ee aeraACKNOWLEDGEMENTS 1 am indebted to many people for providing me with important information and materials. Ze’ev Lederman of Tel-Aviv, Israel, was the first to introduce me to the fascinating sounds of the Russian guitar. He gave me important portions of his large collection of original 19th century materials and some of them are used in this volume. My friend Vladimir Bobri gave me his repository of Russian guitar music which includes many Soviet editions and several manuscripts. George Warren shared with me his vast knowledge of the field, as well as copies of important parts of the repertoire. Vla- dimir Slavsky was instrumental in providing me with a hands-on experience with the authentic Russian seven-string guitar. The guitars made by Nikolai Eshchenko of Che: nigiv, the Ukraine, were an important clement in this learning process. Ivan Putilin kindly shared with me a great deal of essential material. Leif Christensen and Maria Kimmerling helped me in presenting Russian guitar music to several audiences in England, Denmark and Germany in my lectures on the subject. Leif Christensen’s record of music by Sarenko, in which he used an authentic Russian guitar made by Esh- chenko, was the first recording of seven-string guitar music by a non-Russian. It was also the first time a Soviet made instrument was used in a major recording. Leif’s invitation to write the liner notes for this record provided a great impetus to continue my research. The librarians at the music sections of the Royal Music Academy in Stock- holm, the Royal Library in Copenhagen, the M.E. Saltykov-Shchedrin State Public Library in Leningrad, the Stadtische Bibliothek in Munich, the New York Public Library and the Library of Congress in Washington were very helpful. My particular thanks to Natalia Aleksandrovna Ivanova-Kramskaia for sharing with me reminis- cences and information about her father. Alan Rinehart helped in proof-reading this edition. The leading authority on Russian folk music, Dr. Margarita Mazo of Ohio State University, provided daily help and advice. Without her deep knowledge of Russian music and culture, this edition would not have been possible. The Russian Collection is dedicated to Russian guitarists everywhere, whatever their nationality. Matanya Ophee Columbus, Ohio March, 1986TABLE OF CONTENTS Page Introduction, : ii VASILU SARENKO Etude No. 1 eee sees eee nee ae 1 Etude No. 2... Ki Etude No. 3 .. 3 VLADIMIR MoRKOV Prelude in b minor Prelude in d minor Prelude in f# minor . MAREK SOKOLOVSKY Etude - .6 NIKOLAL ALEKSANDROV Etude 8 ALEKSANDR NEMEROVSKY Etude ALEKSANDR IVANOV-KRAMSKOI Prelude ... 12 Prelude 4 IvAN KUZNETSOV Not a Single Path in the Field (Ne Odna vo Pole Dorachen’ta) Russian Folk Song SS 16 MIKHatL VySSOTSKY ‘Theme and Variations on the folk song “What Have I Done to Upset You” (Chem Tebia Ia Ogorchila) ALEKSANDR GURILIOV Matushka Golubushka — Romance. (Arr. Sergei Syrtsov) .......+e2eeee00001 1 22 SEMION AKSIONOV Air Russe. Variations on “The Cossack Rode Over the Danube” (Ekhal Kazak za Dunai) ........+. 2B NDR IVANOV-KRAMSKOT Variations on Russian folk song “At the Gate” (U Vorot, Vorot) . +28 Lullaby : -30 ALEKSANDR: DARGOMY ZHSKY ‘The Youth and the Maiden anosha 6 Gor'ko ee Romance, (Arr. V, Sarenko) : : 32 Melancholy Waltz. (Arr. V. Sazonov) 32 ALEKSANDR GRECHANINOV Mazurka Op. 98 No. 13 (Arr. M. Ophee) Beis coe 34 PIOTR TCHAIKOVSKY Mazurka, Op. 39 No. II (Arr. A. Ivanov-Kramskoi) ...... Sweet Dream, Op. 39 No. 21 (Arr. Piotr Agafoshin) Autumn Song, Op. 37b, No. 10 (Arr. M. Ophee) ......- Copyright © 1986 Editions Orphée, Inc., Columbus, Ohio, 43221 International Copyright Secured ~ Made In U.S.A. ~ All Rights Reserved