around Grade 8 level.
Chris Kilvington
JAZZ AND POPULA R SONGS
AR RANG ED FO R CL AS S I C
GUIT AR: arr. John Duarte
Wise Publications AY 15422. 3.99 (lOp
per page)
.
Many classical guitarists like to dabble
with something outside their immediate
discipline and good arrangements of
'popular' pieces are always in demand.
The majority of items in this collection
are 'standard' melodies and, presumably,
are amongst the favourites of the
arranger who has maintained a life-long
interest in jazz i spite of being primarily
known for his work in the classic feld. He
states his objective in a brief introduction:
'The arrangements make no attempt to
simulate jazz improvisation but, in their
use of the harmonies and syncopations
typical of jazz, provide a varied and (I
hope) attractive range of settings
expressed in terms of classic-guitar
techniques - and not play able with a
plectrum'.
Duarte has a natural feel for the
songs he has selected and there is no
doubting his talent as an arranger. Ain't
Misbehavin', Taking a Chance on Love,
Lullaby of Birdland all swing lightly and
irresistably, Fly Me to the Moon goes well
too, and I Fall in Love too Easily is
beautiful. Eleanor Rigby, for all its
scordatura of sixth string to F, appeared
to have lost the feel of the original and
Spanish Harlem's rose seemed to have
wilted. But Close to You, Don't Get
Around Much Anymore and Stormy
Weather were really enjoyable. It would
be very difcult to convey the subtle
nuances required to give really efective
62
performances of these pieces and for this
reason I feel that the collection will be
particularly enjoyed by those who have
grown up with jazz and who have an
immediate and instinctive familiarity with
the originals; plodding jazz would defeat
the object, as Duarte himself would
surely be the frst to say. He's done his
part in making available a total of 20
songs - Girl from Ipanema, Basin
Street Blues, Days of Wine and Roses are
amongst those I haven't mentioned
already -and the vast majority of these
will surely satisfy those players ever-eager
to obtain settings in this medium.
Guitarists without even a nodding
acquaintance with jazz would proft from
looking at this book if only for purposes
of sight-reading shock-therapy; some of
the harmonies will be a revelation,
although they will doubtless be second
nature to club players. Not easy, then,
but for many this will be just what they
have been waiting for.
Chris Kilvington
CONCERTO 25 by Paul Meranger
Billaudot Editions G.3427.B. n.p.
Concerto 25 is a three movement, 20
minute work, modern and lyrical in style.
There are several pleasant but not
especially compelling themes present;
nowhere does the writing show 'extreme'
tendencies (efects, percussion, etc. etc.);
this is not meant as a criticism. It is
mentioned only to further defne the style
of writing which is at times most poetic.
Technically, the work is easier than, say,
the Castelnuovo-Tedesco Op. 99 and
relies on good ensemble playing rather
than virtuoso 'fights' up and down -the
fngerboard. An advanced player looking
for a new concerto with thematic material
developed in conventional ways would
fnd much here. The printing is clear and
the guitar part fngered accurately.
Neil Smith
LEICHTE GIT ARRENMUSIK AUS
DREI JAHRHUNDERTEN for guitar
solo and duet ed. Philippe Meunier.
Breitkopf & Hartel. n.p.
The slightly unusual selection of
Renaissance and Baroque music in this
collection will please devotees of early
music. However, many of the pieces are
very nondescript, their only virtues being
brevity, easiness and a certain predictable
tunefulness. The more familiar pieces are
already available in countless other
anthologies. The selection of nineteenth
century works are poorly selected. For
example, Brian Jefery has convincingly
demonstrated that Sor's opus 51 is a
scathing parody of the banale musical
trifes Sor felt his contemporaries com
posed. In the light of this it is slightly odd
that a valse from this work is included in
an anthology supposedly selected on the
basis of musical worth.
'Easy guitar music from three
centuries' might fnd a place in the
repertoire of an inexperienced player with
a bias towards early music. However its
'pedagogic plan' fails because, although
the pieces are arranged in order of
technical difculty, no thought is given to
the development of musicianship, a key
signature of four sharps, for example,
being found on the frst page. Thus the
collection is unsuitable as a primary
source of teaching material.
Nicholas Hudis
SIX INVENTIONS for fute and guitar
by Claude-Henry Joubert
Billaudot, 14 rue de l'Echiquier, 75010
Paris. 2.40 (34p per page)
This is a successful collection of short
pieces, each worthy of the title 'inven
tion'; a variety of mood and key sig
natures is introduced and although not
difcult (guitar around grade 6) there is
plenty of interest for both players. The
printing is clear and there are no page
turning problems; a separate fute part is
also included (a further four pages).
Accessible ensemble/duo music is always
to be welcomed into the guitarist's
repertoire; if you don't have a fautist
with whom to play then buy the music
anyway and perform with another
guitarist -the fute parts will make good
reading and are unfngered.
Chris Kilvington
MOUVEMENTS PERPETUELS for
fute and guitar by Francis Poulenc,
trans. by Arthur Levering
Chester. 1.60 (22.8p per page)
The set of three Mouvements Perpetuels
are originally piano compositions. The
frst and second work well in their new
form -I would have said arrangements,
not transcriptions - both of undemand
ing tempo and within the compass of the
grade 4 guitarist. The third is marked
alerte and the grade 4 guitarist had better
be, or preferably grow some grade 8
fngers overnight, for this is cumbersome
and not guitaristic; at anything like the
composer's tempo marking there is every
chance that the' accompaniment will
sound forced. Unfortunately, this
occupies four of the seven pages.
Nevertheless the outlay of 1.60 may be
worth it to players keen to augment their
repertoire; the frst two are nice and you
can always try the other and maybe look
at the original yourself.
Chris Kilvington
OUVE RTURE AND BALL ET by
Sylvius Leopold Weiss realised by Rafael
Andia
Ed i ti ons Musi cal es Transatl anti
ques/UMP. 2.05 (34p per page)
This item has been published under the
auspices of EMT's 'Bibliotheque de
Musique Ancienne pour Guitare', inform
ing us that the original was for baroque
guitar and that the tablature .dates from
1674; all exciting stuf and in this age of
Teutonic discovery musicologists may
feel free to verify the authenticity of the
manuscript (unseen of course) and fog
their opinions to the highest bidder. The
pieces are of particular additional interest
in that they represent the frst established
instance of pre-natal guitar composition.
Weiss, born in 1686, actually cheated
somewhat and elicited the assistance of
his earthly amanuensis Ponce who
doubtl ess f el t honour- bound to
acknowledge his predecessor's part in
full. In other words, it's a very old joke
and pretty boring too; it would be
interesting to receive a comment from
Andia/EMT/UMP on this perpetuation
of such passe juvenile humour. The music
is pleasant - hear it on John Williams'
'Manuel Ponce' LP, CBS Masterworks
76730, listed as Preludio and Balletto.
Chris Kilvington
GUITARRA ESP ANOLA by Joan
Caries Amat
Editions Chanterelle/Tecia Editions.
3.50
The May/June issue of Classical Guitar
contained an article written by Harvey
Hope, 'An Early Guitar Tutor', in which
he mentioned the existence of a facsimile
edition of Amat's Guitarra Espanola
published by Editions Chanterelle, whose
catalogue is handled exclusively in this
country by Tecla Editions. Readers may
well have been stimulated by Harvey's
prose to purchase this little pocket-sized
booklet and the purpose here is simply to
help them locate its British whereabouts.
It would have been too much to expect
that Amat (his full name is given in the
Catalan spelling) should have written in
English for the beneft of a modern world
but, as Harvey indicates, the 56 pages are
prefaced by 'excellent introductory notes'
by Monica Hall.
Chris Kilvington
PLAISIR D' AMOUR for guitar solo by
G. Martini, arr. Vicente Gomez
Vigorart Music Co. n.p.
Martini (1741-1816) was a minor com
poser at the Bourbon court remembered,
if at all, for his military music. The
present edition gives no indication of
where the original comes from or what it
was written for. One cannot help but
suspect that the editor would prefer us
not to know. Also suspicious are ritenuto
marks over the few demi-semi-quavers in
the piece. However, the greatest mystery
is why the work was transcribed at all
since the guitar repertoire is already
saturated with minor works by second
rate baroque and classical composers.
Nicholas Hudis
ANDANTE FOR THREE GUITARS
by Holmer Becker
Hampton Facsimile Guitar Editions 038.
1.50 (75p per page)
This technically very simple little guitar
trio is i two parts; the frst consisting of
a tuneful 16-bar single string melody
(with repeat) i 3/4 time, with an -equally
simple single note counter-melody from
the 2nd guitar, with the third guitar
providing an accompaniment in quaver
arpeggios. The second section, 12 bars
long (plus repeat) but in 4/4 time, follows
the same pattern. The piece is so very
simple, technically, that it could be
performed by the very young (or Grade
1) players who could concentrate on
producing beautiful tone, and on making
both melody and counter-melody 'sing'
(in fact the piece could be performed as a
duet with a moderately competent player
reading and playing both 1st and 2nd
parts!).
The small size of what is essentially
facsimile manuscript notation, despite the
simplicity of the piece, may cause some
reading problems with three players
having to read from one copy, so that I
would consider the 75p per page rather
expensive. Nevertheless the piece would
be a melodiously useful introduction, for
the very young, to the joys of ensemble
playing.
Charles Scott
SONATA SEMPLICE for guitar quartet
by Alan Martin Atkin
Hampton Facsimile Guitar Editions
HF 028. 3.50 (50p per page)
This is a useful addition to the repertoire
of easy ensemble music and thus aug
ments the work of composers such as
Pieter van der Staak; their style is quite
similar in fact, featuring well balanced
single melodic lines only occasionally
venturing up the fngerboard for the frst
guitar, with a minimum use of chords.
The complete absence of fngering is to be
approved; What Atkin has taken care to
include is a host of dynamic markings
which, if precisely followed, will make a
considerable diference to a performance
(herein lies one of the essential strengths
of the study of ensemble compositions).
The outer movements are both quite
lively, separated by a shorter and slower
one, and rhythmic problems are virtually
non-existent; . incidentally, note the
absence of a quaver rest for third and
fourth guitars in the frst bar of the fnal
movement -this will be seen to occur on
several further occasions. Fascimiles do
vary according to the tidiness and care of
composers; Atkin has a very neat hand
which enables his work to be read easily
even if the notation is a little smaller than
that to which we are more usually
accustomed. There is an additional score
and if this is 'counted' in the price then
the cost is only 25p per page. I would
have no hesitation in using the Sonata
Semplice on sightreading/ensemble work
shops with players of relatively limited
ability; if worked in some detail such
pieces are of real value in helping to
develop musicianship.
Chris Kilvington
SIX BAGATELLES for guitar solo by
Oliver Hunt
Harrow/Revelo-Cornish. 2.50 (16.6p
per page)
Following the success of Oliver Hunt's
two programmatic works, The Barber of
Bagdad (also published by Revelo
Cornish) and Garuda (Musical New
Services) comes the set of six Bagatelles,
written in late 1981, which, although
slightly less accessible than the afore
mentioned compositions, are nevertheless
frst -rate additions to the repertory.
Premiered by Robert Brightmore at
the Wig more Hall in January 1982, the
Bagatelles (lasting approximately 12
minutes) continually change style and
mood, from the very rapid rhythmic
ostinati of Bagatelle No. 1, the slower
improvisatory freedom of No. 5, through
to the presto con fuoco of the fnal
Bagatelle with its virtually continuous left
hand legati.
The most approachable piece from
the set is Bagatelle No. 4 which was
included in the music supplement of the
frst issue of Classical Guitar.
To do justice to the work in its
entirety requires both a sound technique
and a good sense of interpretation, and I
would therefore hesitate to suggest these
Bagatelles to anyone less than a Grade 8
player. However, don't be afraid to give
them a try, as they will amply repay the
time and efort spent.
.
Anyone not acquainted with the
Revelo-Cornish publications might be a
little perturbed to fnd reproductions of
hand written manuscripts; not always
ideal, but in this case, by and large, there
are very few deciphering problems, even
though the original manuscript has been
reduced.
For the price you come away with
15 pages of tightly packed music, photo
copied onto reasonable quality paper,
together with a plain grey paper cover
that falls of afer two or three sessions.
Raymond Burley
63

TRADITIONS OF THE CLASSICAL
GUITAR by Graham Wade
270 pp
London/John Calder ISBN 0 7145 3913
9. Paperback 4.95; USA $11.95; Can
$14.95
Graham Wade's valuable and informative
survey of the guitar's development has
arrived in paperback at a price most
guitar students can aford. While it
remains - to judge by the number of
times the maestro's name is mentioned
essentially a Segovia book so far as the
modern traditions of the guitar are con
cerned, the early days are dealt with at
some length and with the beneft of much
efcient research.
The chapters dealing with the
vihuelistas are particularly interesting,
and so is the chapter on the lute, though
in what Wade calls 'the battle for sur
vival' it is not good zoology to compare
the lute's collapse under the weight of its
own body, having acquired too many
strings, with a dinosaur's fnding itself too
heavy for its own good. Extinction has
deeper reasons than this. In any case the
lute was not dead; only sleeping.
The history of the four-course and
fve-course guitar is traced, and the evolu
tion by which our present and arguably
perfect form was reached is delineated
with insight and clarity. A double-page
spread showing the various types of fan
strutting employed by famous guitar
makers is one of the best illustrations in a
profusely illustrated book. Musical
examples are useful and generous, though
it is almost impossible to be too generous
in a book of this kind.
At the beginning the author
announces his intention not to give a
straightforward historical account, but it
is precisely in this direction that the book
is most convincing. In the three years
since the hardback edition appeared I
have been surprised at the number of
times I have taken it down from the shelf
in order to verify or ascertain some fact
or date. This putting together of a large
number of valuable facts in one con
veniehtly sized book is really the most
nouhshing fruit of Graham Wade's
endeavours.
Commendable enthusiasm for his
subject leads the author into some odd
metaphors. For instance, he likens the
criticism levelled at Segovia for lack of
authenticity in Renaissance and Baroque
music to criticism of the Wright brothers
for not using a jet engine to power their
frst fying machine. The picture of
Segovia as a creaking, wire-braced
biplane with a tiny spluttering engine is
charming but inaccurate; Segovia was a
high-powered jet from the very start, and
it was only his primitive navigation that
occasionally led him into forced landings
on uncharted territory. Elsewhere, John
Williams is compared to Apollo and
64
Julian Bream to Dionysus, a pairing that
might raise a few eyebrows and prompt
the question: if Bream and Williams are
Bacchus and the Sun God respectively,
which contemporary guitarists are Mars,
Diana, Juno, Venus, Mercury, Neptune,
Ceres and Hercules?
There is high drama in Wade's
account of what he sees as battles and
rescues, perhaps prompted by Segovia's
declaration that Ponce 'saved' the guitar
from music written by guitarists. Not to
be outdone, Wade tells us that Barrios
and the Paraguyan jungle between them
'rescued the guitar from the groves of
Academe'. Younger guitarists, however,
do not feel that they are involved in any
glorious war of liberation; the guitar is
here to stay, there is an abundance of
good music to play on it, and it is not too
much to say that new heroes and myths
are being created virtually every few
weeks. It is in the failure to bring the
traditions up to date that the book
ultimately disappoints, but having said
that I must admit that any book attempt
ing such a task is doomed to failure. The
discography, for example, was out of date
even before it appeared in 1980. What
can we say of it now? In three years we
have lost a number of notable fgures:
Pujol, Torroba, the brothers Sainz de la
Maza, Walton, Lutyens, Stevens, and
possibly others. But Bruno Maderna died
as long ago as 1973. A second edition
would put these matters right, and might
usefully include an updating of the 'New
Horizons' chapter. New players abound,
but some striking composers have come
to the fore since 1980. Even then it was
somewhat arbitary to lump them all
together in a long list, the substantial with
the ephemeral, and the prolifc with the
one-ofs.
With the reservation that the author
seems happier talking about the old tradi
tions than the new, this remains an out
standingly useful book which meets a
large number of needs. Don't hesitate to
put one on your bookshelf: whatever else
it does, it will certainly not gather dust.
Colin Cooper
SEGOVIA
A Celebration of the
Man and his Music
by Graham Wade
Beautifully illustrated with a
wonderful series of tributes by
some of the world's greatest
musicians including Joaquin
Rodrigo, Alexandre Tansman,
Paul Tortel i er and Yehudi
Menuhin. This book tel ls the
remarkable story of Segovia's
career and achievement, and
provides an assessment of his
re
p
ert oi re, t echnique and
infuence.
A com
p
lete discogra
p
hy, a list
of editi ons and a generous
selection of recital
p
rogrammes make this new book an essential
item for the classical guitarist.
Available for 8.45 (USA $16.00) hard cover and 4.00
(USA $7.00) sof cover including
p
ost and
p
acking from:
ASHLEY MARK PUBLISHING COMPANY
SAL TMEADOWS ROAD, GATESHEAD NE8 3AJ
'It's not a Guitar, it's a Painting'
COLIN COOPER
The Essential Cubism, 1907-1920
The Tate Gallery, London, June/July 1983
A CASUAL observer could be forgiven for supposing that
all that the Cubist painters needed to launch a signifcant art
movement was a mandolin, a violin, a bottle of brandy, a
clarinet, a glass, a newspaper, a nude woman - and a
guitar. Sometimes it seems that all the principal artists of the
movement -Braque, Picasso, Gris, Laurens and Lipchitz
- shared the same set of properties and efects, passing
them from hand to hand, so ofen do they appear and
reappear in the works of all fve.
One should perhaps apologize for including the nude
woman in a list of properties and efects, but her treatment
unfortunately does tend to reduce her to something less than
human status. As with the guitar, it is the shapes and the
planes exposed in depth with which the artist is concerned,
and to suppose that there is, or should be, any human
element is as elementary an error as it would be to suppose
that there is, or should be, a musical element in the
portrayal of guitar, clarinet, mandolin and violin.
Of all these artefacts, the most frequently recurring is
the guitar. Out of a total of 233 works on view in this com
prehensive exhibition, 29 of them contain a guitar in the
composition, a percentage of nearly 12l Even the nude
woman can't aspire to that level. Granted that the guitar is
not treated with any marked degree of realism, it is fascinat
ing for a guitarist to observe the diferent ways in which
each of the artists treats the subject.
In his two examples, Jacques Lipchitz gives his guitars
three strings each. In one of these, a stone relief called 'Still
life with Musical Instruments', executed in 1918, the guitar
has an oval soundhole. The other, also done in 1918, is a
charcoal and paper drawing, and has only three frets.
Fernand Uger, not strictly a Cubist though he executed
Cubist works, does not use the guitar at all. Henri Laurens
has four examples in the exhibition. In two of them, both in
stone, he favours a four-stringed guitar. 'Guitar on a Table',
1918, is a collage of pasted papers, showing fve strings.
'Guitar', 1919, is in painted stone and has no strings at all.
Cut from a single block, it shows only the frontal aspect,
and is a fne study of various receding planes.
Juan Gris has seven examples, showing a wide
disparity. Two or three have three strings, one has four,
another has fve too close together. 'Guitar on a Chair',
1913, has four thick strings, all of which miss the soundhole
by several inches. Executed in oil on canvas, with some
pasted elements and sand providing contrast in texture, the
work also uses descriptive colour and shadow to create its
efect.
By contrast, his 'Violin and Bow on a Table', 1916, a
less complex but austere study in blacks and browns, shows
a violin in surprising detail, with f-holes symmetrically
arranged around a bridge in perspective, and the correct
number of strings attached to the tailpiece, itself attached to
the body by the customary short length of gut. The planes
are fat, but the artist's rigorous exclusion of non-essentials
makes the picture memorable. In 1917 the bright colours
and complex composition of 'Harlequin with a Guitar'
indicate a reaction against this earlier style. The guitar has
two pegs but no apparent strings, focus being mainly
directed towards the patterning of Harlequin's costume.
Still Lie With Guitar - Georges Braque.
By 1919 Gris seems to have reacted even more,
developing in 'Still-life with Guitar and Glasses on a Table'
a more fuid style, though still displaying the essentials of
Cubism. His earlier but similarly titled 'Guitar and Glasses
on a Table', of 1913, shows a guitar with four strings of a
heavy cord more suitable for tying up a substantial yacht
than for playing music. The 1919 guitar has only three
strings, of a more sensible gauge. The soundhole is a grace
fl ellipse, repeated elsewhere in the composition, notably in
glass and carafe.
The two greatest names in Cubism, Georges Braque
and Pablo Picasso, have eight guitars each in the show.
Braque favours four strings, but one of his guitars has only
three ('Man with a Guitar', 1914) and another ('Guitar on a
Table', 1909) has fve strings, fve pegs, but only four
buttons on the bridge. The head is bent at an angle more
appropriate to a lute. In 'Guitar, Glass and Newspaper',
1912, the guitar's waist is replaced by a violin's cut-outs. In
'Man with a Guitar', 1914, the upper bout is big get than the
lower, and the three strings are wound.
Braque's identifable shapes in 'Guitar, Glass and
Newspaper' are lost in the abstractions of 'Seated Man with
a Guitar', a year later in 1913. 'Man with a Guitar', 1914, is
done in oil and sawdust on canvas. The guitar's table is
65
wood-coloured, but the instrument in 'Guitar and Sheet
music on a Table', 1918, is pasted green paper -a rather
delightful colour. Green also appears in 'Still-life with
Guitar on a Table', 1918, but dark browns and purple pre
dominate. This represents Braque at a time when he was
introducing more fgurative elements into his work while at
the same time -as with Juan Gris -retaining the essen
tial aspects of Cubism.
Picasso shows a wide diversity: six strings, fve strings,
four strings and no strings at all. The six-stringed but
bridgeless guitar in 'Guitar and Newspaper on an Arm
chair', 1915, has a thick waist and looks like a very early
instrument. In another work, 'Guitar', 1912, four strings
converge to a point where the bridge ought to be but isn't.
This is a construction of cardboard, paper and real string.
Two of Picasso's guitars have a very knotty grain. In
one of them, 'Bottle of Bass and a Guitar', 1912, the Bass
label is where the soundhole ought to be; a pretty efect. The
sheet music is a song with piano accompaniment. In the
other, 'Guitar, Sheet-music and Glass', also 1912, the
guitar's table is a single sheet of wood-grained paper, hand
made by Picasso himself Only seven pieces of paper go to
make this striking collage, four of them representing
respectively the table, the soundhole, the fngerboard and
what appears to be the end of the lower bout. The news
paper cutting bears the words 'La Bataille s'est engage', and
is usually taken to mean a reference to his rivalry with
Braque rather than a challenge to conventional luthiers of
the time.
Like Gris and Braque, Picasso also by 1919 was
introducing more recognizable guitars into his work, as
'Guitar, Bottle and Glass on a Table' shows. Though most
Picasso guitars have four strings, this one has fve, and a
waist as thick as that of the guitar of 1915. Its colours are
blue, red, pink and white - a delicious piece of con
fectionery, and perhaps ideal for playing n.rrega.
. A photograph in the handsome catalogue shows
Braque playing a concertina, though it does not appear in
any of the paintings on view. Did he keep one instrument
for playing and all the others for painting? It would have
been interesting to see a photograph of Braque or Picasso
actually holding the stringed instrument included so ofen in
their painting.
Seventy years on, in an age of universal colour
photography, one still meets people who think that a paint
ing of a guitar ought to look like a guitar. This exhibition
should make it clear even to those innocent souls that the
great artists of that period had other ideas. History and the
Kodak-Eastman Company have justifed them up to the
hilt. The best artists are so ofen ahead of their times that we
sometimes tend to apply criteria perversely in reverse; for
instance, that any art ahead of its time must necessarily be
good. That is obviously a fallacy. The Cubist works
represented here are generally so good that it is impossible
to walk round the exhibition without a strong sense of
emotional recognition of the movement's great power.
When Braque was reproached by a disappointed viewer
with the words 'It doesn't look like a woman to me', his
answer was: 'It's not a woman, it's a painting'. By the same
token we are able to accept three-stringed, fretless,
bridgeless guitars with knotty tables, not as the instruments
themselves but as components in a composition. That the
20th century's most infuential art movement should feature
the guitar so prominently is, of course, entirely fortuitous.
The guitar has its place in the scheme of things, but its
status is no higher than that of any other three-dimensional
form that happened to be around at the time - like the
bottle, the glass, the pipe, the newspaper, the clarinet and
the mandolin, and not forgetting the nude woman.
Asturias Guitars are made in a small workshop where produc
tion is closely supervised by experienced crafsmen. Each instru
ment is checked carefully and individually voiced.
* * * * *
John Mills says: "Asturias Guitars are an excellent choice for
either the student or young professional who is looking for a
quality instrument at a relatively modest price. The sound has
clarity, warmth and projects well; in terms of actual
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* * * *
'John Mills Model' 3456 has been developed over the last fve
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SOLE UK DISTRIBUTOR:
TRADITIONS OF THE
CLASSICAL GUITAR
Graham Wade
This is the first book to examine in detail the many traditions of one
of today's most popular instruments and, in a challenging but admir
ing critical discussion of its musical development, to assess its role
in the twentieth century, From Graham Wade's highly readable and
fully illustrated account emerges a clear picture of the guitar's long
and fascinating history, its performers, composers and personalities,
Andres Segovia's pioneering work provides the central focus of
the book, for in Segovia's establishment of the guitar as an inter
national concert instrument all the previous traditions !including
those of the vihuela, the four and five-course guitar, the early
nineteenth century school of Sor and Giuliani, and the post-Torres
achievements of Tarrega) are fulfilled and synthesised. The crucial
relationships between the lute and the early guitar are also
discussed and the repertoire for all types of guitar from the sixteenth
century onwards is explored and revealed in new and intriguing
perspectives,
Building on the foundations laid by Segovia, guitarists of inter
national renown such as Julian Bream, John Williams, Alirio Diaz
and Narciso Ye pes, have expanded the repertoire and widened the
guitar's horizons both musically and technically, They, and many
composers including Benjamin Britten, Agustin Barrios, Hans
Werner Henze, Leo Brouwer, Malcolm Arnold and Sir William
Walton (as well as Segovia-inspired composers like Villa-Lobos,
Ponce, Castelnuovo/edesco, Turina and Torroba) are fully
represented throughout the book, and their contribution to the
guitar is evaluated in depth,
Graham Wade, one of Britain's most experienced guitar teachers,
is well known also as a recitalist and writer and has given concerts
throughout Britain, as well as in Spain, Scandinavia and the Far
East. His travels and researches into musical history have taken him
to many countries including the USA, the USSR, China, Mongolia
and India and also to many European cities, A graduate of Cam
bridge University, he is now Lecturer in Classical Guitar at the City of
Leeds College of Music.
A vaiable now
5.50 UK and Europe ($12.0 USA)
(includin
g
post and packin
g
)
From
Ashley Mark Publishing Company
Saltmeadows Road, Gateshead NE8 3AJ
66
|e

t06
PHILLIP THORNE
Phillip Thorne is Teacher of Guitar at the
Royal Scottish Academy of Music and
Drama in Glasgow. He is one of the
foremost exponents of the Classical
Guitar living in Scotland today, giving
many concerts throughout this country
and abroad.
In addition to his many solo recitals,
Phillip Thorne plays in various Chamber
Ensembles including the New Music
Group of Scotland and as a soloist in
Concertos by among others, Rodrigo.
Phillip Thorne has been active in
expanding the guitar's repertoire, arrang
ing and editing music and commissioning
new works. An impressive list of com
positions includes pieces by Step hen
Dodgson, Thomas Wilson. Edward
McGuire, David Dorward, Frank Sped
ding, Alan Ridout, John Lunn, Janet
Beat, WiIliam Sweeney and John Purser.
In addition to live concerts he has
broadcast regularly on BBC Radio
featuring a wide range of music from
Dowland to frst broadcast performances
of works by Dodgson and Wilson.
Phillip Thorne can be heard on the
recent LP 'Music by Scottish Composers
Vo\. l' performing Cancion by Thomas
Wilson.
A Life
on the Road
JULIAN BREAM
TONYPALMER
8.95 plus 1.15 p&p
216 pages - hardcover
(USA $18.00 inc p&p)
A wonderful book, beautifuly ilustrated
available now from ...
ASHLEY MARK
PUBLISHING COMPANY
Saltmeadows Road
Gateshead NE8 3AJ
CHARLES SCOTT
Charles Scott was a teacher of guitar at
Mamelok Bros. of Manchester, in the
1930s together with such notables as the
late Terry Usher (later to become the frst
'Tutor for Guitar' to the Royal
Manchester College of Music) and John
Duarte, Composer, Critic and Teacher,
(now a leading authority on the guitar
and its music).
In that pre-war era when guitarists
were a tiny 'oppressed minority', ofen
rendered inaudible by the then most
popular instrument, the accordion, most
guitarists played plectrum-style acoustic
guitar. Classical guitarists were very thin
on the ground - a mere handful
throughout Britain - the main nucleus
of interest being sustained by the Philhar
monic Society of Guitarists in London (of
which Charles was a member), presided
over by an emigree Russian, Dr Boris
Perott.
Charles contributed many articles to
the 'BMG' (Banjo, Mandolin and Guitar)
magazine, and to 'Fretted Harmony' -a
magazine produced by Len Williams (the
father to guitar virtuoso John WiIliams).
Apart from articles giving technical
guidance to readers, many of the articles
were on humorous vein (' ... you must
entertain to educate ... ').
Afer six years of war service
Charles returned entirely to the classical
guitar, mainly for relaxation from the ten
sions of his demanding work as industrial
photographer and flms producer. He
rejoices in the present-day popularity of
the guitar in all its forms, and never
ceases to be amazed at the number of
people of all ages who now play the
classical guitar to an extremely high
standard of technical, and musical
competence.
IN OUR NEXT ISSUE
PEPEROMERO
INTERVIEW
JOSE PH URSHALMI
Joseph Urshalmi was born in Iran in
1942, where he studied the classical
guitar with the Spanish maestro Ignacio
Sole Aguilar. He then went to Spain to
study at the Oscar Espla Academy, with
maestro Jose Tomas.
In 1968 Joseph Urshalmi founded
the Guitar Department at the Rubin
Music Academy in Jerusalem.
He has given many recitals and has
ofen played with chamber ensembles,
both in concert halls and for Radio and
Television.
The steady growth of guitar teachers
and players in Israel owes much to the
eforts of Joseph Urshalmi, and he has
been responsible for the Summer Guitar
Workshop at the Academy since its
inception some ten years ago. A number
of prominent guitarists have visited the
Academy, and include Michael Lorimer,
Sharon Isbin, Narciso Yepes, Alexandre
Lagoya, and Charles Ramirez.
Papa|m&
C|k|
mea
arer
Fine selection
of traditional
and contem
porary titles.
Send SAE. for
complete
catalogue and
price list.
69 Harrison Road, Swythling, Southampton
67
Letter from Basso Music
Miss Esmeralda Pickwell 8 June 1986
Lower Third Form
St Maculosa's School for Girls
RATSTONE-ON-SEA, Sussex
Dear Esmeralda
We understand from your music teacher Hiss Lavinia Gracenote that you
have passed your Grade 8 Guitar examination with honours at the age of only 12 years,
and we offer our congratulations on this splendid achievement. Mr Basso is wholly in
"
agreement with Miss Gracenote's belief that your obviously very great talents should
be exposed to the public, and I hope you will find our proposals interesting.
lle have been giving some thought to the promotional aspects. You are
probably a\are of the great success that many excellent guitarists have gained through
the simple expedient of finding a suitable tag or label which \iII remain in the memory
when equally \orth\hile players have faded into an obscurity occasioned by the
possession of an instantly forgettable name. An example is the "FIRST LADY OF THE
GUITAR" approach. Since that title is already in use, Mr Basso has in mind "FIRST
SCHOOLGIRL OF TilE GUITAR". It has a pleasant ring to it, and so far as \e kno\ has
never been used before. We think it has a very real potential for success.
When you come to London to see us, we must of course discuss many other
aspects of your career, including your current interest in Economics. We would also
like to talk about the possibility of a long-playing record, to be released
simultaneously \ith your debut at the renowned centre of guitar playing, the Old
Temperance Hall off the Balls Pond Road. The sleeve would carry your photograph in
full colour. Mr Basso would like your hair to be in pigtails, to accord \ith the image
of extreme youth. A hint of juvenile acne would also be desirable - a skilled make up
artist could readily simulate a little spottiness around the nose and chin if you are
unable to provide the real thing. However, this could wait until the second stage of
our promotion, to be called "FIRST TEENAGER OF THE GUITAR".
With regard to the actual music, Mr Basso feels that the popular
classics are the best bet: Recuerdos de la Alhambra, Spanish Romance, Cavatina, etc.
I assue that you will be able to play all these \ithout difficulty. Miss Gracenote
did mention that, in addition to working on Biberian's eleventh Sonata and Duarte's
Op.590, you are perfecting your interpretation of the Variations on Las Folias and the
second Rossiniana, but Mr Basso asks me to say that he has never heard of any of these
pieces and does not imagine that any of your potential audience \iII have heard of
them either. Since it is your talent we are promoting and not that of composers,
ho\ever accor.plished they may be in their own sphere, \e feel it would be \iser to plan
your programme along the lines that Mr Basso suggests.
If you are in agreement \ith this broad outline, please let us kno\ when
it would be convenient to travel to London. You may bring your music teacher or your
parents, but we are a long way from a contract at this stage and a quiet preliminary
discussion is all that we are seeking, perhaps over an ice cream sundae at a suitable
rendezvous.
It is axiomatic that juvenile stars disappear as quickly as they arrive,
but in your case we are contemplating a follo\-up in depth, \hich \iII include not
only the "FIRST SCHOOLGIRL OF THE GUITAR" and "FIRST TEENAGER OF THE GUITAR" promotions
but also "FIRST ECONOHICS STUDENT OF THE GUITAR", "FIRST HOUSEWIFE OF THE GUITAR",
"FIRST MOTHER OF THE GUITAR" and - much later, of course - "FIRST GRANDMOTHER OF THE
GUITAR", \hich in some \ays is the most attractive title of all.
Yours very sincerely
W f(d
Desmond Rosewood
BASSO MUSIC
To judge by the date of this latest communication from our mole in the ofces of Basso Music, some kind of time-warp seems
to have occurred. But perhaps Basso Music write letters some years in advance as a corrective to the all-too-common
practice of writing them many weeks too late. Henry Basso's eforts to promote the guitar deserve commendation, at least.
Who could deny him the title of 'First Agent of the Guitar'?
68
Letters to the Editor
Many readers may have found my article
'Brazilian Popular Music and the
Classical Guitar' (in the May/June issue)
somewhat confusing. So did I. The form,
and therefore the logic of the article, is
broken by an editorial error. Paragraphs
six through eleven should follow the
paragraph on the choro at the bottom of
page 44.
By making the necessary mental
transposition, the sense of what I was
trying to communicate should become
apparent.
BRIANHODEL
Flushing, N. Y.
USA
Our apologies to Brian for this mistake in
the setting of his article by our printers.
1 have just received the May/June issue of
Classical Guitar. Imagine my delight
upon opening your excellent magazine for
the frst time and seeing a photograph of
my oid hero, Django Reinhardt, along
with your plea for greater tolerance of
him and his music.
There is a delightful story of Django
and Segovia meeting at a party in Paris in
t he 1930s . Af t e r Dj a ng o had
spontaneously created one his his dazz
ling improvisations (fnger style), it is
reported that a very enthusiastic Segovia
asked Django "Where can 1 get the music
for that?", "You can't", replied Django
mischievously, "I just made it up".
1 reiterate your plea for greater
tolerance of all types of guitar music,
having spent the past 27 years making
my own arrangements of light classics,
jazz, folk, ragtime, standards and hymns
for fnger style guitar. Surely we should
seek to enhance rather than restrict our
musical experience. For in as much as
music has a purpose, it must be life
enhancement; and any music that
achieves this is 'good' music.
A.HALL
Weardale
Co. Durham
Mr Hall's charming story about the Paris
meeting of Segovia and Reinhardt does
not agree with Charles Delaunay's report
in his defnitive biography of Django
(Ashley Mark Publishing Co., 1981)
which states, "Having learnt that Andres
Segovia was in Paris for a while, Michel
Prunieres, one of the Hot Club ofcials,
organized a reception at his father's -
the latter edited the Revue Musicale -so
as to present Django to the famous
Spanish guitarist. Django came with his
brother and played a few numbers but
none seemed to impress the distinguished
guest very much".
Can anyone enlighten us with more
inormation about this historic meeting?
C.E.H.S.
After frst reading Oliver Hunt's article I
sat down intending to write just a couple
of paragraphs to make a few general
remarks. However, on closer examination
there turned out to be so much that
seemed worthwhile debating that I found
it difcult to know when to stop. In view
of the resultant number of comments I
have followed the layout of the article and
dealt with each point as it arises.
A represent at i on of musi cal
structure by means of graphics ofen aids
understanding ahd Mr Hunt's matrix is
admirably clear. However, there are
many peculiarities to be found in his
t reat ment of the composi ti onal
parameters.
Sections
This representation of motivic variation
may be useful for certain musical styles
but it is completely inadequate as a
representation of the motivic structure of
this piece. While the matrix suggests
some fairly clear-cut kind of variation
form the piece itself derives from a
typically Baroque process of melodic
continuation wherein the opening motive
may be said to be developed but which
certainly does not consist of a number of
variations.
It is extraordinary that according to
the matrix the prominent restatements of
this motive do not ever coincide with the
establishment of a new key. This surely
misses the point of the transitional nature
of the passages preceeding each restate
ment and strongly disagrees with the
actual musical efect.
Bars 27 to 41 are grouped under the
all-embracing heading of 'E' and thus the
various sequential fgures appearing in
these bars are treated as one discrete
group. However, the so-called 'variation'
that appears in bars 4 and 5 (marked B) is
clearly diferentiated from that which
appears i bars II and 12 (marked C).
Such inconsistency reduces the usefulness
of the diagram to nought, even if one does
accept the premisses on which it is based.
Phrase
The defnition of 'phrase' given here is
quite diferent to any normal musical
useage. The redefnition of a word that
has for so long had a perfectly clear and
accepted meaning can only destroy its
usefulness. If such a defnition was to
become at all common i analytical writ
ings then a new word would have to be
coined to replace 'phrase' in the old sense
so as to avoid the inevitable confusion.
Surely it would be more sensible to use a
diferent word here to refer to this
impractically narrow concept of a
passage of music that must consist of a
self-sufcient group of ideas and must
end with a perfect cadence.
A strange feature of the matrix is
that only three times does it show the
perfect cadence that ends each of the
twelve 'phrases' as coinciding with a
modulation. This is despite the fact that
every 'phrase' except the fnal one
cadences in a diferent key to that in
which it begins.
To be pedantic for a moment it
should also be pointed out that the
cadence at the end of the 'phrase' shown
as ending at bar 33 is not perfect, which
would seem to suggest that the 'phrase'
continues until bar 36.
Sub Phrase
If one accepts Mr Hunt's defnition of
'phrase' then 'sub-phrase' becomes a
necessary term to refer to the divisions
within each 'phrase'. However, it does
seem extraordinarily inconsistent to say
that the V - I progression between bars
11 and 12 is not to be regarded as a
cadence despite the fact that according to
the matrix it manages somehow to
establish the relative minor key!
Modulation
- The matrix shows a modulation to the
supertonic minor at bar 7. In fact the
chord of E minor does not even appear
until bar 9 and one does not feel settled
in this key until bar 11.
- B minor is shown at bar 12. In fact the
modulation does not occur until bar
14.
- E minor is shown at bar 19. The E
natural on the last quaver of bar 19
does begin the movement away from F
sharp minor but E minor is not reached
until bar 21.
- The return of the tonic marked at bar
21 is two bars early, and when it does
take place, at bar 23, the passage con
tinues to modulate.
What is totally misleading about this
plan of the modulations (besides its
inaccuracy), is that no distinction is made
between short and unstable passing
modulations and the frm establishment
of new keys.
Motive
Presumably the paragraph under this
heading has been misprinted. Saying that
the auxiliary note motive is repeated
throughout the whole piece and then
drawing a diagram showing it to appear
in only nine out of forty-eight bars is
otherwise inexplicable. I assume that the
shaded areas of the diagram represent the
bars in which the motive from the frst
and second beats of bar I do not appear.
It seems strange to talk of the motive
as consisting of only the frst two beats of
bar 1 as the following two beats are of
some importance and form the basis of
the fgure appearing in the fnal three
bars, bars from which Mr Hunt suggests
that the motive is absent.
Rhythm
From a performer's standpoint this
approach to rhythm is of no value
whatsoever. It treats the whole piece, with
the exception of one bar, as having the
same rhythm, completely ignoring any
thing except the superfciality of the
quaver movement, and missing the
importance of changes in harmonic
69
rhythm and, for instance, the way in
which shorter phrase lengths give added
vitality to the rhythm in the fnal fve
bars.
On this particular point I accept that
little justice can be done to the subject of
rhythm in such a short article. However,
even given unlimited space for explana
tion, it is hard to see how the representa
tion of rhythmic structure in this manner
could ever rise above simplemindedness.
If a rhythmic analysis does not take
account of all the factors that efect
rhythm then it will be of little value.
Fig. 2 - Bars 11 and 12
Ha ving stated that 'The distinction
between chord tones and unessential
notes is most important when deciding
upon good fngering' Mr Hunt then
proceeds to distinguish incorrectly
between the two.
The C sharp on the second beat of
the second bar would seem to me to
belong to the chord of F sharp major
rather than being inessential. However, it
could be treated as inessential as long as
the A sharp is treated as an inessential
chromatic passing note between the
implied A in the previous chord and the B
on the following beat. There is, however,
no way in which the A sharp can be a
harmony note and the C sharp an
inessential note, as Mr Hunt suggests.
Also, if the C sharp is inessential, not part
of an F sharp major chord, how can there
have been a modulation to the relative
minor as suggested?
As to the harmonic analysis of these
bars, this is also a little odd. The fgures
for the second chord in the second bar
refect the confusion over which notes are
to be considered as belonging to the
chord and are in themselves nonsensical.
Also, to number the fnal two chords as
VI in the key of B minor is totally without
justifcation and is apparently only done
as a result of knowing what happens later
in the music.
The 'Uhrlinie' - Bars I to II
This is a useful analysis and may well
beneft any interpretation of the piece by
a thoughtful performer. However, I would
disagree with Mr Hunt's comments on
the value of the ideas of Heinrich
Schenker. Firstly, to say that Schenker
suggests that the Uhrlinien 'dominate'
entire movements is misleading. It would
be more accurate to say that he believed
that there are basic and simple scalic
patterns to be found forming the
generally unperceived foundation of most
musical structures. It may be said that
this is in efect saying the same thing with
more words, but it is in a way that does
the idea greater justice and gives it at
least some degree of plausibility. Mr
Hunt's suggestion of domination also
misses the important point that generally
the 'Ursatz' can often be more usefully
conceived as being a by-product of ar
ascending series of structural levels rather
than always the generator of a descending
series.
70
In fact the idea that these 'Uhrlinien'
may form the basic foundation of melodic
structures is a logical and almost
unavoidable one once one accepts the sig
nifcance of the 'Uhrlinien' on any level
deeper than the foreground. While it
certainly seems correct to say that the
relevance of this 'Ursatz' level to perfor
mance is probably slight, in the end the
answer to this must depend on the
particular piece in question rather than on
a generalization, to which there are
certain to be exceptions.
As for the remark that 'one should
never attempt to force music into a priori
concepts which do not ft the musical
facts satisfactorily,' it is efectively a
tautology, logically impossible to refute,
and certainly not the criticism of
Schenker that it seems intended to be.
P. G. M. JONES
Cliton
Bristol
Olver Hunt has asked us to print the
following in regard to his series on Bach's
Prelude in D.
C.E.H.S.
A number of points have been raised in
response to my four articles on Bach's
Prelude in D.
l. The Matrix
None of the rows in the matrix will make
much sense if read in isolation. The inter
relationship between the parameters will
only become clear if they are compared
with one another.
2. Modulation
The modulation row may look a little
strange to those that regard modulations
as being established afer a V/I cadence.
I also include what can best be
described as the grey areas, which either
show the accidentals which lead into the
new key before the cadence, or, in some
cases pivot chords before the cadence,
where the whole thrust of the music is
highly suggestive of movement away
from the old key.
The fact that the phrase divisions
and the modulations do not always
coincide is one of the principle ways of
maintaining continuity in the music.
3. Nomenclature of Chords
There are unfortunately alternative ways
of labelling some chords, particularly in
passages which include unessential notes
because fgured bass numbers do not
generally take passing notes into account.
When the chord symbols are placed
below the music, however, it is usually
relatively easy to determine which is
which. Sometimes two diferent chord
interpretations will produce an identical
end result in terms of what the player
actually does.
e.g. Ex. 2 Article* Example 2.
II II6 V V I I I 6
could be labelled
II III V V I
III #3 VI vq
III 5
V # VI VI
In the second example the unessen
tial notes above the altered chords would
become accented passing notes.
Whether one regards the E in the
frst bar and the D in the second as an
accented passing note or the D in the
frst bar the C# in the second as
unaccented, they should be played in the
same way. i.e. The E and D are both held
for two-thirds of a beat until they resolve
by step to the note below.
Errors
Article I (Sept./Oct. 1982)
(1) The Matrix The phrase should end at
bar 36 not bar 33 as shown in the
matrix.
(2) The Motive should read 'The shaded
areas represent the bars in which the
motive does not appear.
Article 11 (Nov./Dec. 1982)
(1) P 42, Column 1, line 18. All condi
tions are fulflled in bars 28 to the
frst half of bar 36 (not bar 35).
(2) P 42, Column I, line 23. The chord
symbols should be:
16 (old key)
II6 (new key) V6 I
Article III (Jan./Feb. 1983)
(1) P 45, Example 1, 2nd bar, 2nd beat.
3rd quaver should be F#, not A.
(2) P 46, Example 3, 1st bar, 3rd beat,
2nd quaver. The 3 should be under
the B, not the C .
(3) P 46, Column 1, line 19. (e.g. bars 37,
38 to the frst beat of bar 40 (not bar
46.
(4) p 46, Column 1, line 2l. (e.g. bar 11
to the frst beat of bar 14).
(5) p 46, Column 1, line 22. (e.g. bars,
11, 12, 13 etc . . . ).
(6) P 46, Column 2, line 14. 'climactic'
not climatic.
Article IV (March/April 1983)
(1) P 36, Columns 1 and 2. The codes for
the lef hand from L4 to L13, should
be listed as L3 to L12.
(2) p 36, Column 2, R4. (Example lA
and B, not Example 2A and B.)
O.B. HUNT
Harrow on the Hill
Matanya Ophee's letter in your last issue
is so full of distortion that it would take a
longer and more detailed response than I
think would interest your readers. Sufce
it to say that more words does not
necessarily equal more truth.
DA YID LEISNER
New York
I have for several years advocated that an
international symposium should take
place to establish a system to' standardize
classical guitar technique.
On the suggestion of Maurice Sum
merfeld, to whom I have mentioned this
opinion on several occasions over the
past few years (and once again in New
York recently), I am now writing to
Classical Guitar magazine to hope that
some of your readers may agree with my
view and decide to organize such a
symposium in the very near future.
I have no doubt that once such a
system was agreed upon by a body of
recognized international classical guitar
authorities, and put into general use, the
musical and technical standards achieved
by young classical guitarists would be on
a much higher level than in previous
generations.
MARIO MACCAFERRI
New York
USA
I was recently happy to receive the
Classical Guitar magazine (July/August
issue). I was extremely impressed,
especially with the interviews and music
supplement. In fact I liked the magazine
so much that I would be very grateful if
you could post of to me the frst fve
issues which I was unfortunate to miss.
However, although I am no-one to
criticize, I was upset to learn that the
classical guitar is 'easy' to learn. This
remark was made by Colin Cooper in
'Guitar News'. Perhaps I am wrong, but I
do not seem to recall Bach's Prelude,
Fugue and Allegro as being 'easy', and on
completion I considered it as quite an
achievement. Maybe Mr Cooper was
trying to encourage none-players to take
up the instrument but, otherwise, he is
implying that anyone can play in which
case I have not achieved anything at all.
Anyway, apart from that slight
point, I was very pleased with the
magazine and found that once I picked it
up I could not put it down until it had
been read.
I enclose postal orders for the other
mags; congratulations on Classical
Guitar and keep up the good work.
ANITA BRIDGES
Buxton, Nr. Chorley
Lancs
The quotation marks around our 'easy to
learn' phrase (Guitar month item, News
column, Vol. 1 No. 6) should have made it
clear that it was in fact a quotation from
the ofcial hand-out and not an editorial
opinion. I don't know where the sponsors
got their inormation, but I agree with
Anita Bridges: the guitar is a very
dif cUlt instrument, and anyone who can
pass Grade Five with distinction deserves
praise for a very considerable achieve
ment.
COLIN COOPER
To the best of my knowledge I never got
a copy of Vol. 1 Number 4 of Classical
Guitar, so didn't see the review of
Bream's record, for which John Taylor
took Colin Cooper to task for assuming
that digitalization was to blame for
various faults. But I did review for the
American publication The Absolute
Sound the Bream record 'Music of Spain
Vol. 4' (RCA Red Seal ATCI 4033). As a
reviewer for this publication aimed at Hi
Fi fanatics with very sophisticated tastes
and equipment, I could not help but be
very aware of the monumental con
troversy raging among such knowledge
able people about the problems of digital
sound. The general consensus seems to be
that the sampling rate is far too small,
and that myriad problems are the result. I
think it would not be an exaggeration to
say that anyone I know or have met who
is really concerned with exact recording
of classical music is quite violently
opposed to the sound most digital records
now have, and is hoping against hope that
the whole idea can be rethought by the
record companies before it is too late and
we are forced into the propagation of a
clearly inferior medium. I have great
respect for John Taylor and found his
marvellous book on tone production
invaluable for myself and for my
students, but here I would difer.
If the record you reviewed was the
same, and the pressing was similar to that
which I reviewed, then I would certainly
agree that there are problems with the
sound directly attributable to the digital
technique. Basically the digital recording
process by its nature and because of its
far too infrequent sampling rate tends to
do an injustice to the high frequencies, as
these are represented ofen by only two or
three numbers which have to portray a
whole extended curve. The audible result
is that generally the sound of digital
records is rather harsh and unnatural in
the higher frequencies. The clarity and
spatial fdelity on the other hand make
much more evident any miking faults so
that things which would sound quite pass
able in analog recordings sound truly
weird on digital records.
At present, also, digital recordings
are far more expensive to edit, which in
real terms translates into far less editing
than would be normal in analog record
ings, so that the performer has more a
sense that everything has to be right in
one take - a sort of walking-on-eggs
feeling that is much rarer in analog
recording sessions. Of course, the clarity
and fdelity in much of the sonic spectrum
is so new to recording engineers that they
tend to think still in analog terms, and
tend to set up the microphones to com
pensate for faults in frequency response
that are not present in digital recordings
- and this also can cause distortion.
I found the Bream record beautifully
played as far as Bream was concerned,
but I did feel a sort of carefulness and
lack of his customary elan. The sound I
found extremel y aggressi ve and
unnatural, and while I did fnd the sense
of clarity and immediacy striking, I did
not fnd this worth losing the truly beauti
ful sound Bream is noted for on previous
r e c or di ng s . An yt hi ng I f ound
problematical on this recording I could
easily attribute to the digital process
either directly or indirectly, as the faults
are those this record has in common with
nearly every other digital record I have
heard or heard about. I do believe, con
trary to most of my colleagues at the
magazine, that it is theoretically possible
to make a listenable digital record, and I
have even heard a few which come close,
but they hare few and far between. A
tradeof is made in any case. If one is
careful one may record in such a way as
to make the high frequency problems less
evident, while still keeping the open
spacious digital sound, but even in such
cases digital records are not all they are
cracked up to be. A pity. It would be nice
if it were so.
ALICE ARTZT
New York
The review alluded to was of 'Music of
Spain Vo!. 5', RCA Red Seal RS 9008.
Congratulations on your frst anniversary
of publishing a beautiful, high quality
magazine. You have established a prece
dence which should receive the admira
tion and appreciation of serious guitarists
throughout the world.
AARON SHEARER
Winston-Salem
North Carolina
USA
I take the opportunity while renewing my
subscription to give thanks for Classical
Guitar magazine.
It is a fne magazine and has been
from the very start.
To make some constructive points I
would like to say that, as a self-taught
guitarist (very much a novice) and at the
same time a self-taught musician, a lot of
the musical references go over my head.
This is not necessarily bad, but it
would be nice if some of the formally
trained contributors would appreciate
that there are people around like me (at
least I hope I'm not the only one), and try
to elucidate the points they are making at
a slightly lower level. I do, however,
appreciate the problems of space.
Articles such as Neil Smith's 'Scale'
series are very much to the point and are
very useful and well written. Also as you
progress, articles such as Joseph
Urshalmi's 'Technical Block' are and will
be much appreciated as at my stage (and
everyone's I suppose) this is what I con
tinually come across.
Finally many thanks for the general
attitude of the magazine, which is con
structive yet unafraid, please don't give in
to a dialogue of answering criticism
because the bitterness which seems to
have crept in, in some areas of another
guitar magazine is rather sickening and is
better ignored.
Keep up the music supplement, it
offers a lot of incentive even if I get no
immediate results.
ALUN WILLIAMS
Houghton
Near Preston
71
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East Dulwich SE22 9lA. Tel 299-218.
Peter Howe ARCM, 11 Palmerston Rd,
Wimbledon, London SW19. Tel 01-540
-
7049.
Doug Kennedy, 1 A Bowerdean Street,
London SW6 3TN.
Bill Keville AlCM llCM, 34 Foster Rd,
Chiswick, W4. Tel 747 0992.
Adrian Lee MA BMus ARCM, 15 Ambler
Road, Finsbury Park, London N4 20T. Tel
22 628 22.
Graham Newling ARCM, 18 Dryburgh Rd,
Putney, SW15. Tel 788 3512.
Elizabeth Gladys Percy (CPMl. 14
Pymmes Close, Bowes Road, Palmers
Green, N 1 3 4NJ.
Andrew Planton AlCM llCM (TDl.
London NW1. Tel 450-3693.
John Taylor MA(Oxon) l TCl, 13 Con
stantine Road, Hampstead, London NW3.
Tel 267 8005.
John Taylor ARCM, 10 Berryhill, SE9. Tel
850 0578.
Raymond Ursell ARCM, 19 Oxford Rd,
Putney, SW15. Tel 789 7912.
Tricia Warhurst, 32 Thornton Ave,
Chiswick, W4. Tel 994 7266.
Timothy Walker, 82 Sinclair Road,
London W14. Tel 01-602 1417.
John White, 11 Shrewsbury Road, London
N11. Tel 01-368 0332.
John Whipps llCM(TD) FlCM, Flat 3,
112a Brixton Hill, London SW2. Tel 01-671
1189.
Richard Wright GRSM ARMCM, 7 Junc
tion Road, London W5. Tel 01-560 3885.
72
j ust
Visiting
register,
elected
payments
postal
M. June Yakeley BA lTCl, 78 Great
North Road, London N2 ONL. Tel 01-340
1004.
John Zaradin, 33 Marlborough Crescent,
Bedford Park, London W4 1 HE. Tel 01-994
5481.
MIDDLESEX
Charles Bolton, 48 Alicia Ave, Kenton. Tel
01-907 0519.
Donald Boustead BA (Hons) CertEd, 100
Cavendish Avenue, South Harrow HA 1
3RO. Tel 01-422 7003.
Oliver Hunt, also theory and composition,
Harrow on The Hill. Tel 01-864 9424.
Tony McMahon lTCl, 36 Morgans lane,
Hayes End. Tel 08-573 3589.
NORFOLK
Bob Parslow BA (Hons)(MusicL 21 Ashby
St, Norwich. Tel 20261.
NOTTINGHAMSHIRE
Christopher Bell lRAM ARCM, 9a Well
ington Cres, West Bridgeford. Tel 0602
812547.
Robin J. Pearson, Spanish Guitar Ctr, 44
Nottingham Rd, New Basford, Nottingham.
Tel Nottingham 622709.
OXFORDSHIRE
Arthur Brown, 13 Kingsway, Banburym,
Oxon. Tel 65133.
John Whitworh MA DPhil, 30 Holley
Cres, Headington. Tel Oxford 61273.
SCOTLAND
Tim Baker MSc, 233 Perth Road, Dundee
002 1 EJ.
Graham Butcher BSc, 1 03 Rose Street,
Edinburgh EH2 3DT. Tel 031-225 9582.
Sonya Harlow AlCM, The Square,
Torrisdale Castle, Kintyre, Argyll. Tel
Carradale 292.
Ron Moore, 51 Morar Crescent, Bishop
briggs, Glasgow GC4 3DN. Tel 041-772
2202.
Bill Reid Amus lCM, 14 Priestfield
Avenue, Edinburgh EH16 5Jl. Tel 031-667
8690.
Philip M. Thorne FTCl lRAM, 26 Rullion
Road, Penicuik, Midlothian EH26 9HT.
Malcolm Watson lTCl AlCM, 11 Oxcars
Drive, Dalgety Bay, Fife KY11 5UG. Tel
(0383) 823242.
SHROPSHIRE
Cheryl Grice GRNCM ARNCM ARMCM,
2/3 Dr i nkwat er St , Mount f i el ds,
Shrewsbury. Tel 246208.
SOMERSET
Andrew Barrett l TCl AlCM, 2 6B
Durleigh Rd, Bridgwater.
Steve Graham, 4 Mill lane, Trull, Taunton
TA3 7lA.
SUFFOLK
Colin Shulman, 21 Ickleton Place,
Haverhill. Tel Hav. 705371.
SURREY
Gillian M. Brown llCM, Sutton. Tel 01
661 1232.
Chaz Har lRAM, 7 Cui sac Rd, Surbiton.
Tel 01-390 0013.
Harvey Hope, The Oaks, 41 Arkwright
Road, Sanderstead CR2 OlP. Tel 01-657
5840.
Simon James lTCl, 23 lanswoen Court,
Brighton Road, Purley CR2 2BD. Tel 01
668 5269.
Joseph O'Connor lRAM, 4 Coombe
Gardens, New Maiden. Tel 01-942 0286.
SUSSEX
Kathryn Bennetts BA HonsMusic l TCl,
'Stanhope', Victoria Way, Winchelsea
Beach, Rye. Tel (0797) 225878.
Katy Caws, 14 Dean Street, Brighton.
Enquiries Tel 01-670 8736.
Vic Ellis, 6 Havelock Road, Brighton. Tel
0273 558217.
Richard (Steve) Stephenson, 40
langdale Ave, Chichester. Tel 785062.
TYNE & WEAR
Brian Arthur lTCl, 15 Dene Tce, South
Gosforth, Newcastle upon Tyne NE3 10P.
Tel 853275.
Lawrence Burn, 87 Linskill Terrace, N.
Shields. Tel N. Shields 595979.
Alan Clark, 29 Cloverfield Ave, Fawdon,
Newcastle 3. Tel Gosforth 850904.
John Cowans, 23 Swarland Ave, Benton,
Newcastle upon Tyne. Tel 665424.
Terry Ellis, 1 lynmouth Place, High
Heaton, Newcastle upon Tyne. Tel (0632)
669597.
John Ferguson l TCl, 12 Alice St,
Winlaton. Tel Blaydon 447469.
WARWICKSHIRE
C. P. Beasley, 167B Albany Road, Earl
sdon, Coventry.
Brian Penny, 165A Albany Road, Earlsdon,
Coventry CV5 6NE.
D. Shepherd AlCM, Warwickshire
Classical Guitar Centre: 536 Albany Road,
Coventry. Tel 0203 713112.
WILTSHIRE
Gerald Kerr, Spanish Gtr Workshop, 79
Wilton Rd, Salisbury. Tel 26151.
Thamesdown Guitar Studios, 35 Far
ingdon Road, Swindon. Tel 0793 46689.
YORKSHIRE
David Ashworh BSc PG CE lRAM, High
Cornflower, The Green, Sheriff Hutton Y06
10B. Tel Sheriff Hutton 563.
Peter Batchelar GRNCM BA(HonsL 1
Groudle Glen, Charlestown, Hebden Bridge
HX7 6NN. Tel (0422) 842228.
Kevi n S. Bol t on BA l TCl, C/o
Huddersfield School of Music, Highfield Hall
Annexe, New North Rd, Huddersfield. Tel
0484 36521 ext 281.
L. H. Drabble, 94 Grange Road, Beighton,
Sheffield 519 6BX. Tel 0742 470971.
Adrian Ingram FTCl FlCM l TCl llCM
AlCM, Cert. Ed. Leeds College of Music,
Cookridge St, Leeds.
Alien Kaye GDM, 18 Upper Well house,
Golcar, Huddersfield. Tel 657837.
S. Mason l TCl, Rheola, Oueen Street,
Swinton, Mexborough, S. Yorks 564 8NA.
Tel Mexborough 588315.
Phi lip J. Moreman lRAM, 21 Winlea Ave,
The Brecks, Rotherham 565 7EX.
J. Narey, 62 Woodside Drive, Cottingley,
Bingley BD16 1 RJ. Tel Bingley 4209.
Martin Nockalls FlCM llCM (TO) AlCM,
Cert. Ed. 5 Winnery Close, Tickhill,
Doncaster DN11 9JT. Tel (0302) 743705.
P. Shires, 7 lower Putting Mill, Dewry
Dale, Huddersfield HD8 8SX.
Richard Smith AlCM FTC, Arcadian Guitar
Studio, 1 Dudley Ave, Marsh, Huddersfield
HD1 4NB. Tel (0484) 33501.
Graham Wade MA FTCl FCollP FRSA,
Leeds College of Music, Woodhouse lane,
Leeds 2.
WALES
Jeff Collins MA l TCl ARCM, 113 Con
naught Rd, Roath, Cardiff, Tel 499540.
Gillian Morris BA (Hons) l TCl, 3 Wepre
Hall Crescent, Connah's Ouay, Clwyd CH5
4HZ, North Wales. Tel 0244 813519.
AUSTRALIA
Dekroo Bros, PO Box 319, Caringbah,
NSW 2229.
W. Vaney, 41 Oualtrough Street, Buranda,
Brisbane OLD 4102.
BELGIUM
Norbert Leclerq, 70 Ave. Jules Bordet
(B7), 1140 Bruxelles.
Luc Van Loocke, Zwemdoklei 65, B-2130
Brasschaat. Tel (03) 664 44 80.
Greet Schamp, Prins Boudewijnlaan 133,
B250 Edegem. Tel 03/457 7490.
Raphaella Smits, Ramstraat 5, Antwerp.
Tel (03) 235 94 78.
FRANCE
Gerard Rebours, 90 Rue de la Jonquiere,
Paris 75017.
GIBRALTAR
Judah Bensadon AlCM, 21 St. Josephs,
West Mews.
ISRAEL
Carlos Ben-Ari, 64 -Katznelson St,
Givataim 53276.
Ovadia Heskel, 36 Abarbanel St, Bnei
Brak 51242, Israel. Tel 03-791302.
ITALY
Giuseppe Caputo, Via Tito Angelini 21,
Napoli. Tel 320469.
NETHERLANDS
Roman Jaworski, Rietgans 7, 9101 XJ
Dokkum (FRl). Tel 05190-4146.
SPAIN
Antonio E. Mallo, Gran Via 204, Vigo
(Galiza).
SWEDEN
Dan Grenholm, 780 51 Dala Jarna. Tel
0281 20548.
Beril Ingwaldson, Skarvagen 78, S
60365, Norrkoping. Tel 011-11 94 94.
USA
Prof. Wynn Smi th, Classic Guitar Music
Dept., Seattle Pacific University, Seattle,
Wa. 98119.
Rober S. Trent, 17b W. Coulter Ave, Coll
ingswood, NJ 08108.
LATE ENTRI ES
GLOUCESTERSHIRE
Sue Peace BA, Greenways, Chaxhill,
Westbury-on-Severn. Tel Westbury 300.
LONDON
Cornelius Bruinsma BA(Hons) lGSM, 79
Purser's Cross Road, Fulham SW6. Tel 736
3367.
NORFOLK
lan Lord BA BAHons Music, 48 levishaw
Close, Buxton, Norwich NR10 5HO. Tel
Buxton 8113.
FESTIVAL INTERNACIONAL DE
GUITARRA DE PUERTO RICO 1983
24 OCTOBER-12 NOVEMBER
LEOBROUWER
COST AS COTSIOLIS
ELIOT FISK
JOSE TOMAS
Information about this important event has
arrived. Master Classes offered by the
Artists will be held at the Music
Department of the University of Puerto Rico
and la Casa de Espana.
Course 'A' JOSE TOMAS 28 October
Course 'B' LEO BROUWER 31 October
Course 'C' COSTAS COTSIOLIS 4 November
The fee for courses A, Band C will be $20.00
each as performer and $5.00 each as auditor.
In order to one half of the total cost of
the courses should be received by the
Festival before 20 October 1983. The remaining
balance is to be paid one day before the course
commencement. All should be made
in US Dollars by money order or ofcial
bank cheque. ,
There is limited lodging available for students at
the University of Puerto Rico Guest House.
For further information please contact:
Ms G1adys Ares, Direcress,
University Guest House, Box AM,
University Station, Rio Piedras,
Puerto Rico 00931, USA
73
Classical Guitar
Societies Directory
Bath Guitar Society, c/o Simon Young, 92B Staverton, Nr.
Trowbridge, Wilts. BA14 6PB. Tel North Trowbridge
782758.
Berkshire Guitar Society, 14 Luckmore Drive, Earley,
Reading, Berkshire. Tel Reading 61628.
Birmingham Guitar Club, St. Philips Old Boys Association,
Waterworks Road, Edgbaston. Tel Walsall 29470
Brentwood Guitar Society, 5 Coptfold Road, Brentwood,
Essex. Tel (0277) 222694.
Bromley Guitar Society, meets on the third Saturday of
every month. Details from the Secretary, Mike Conway, 16
Ferndale Way, Farnborough, Kent. Tel Farnborough
57100.
Chester Guitar Circle, meets 1st Wed/Month at Chester
Deaf Centre, Southview Road, Chester. Tel 371372.
Chesterfeld Guitar Society, contact Steve Marsh, 5
Shafesbury A venue, Ashgate, Chesterfeld. Tel (0246)
33496.
Cleveland Classical Guitar Society, Sec: Stephen Munro,
16 Montrose Street, Saltburn by the Sea TS12 1LH. Tel
Guisborough 24672.
Coventry Classical Guitar Society, School of Music. Sec:
Brian Penny, 165A Albany Road, Earlsdon, Coventry. Tel
75113.
Durham University Guitar Society, c/o Dunelm House,
New Elvet, Durham. Sec: Elaine Young, Van Mildert
College, Durham. Visiting tutor: Peter Batchelar.
Ealing Guitar Society, Sec: V. Sanders, 29 Hartington
Road, West Ealing, London W13 8QL.
Edinburgh Classical Guitar Society, Sec: Robin Harper, 51
Clerk Street, Edinburgh. Tel (031) 667 1167.
Enfeld Classical Guitar Society, Sec: Mrs. J. Warwick, 24
Little Park Gdns, Enfeld, Middlx. Tel 01-366 5063.
Guildford Lute & Classical Guitar Society, Sec: Martin
Hardman, 20c Martyr Rd, Guildford, Surrey GU1 4LE.
Havant Guitar Society, Hon Sec: Brian Taylor, 81 Castle
Street, Portchester, Hants PO 16 9QQ. Tel 0705 378456.
Lancaster Classical Guitar & Lute Society, Hon. Sec:
Bruce Parkinson, 153 High Rd, Halton on Lune, Nr.
Lancaster. Tel 0524 811681.
Manchester Guitar Circle meets frst Thursday in the month
at the Old Cock Hotel, Stretford. Sec: Paul Fowles, 5
Laxford Grove, Ladybridge, Bolton. Tel (0204) 652322.
Newcastle Guitar Society, Correspondence: Rick Barker,
27 Piper Road, Ovingham, Prudhoe, Northumberland. Tel
35103.
Nonsuch Guitar Society, Concert Evenings 3rd Wednesday
of month (gen.); Workshop evenings 1st Wednesday of
month. Ewell Court House, Ewell, Surrey. For info. tel Ash
stead 75602.
Old Malthouse Music Society, Knight Street, Sawbridge
worth. Tel Bishop's Stortford 722318.
Pendon Guitar Society, Mary Ward Centre, 42 Queen
Square, London WC 1.
Peterborough Guitar Society meets 3rd Friday of month.
Details: Pat and Tim Ludlow, 47 Castle Drive, North
borough, Peterborough. Tel Market Deeping 342851.
74
Purley Guitar Society, meets frst Saturday of the month
from October to July at the Congregational Church Hall,
Coulsdon Road, Old Coulsdon at 8 pm.
Scarborough Classical Guitar Society, Sec: Rod Bannister,
2 Providence Place, Filey. Tel Scarborough 512423.
Second City Classical Guitar Society, Sec: David Caroll.
Tel 021 444 3472 or write to 23 Wyche Avenue, Kings
Heath, Birmingham B 14.
Southampton Classical Guitar Society, Sec: H. M.
Chadwick, 18 Carlton Road, Southampton SOl 2HQ.
Stoke Guitar Club, Sec: Alan Hawley, 96 Princes Road,
Hartshill, Stoke on Trent ST4 7JL. Tel 0782 46385.
Swale Guitar Society, meets third Tuesday of month at
Minster Methodist Church, Wards Hill, Minster, Isle of
Sheppey. Sec: Colin Simmons, 302 Minster Road, Minster
on Sea, Sheerness. Tel Minster 874405.
Taunton Classical Guitar Society, meetings held 1st Friday
of month except August. Contact: Dave Lunniss, 3
McCreath Close, North Petherton, Bridgwater, Somerset
TA6 6RP. Tel 663372
Weal den Guitar Society, Sec: Marcia Burton, 6 Tudor
Court, Tunbridge Wells, Kent. Tel Tunbridge Wells 34631.
York Guitar Society, Sec: Sally Challendene, 20 Briargate,
Haxby, York. Tel 760737.
A service to bona fde classical guitar societies. If your
society is not included please let us have details for the next
issue.
Small Ads
Rate is 20 pence per word, minimum 10
words. Box number 50 pence extra.
Paul Fischer Concer Guitar 1976 excellent condition.
Davies Case. 800. Tel 42789.
Ramirez 3P Concer Guitar inc. Case -outstanding condi
tion. 400 ono. Tel 04427-3703 (Berkhamsted).
Brazilian Guitar, handmade, Joaquim Dornelas, 1981.
Excellent condition, 500 with case. Phone (061) 2243294
- Miss Nogueira.
WANTED: Large room or small hall in North London for
monthly meetings of new guitar society. Write with details to
Box No. 8379, Classical Guitar, Ashley Mark Publishing
Company, Saltmeadows Road, Gateshead NE8 3AJ.
Classical Guitars. A range of top quality instruments for all
levels of player, plus strings, cases, etc. Delivery throughout
UK. Big discounts for teachers and societies. For price list Tel
Consett (0207) 504228.
Ramirez Class 1A Brazilian and Indian rosewood guitars at
discount prices. Plus many other Spanish guitars from 40.
Tel 01-789 7912.
Simplico Concert Guitar. Signed Miguel Simplicio 1934. In
playing condition with easy action and a fine tone. Serious
offers only please to Box 8317.
Ovation Stereo Classic 1982. Absolutely mint condition.
450 including case. Tel Much Hadham (Hertfordshire) 2115.
Michael Raven publications
Michael Raven 26 Church Lane Derrington Stafford England Telephone (0785) 55555
Michael Raven is the author/ editor of all the books and the performer on all records and cassettes in ths catalogue
except where otherwise stated.
"One of the world's finest guitarists" Colin Irwin, Melody Maker. "A virtuoso in many
styles - classical, flamenco, ragtime etc" Express and Star. " A true delight to the ear!'
Birmingham Evening Mail. "Picasso's guitars come alive, a delight from start to finish"
Besides being a solo performer of some standing Michael Raven has taught the guitar for many years at schools,
coleges of education and at Keele university. He found a need amongst students for easy yet musically satisfying
pieces in a variety of styles. This prompted him to make selections from the work of past masters and also to make his
own easy arrangements of traditional tunes and popular songs. These have been published in reasonably priced
collections, " Al are unreservedly recommended" Charles Seott, Cassical Guitar and Fretwire Magazine
GUIT AR MUSIC
THE COMPLETE GUITARIST Comprehensive claSical tutor. Follows syllabus of Associated
Board. I ntroductions to folk-blues and flamenco. Nearly 100 complete solos. Assumes no
prior knowledge. Classical and modern harmony explained thoroughly. Widely used in
schools and colleges. 'Unreservedly recommended' (Fretwire). 'Without exception the
finest tutor available'(Dr. Barry Roper). 6th edition. 168 page.
POPULAR SONGS FOR GUITAR 1 15 easy yet musically satisfying solos in staff notation
and tablature. Guantanamera, Those were the days, Return to Sorrento etc. 32 pages
POPULAR SONGS FOR GUITAR 2 1 more easy pieces in staff notation and tablature. El Condor
Pasa, Van der Valk, The Entertainer, Rodrigo Concerto Themes etc. 32 pages
Companion Cassette, Contains all music in books 1 and 2, 60 mins. playing time
ENGLISH FOLK GUITAR 1 (ACCOMPANIMENT) 29 songs and accompaniments by Nic Jones,
Martin Carthy, Mike Raven etc. Tunings, descriptive notes, full song texts, tablature. 72 pages
ENGLISH FOLK GUITAR 2 (INSTRUMENTAL) All styles. Dowland to Renbourne, McTell, Raven,
Carthy etc. 37 jigs, reels, marches, hornpipes, aires. Staff and tab. 64 pages. " The standard work."
Companion Cassette to book 2 all music note for note, 70 mins. playing time
POPULAR TUNES FOR GUITAR 1 11 easy solo arrangements in staff notation and tablature.
Green Leaves of Summer, Portsmouth, With God on our Side etc. 32 pages
POPULAR TUNES FOR GUITAR 2 18 more easy solos in staff notation and tablature. Onedin
Line, Can Can, Tipperary etc. and concert solo Choro y Danza. 32 pages
TRADITIONAL TUNES IN TABLATURE 8 pieces. Jig, hymn, reel, Spanish dance etc. 12 pages
Companion Cassette. All music in Popular Tunes 1 and 2 and Traditional Tunes. 60 mins.
A VARIETY OF GUITAR MUSIC 1 68 pieces. Classical, flamenco, folk-blues, lute music etc.
in staff notation and tablature. 6th edition. 80 pages. Easy-moderately difficult.
Companion Cassette or L.P. of a selection of the music. 50 mins. playing time
A VARIETY OF GUITAR MUSIC 2 More varied pieces, all styles, easy to moderately difficult
Staff notation and tablature. March of Brian Boru, El Paso Waltz, Coventry Carol etc
Companion Cassette. Al the music in A Variety of Guitar Music 2 and Chant of Falsity
THE CHANT OF FALSITY A variety of solo guitar music, classical, ragtime, flamenco, lute
music. etc. in staff notation and tablature. 26 pieces. 32 pages, easy-moderately difficult
POPULAR CLASSICS FOR GUITAR pieces recorded by Segovia, Julian Bream, Michael Raven
and others. Carcassi studies, Bach gavottes etc. 51 pieces. All staff, some tab. 64 pages.
Some
Pieces are recorded on L.P. ' A Miscellany of Guitar Music', M. Raven.
EASY DUETS FOR GUITAR BY KUFFNER 37 pieces, opus 80 and 87 complete. The first guitar
parts can be played as solos. The best of their kind. 32 pages. Staff notation only.
RECUERDOS DE LA ALHAMBRA A Segovia recording of this piece inspired Julian Bream
to study the guitar. Staff notation and tablature. Photographs and notes. 12 pages.
THE GUITARISTS GOOD BOOK 83 traditional and popular songs, hymns and carols. Words
and chord symbols. Easy solo guitar arrangements. I nstruction and chord charts. 192 page paperback
HOW TO ORDER
5.95
2.50
2.50
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3.50
3.95
4.95
2.50
2.50
0.50
4.95
3.50
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2.75
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2.50
3.50
4.95
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2.25
Al books ca
.
n be orderd
.
'rom your local musi shop (distributors to the trade are Music Exchange Manchester Ltd).
If you experence any difIculty they can be obtained diect from the publsher, Michael Raven. Cassettes and records

an only be obtaine from Michael Ra

'
en, 26 Church Lane, Derington, Staford. Please add 25p postage for one
Item (ook or recordmg), 35p for two Items and 45p for three items or more. Overseas orders please add 1 bank
handlmg charges unless cheque drawn on an English clearng bank.