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 find all manner of guitars and music, as well as the
courteous attention of a Spanish 'gentilhombre'."

PAUL GREGORY: "Great place, great people. Long live the Studio!"

JUAN MARTIN: "An impressive astonishing stock of first class guitars."

NEW GUITARS IN STOCK

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CARMELO DEL VALLE, J. M. VILAPLANA, S. MARIN, etc.

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16 James Street, London W1 Tel: 01-493 1157

CLASSICAL GUITAR

SEPTEMBER/OCTOBER 1983 Vol. 2, No. 1

5 Classical Guitar News - compiled by CoUn Cooper

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
Angel R ornero - page
-

13
45 Analysis of Musical Performance Part 2 - Manuel A nderson
47 Concert Reviews
53 Weekend Course at Durham - Jim Gibson
54 Record Reviews
57 Q uiz
58 Music Reviews
64 Book Reviews
65 It's Not A Guitar, It's a Painting - CoUn Cooper
67 Profile
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 Leo Witoszynskyj - page 16
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. Summerfield, Philip Thorne, Joseph Urshalmi,

June Yakeley

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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
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
matters such as how the performer enters, how he or she sits
down, prepares to play, acknowledges applause and, finally,
leaves the platform. Any one of these, if not done well, can
leave a slight aftertaste 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 effect 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 first performances of
new works were given by an ensemble. The works are good,
the performance was good, and the audience
enjoyed both. What they did not grasp until the very end
was where the first work finished 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 different 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
playing is, his platform appearances remain strangely
unexciting. Calm and self-possessed, he strolls on, plays
perfectly, and strolls off again. Listeners who have heard his
recordings tend to be satisfied, but those who have not, find
something lacking. Since it is difficult to find fault musically,
we can only assume that it is something to do with com­
munication. Some very fine players do not possess this gift;
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
most 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 lip
banal) Covent Garden with the power of a million candles. We
know it is difficult 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
clearly 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 filter through in
due course.
Thanks, finally, 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
his IN OUR NEXT ISSUE
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4
 CLASSICAL GUITAR NEWS

COMPILED BY COLIN COOPER

'The four titled movements have not performing Philip Selby's Fantasia.
only the feel of compassion but reveal S e l b y 's Guitar Concerto was
mature musical creation of a personal premiered b y Wade a few years ago.
yet immediately communicable kind, A second concerto may be performed
from Conversation Piece, through the during the coming year. Philip Selby,
central movements headed Crisis and married to an Italian girl, now lives in
Epitaph, to a final and marvellous Rome, and his music is influenced by
Ostinato, with its bell-like underlying Italian lyricism and warmth.
motif that impinges on the mind'. He Another work awaiting its
described the work as 'a new work of premiere is a new Sonata by William
distinct merit and originality'. Kinghorn a prolific composer and
Still only 26, Charles Rae has jazz pianist who lives in Harrogate.
written many other works, including a His Guitar Concerto has been perfor­
piano concerto. His string quartet is med twice by Wade, and his latest
scheduled for the Leeds Con­ choral work, an interpretation of
temporary Music Festival, and clearly Everyman, was recently given at
Neil Smith has a promising future. His Guitar Wakefield Cathedral to a capacity
Sonata has already had four perfor­ audience. His new Guitar Sonata has
New appointment for Neil mances since its debut at York Guitar been described as 'a brilliant and vivid
Smith Society earlier this year. He studied at work of great insight, and includes
Cambridge University with Robin many passages of complexity and
The northern star of our eminent Holloway. virtuosity'.
Music Editor Neil Smith continues to Wade has also commissioned a
shine with unabated brilliance. In hew work from Colin Hand, the
addition to his many other commit­ Lincolnshire composer whose Fifteen
ments he has been appointed Senior Minutes, 15 easy pieces for guitar,
'
Tutor of Guitar at the Mabel Fletcher were recently published by Ricordi
College, Liverpool. The College offers under John Duarte's editorship.
full-time diploma courses in music, Hand's Sonatina for guitar was
and anyone who has ever attended a originally dedicated to Graham Wade
teaching session by Neil will know and edited by him, and is published
just how instructive, beneficial and by Novello. The new work should be
entertaining the experience can be. ready by the autumn and is expected
Further information about the to last ten minutes, the aim being to
course from Martin Lloyd, 051 733 demonstrate the full tonal resources
5511. of the guitar.

New music for Mikulka Master Class in

Graham Wade Cambridge

The young Yorkshire composer Following his recital at Lucy

Graham Wade Cavendish College, Cambridge, o n
Charles Rae recently composed a 29
substantial Sonata for Guitar, com­ New works recently dedicated to October Vladimir Mikulka will give a
missioned by Graham Wade with Graham Wade include a three-part Master Class on the following day.
funds provided by the Yorkshire Arts work by Michael Jacques, Homage to Participants may prepare a work of
Association. Walton. Jacques, a former pupil of Sir their own choice or alternatively
Arriving in Poland about the Lennox Berkeley, won the Composi­ select from a list of familiar pieces:
same time as martial law was tion Prize during his time at the Royal Giuliani, Variations upon a theme of
imposed, Rae wrote the Sonata while College of Music. His publications Handel; Dowland, Fantasia No. 7;
studying there with Lutoslawski. The (Schott, Ramsey and Roberton) Weiss, Tombeau sur la mort de Msr.
four-movement Sonata, fifteen include works for piano, voice, organ Comte d'Logy; Villa-Lobos, 5
minutes long, is a personal tribute by and recorder. His Guitar Concerto Pr e l u d e s ; Torroba, Nocturno;
the composer 'to the effort of will and was premiered by Graham Wade in Barrios, La Catedral; Albeniz,
courage with which a friend recovered Cardiff last year, and performed Asturias. There will be places for
'
from personal tragedy when the again in Tunbridge Wells in October. spectators. The great virtuoso's
natural resilience of the human spirit His Diversions (1975) has been recital will include the famous Bach
was already greatly diminished'. performed by Wade over forty times; Chaconne and works by Brouwer,
Following a performance at the City the last movement has been published Villa-Lobos, Ponce, Barrios, Giuliani
of Leeds College of Music, Yorkshire by OUP in an anthology. and Koshkin. Full details for both
Post critic Ernest Bradbury wrote: Graham Wade has also been these events are available now from

5
our Reviews Editor, Chris Kilvington For 1984, the Stroud Festival said about the bold transcription of a
at 40 Thornton Road, Cambridge. wants a composition for Brass movement from the Mozart piano
Quintet lasting between ten and concerto now known as 'Elvira
fifteen minutes. Maximum age 39, Madigan', from the film in which it
prize money £1,000. Closing date: 29 featured. Some purists will wail, but a
Guitar Review
February 1984. Full details and entry lot of people are going to find it
form from The Secretary, ICC, exactly what they want.
Now a division of Albert Augustine
Pe n n w o o d College Grounds,
Ltd, Guitar Review has now gone Stonehouse, Stroud, Glos. GLlO
quarterly. With that change has come
2LO.
others: scope has broadened to More Mozzani
include more contemporary articles of
interest to the beginner, musicians,
students and the performing artist as Lunatic fringe
well as the non-player. Wider appeal
has already resulted in a circulation Overheard after the performance by
increased by fifty per cent, and new John Williams and Friends at the
subscriptions are said to be still arriv­ Royal Festival Hall: 'What I like
ing at the office in New York. It about him is that he hasn't got himself
points to a promising future for a into a rut, like Julian Bream'.
publication that has already had an
impressive past.

Madrid success

L.E.A.s and the guitar

Luigi Mozzani
Michael Stimpson has some interest­
ing things to say in Classical Music In our last issue we announced that
(11 June) about local education Mario Maccaferri had just completed
authorities and their attitude to guitar the restoration of two original Luigi
teaching. Out of 98 authorities sur­ Mozzani guitars. On a recent visit to
veyed, 40 provide some tuition in New York, Maurice Summerfield
guitar, although only eight allocated called on Mario and found that the

more than ten per cent of their instru­ master luthier/guitarist had in fact

mental provision to it. Yet when completed the restoration of no fewer

children were asked which instrument than four of these magnificent instru­

they wished to learn, the guitar ments. Maurice took photographs,

always appeared at or near the top of and as we thought that readers would
the list. It could be said that many like to see these rare guitars, they are
children have the electric guitar in Juan Martin displayed on the next page.
mind, but, as Mr Stimpson points out, Mario also discovered recently
Good news for Juan Martin; his
'this, the nature of its social back­ two practice guitars designed by him
interesting and unusual record
in the 1920s. He explained to Maurice
ground and the role that it plays in a 'Pi c a s s o Po r t r a i t s ' (P o l y d o r
that, as a touring concert artist, he
music curriculum that does not POLD5048) is now on sale at the
spent many hours on trains travelling
always retain the interest of the Prado Museum, and reported to be between the major cities of Europe.
recipients, makes the present-day doing well. The sleeve illustration, a The folding guitar shown on the next
guitar a highly complex issue'. He
full colour reproduction of Picasso's page helped him practise for many
concluded that local education
'T h r e e M u s i c i a n s ' ( 1 9 21), is hours that would otherwise have been
authorities were not giving a sufficient
undoubtedly an eye catcher. Pleasure
and sophisticated lead. wasted. Also shown is a silent guitar
is enhanced when one finds a further
that Mario devised for practice in
reproduction inside.
hotel rooms during the early hours so
Much interest has been aroused
as not to disturb the other guests. It
Stroud contest here by Juan's latest record - a disc would be quite a good idea to
of popular classics recorded with the instigate a competition for the Worst
No first prize was awarded in the Royal Ph ilharmonic Orchestra. Guitarist of the Year, and offer one of
1983 Stroud International Com­ Beethoven, Mozart and Chopin are these to the winner.
posers' Competition. Kevin Hiatt, represented, and those popular
from the USA, won second prize, and favourites Span i sh R oman ce,
joint third prize went to Andrew Cavatina and the slow movement
Shiels (Southern Ireland) and Ricardo from theConcierto de Aranjuez also Letter from Poland
Iznaola (U SA).' Entrants were get a look in. This last is particularly
required to submit an original work interesting, since it is not often that Zbigniew DubieIla writes: There are
for solo guitar, of between ten and the work is performed by a guitarist three grades of permanent guitar
fifteen minutes' duration. The judges who has made his reputation as a competition in Poland. For the
were Reginald Smith-Brindle and flamenco player. The authentic youngest pupils in elementary music
guitarist Robert Brightmore, who will flamenco 'feel' that Juan imparts puts schools there is ' O gol nopolski
perform the three winning works at a the familiar poetry into quite a Konkurs Gitarowy Stipnia
concert in Stroud on 5 October. different context. The same may be Podstawowego' every year, in

6
Mozzani Guitar 1 Mozzani Guitar 2 Mozzani Guitar 3

Prototype MaccaJerri Plastic! El ectric

Mozzani Guitar 4 Classical Guitar, 1953. Prototype oJ new MaccaJerri Classical Guitar.

1921 Collapsible Practice Guitar. Mario demonstrating Practice Guitar. Silent Practice Guitar.

7

RaJal Fornalak and Zbigniew Dubiella
Strzelce Krajenskie. For pupils in
secondary schools, contests are
organized every two years in Zamosc.
The most difficult 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
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 first 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 first group
(under 15) my pupil, Rafal Fornalak
was awarded first prize, and in the
second group another pupil, Bozena
Wetchacz, was awarded third prize
(first 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
8
guitarists for his Sonata (1976), a yet accessible approach under the
work which is just beginning to editorship of Nicholas Kenyon. This
achieve widespread and deserved year OU P have offered a 50%
popularity. discount to new subscribers.
A traditionalist with one eye on
the musical roots of Europe,
Ginastera nevertheless had affinities
Late music retraction
with early 20th century expressionism
without ever becoming a convinced
Eric Hill's arrangement of the hymn
serialist. His leanings towards sonata
form resulted, for guitarists, in a sub­
Sine Nomine ('For All the Saints') by
Ralph Vaughan Williams should not
stantial work of recognizably classical
have been included in our Novem­
proportions, a welcome newcomer in
ber/December issue (Vol. 1 No. 2).
a sparse field. He was one of that
Copyright in Vaughan Williams's
select band of composers who, while
music held by Oxford University
not themselves guitarists, have yet
Press places restrictions on the uses
managed to make a significant con­
to which it may be put, and guitar
tribution to the literature. Even if the
a r r a n g eme n t s c o m e i n t o t h a t
problems of operatic production limit
category. We regret this inadvertent
exposure of his work in that field, it is
infringement.
safe to prophesy that much of his less
epic work will continue to be perfor­
med, the Sonata/or Guitar Op. 47 in
particular. Festival contribution
After the Buxton Festival, our con­
Payload tributor Gregory Newton moves on
to another festival in August and
September, that of Edinburgh. He will
Listening to Gilbert Biberian's six
be playing in St John's Church,
Haiku was difficult on a warm June
a Princes Street, on 30 August and 6
night, with aeroplanes, seemingly only
September, and in St Mark's
a few hundred feet up, beginning their
Unitarian Church on 1, 3, 5 and 7
run-in to Heathrow airport at fre­
September (see Concert Diary for
. quent intervals. The best you can say
times). A list of Greg's teachers reads
of such an experience is that it con­
like a guitarists' Who's Who: Vahdah
centrates the attention.
Olcott Bickford, Ronald Purcell, Pepe
Jets on flight path are loud
Romero, Segovia, Diaz, Ghighlia,
But more finely tuned the
Jose Tomas, John Duarte. As if that
voice of the guitar.
were not enough, he has also studied
Flamenco with Luis Maravilla, Latin­
American music with Laurindo
Composer's Weekend Almeida and Jazz with Lee Ritenour
and Eddie Arkin.
Held at the Royal Northern College
of Music, Manchester, from 9 to 12
September, the 17th Annual Com­
Correction
posers' Weekend will embrace perfor­
mances, seminars, lecture demonstra­
P. G. Wodehouse once said it was a
tions, discussions, workshops and
good rule in life never to apologize.
films. Composers are invited to
The right sort of people do not want
submit works and also project out­
apologies, and the wrong sort take a
lines and works in progress for work­
mean advantage of them. Correc­
shop performance by the resident
tions, however, are always in order.
ensembles. Details from SPNM, 10
In a review in the last issue, Paul
Stratford Place, London WIN 9AE
Gregory was wrongly accused of
(01-491 8111).
playing the Ponce-Weiss Suite at a
public recital. He did not; he played
Castelnuovo-Tedesco's Homage to
Early Music offer Boccherini Sonata in his recital on 10
April. It was Jukka Savijoki who, five
Early music for most guitarists means days later, offered the Weiss pastiche
the lute, though the baroque guitar as a contrast to some real Weiss
and the vihuela have an honoured earlier in his programme. Busy
place. The quarterly journal Early reviewers sometimes fail to get the
Music, published by the Oxford vibrations of one concert out of their
University Press, has about 160 pages systems before embarking on the
in each issue, maintaining a scholarly next.

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 first
rate student instruments and the
beginner buying his first guitar
receives the same attention as the
advanced player looking for a concert
instrument.
After nearly thirty years the
Bristol Centre continues its unique
role - always much more than just a
guitar shop, it is staffed 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
third lute student, Josephine
Simmons, is only 1 1 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 flamenco needs little
introduction for classical guitarists.
As the blurb says, it also 'eludes a
precise definition'. Guitarists at this
event will include El Tito, El Osito
and El Bolaor.

Jorge Morel

The great Argentinian guitarist, com­ John Zaradin receiving his Gold Disc from Chris Barber.
poser and arranger will be available best-known guitarists, John Zaradin for three guitars. The trio will also
for recitals and one-day master is equally at home in classical and give the first performance of a work
classes during the month of Novem­ jazz fields. His success with the by the Thai composer Dnu
ber. Contact James Bean of The Rodrigo recording will come as no Huntrakul.
British Guitar Society for details. 33 surprise to his fans, many of whom
Wimborne House, Dorset Road, know him better for the Brazilian
London SW8, telephone 01-587 style jazz he plays at Ronnie Scott's.
0810.
Aranjuez Guitar Trio
Jorge Morel has recently been
appointed Professor of Guitar at Newly formed, the Aranjuez Guitar
Lehman College, New York. His Arts admin course Trio will be performing in Stamford
composing ability also continues to Theatre on 29 October and in
receive wider recognition: in April he There are vacancies for 30 members Leighton House, London, on 5
was awarded a grant for composition in a course on Arts Administration November. The members are Roland
by CAPS (Creative Artists Public being held by The British Council Gallery, Colin Arenstein and
Service). from 13 to 25 November, in London. Alexander M a cD o n a l d . Their
The British Guitar Society is an Increased leisure and rapid technical programme i s Spanish throughout,
extension of the old Chet Atkins change are together giving people a with Albeniz M. represented along
Society, now with a broader base to wider choice in creative activity, with Albeniz I., Scarlatti D.,
include the classical guitar. If a recent among which the guitar has a place. Granados and Falla are the other
meeting was anything to go by, its Contact The Director, Courses composers in this treat fo r
members enjoy a particularly varied Department, The British Council, 65 Hispanophiles.
and stimulating diet: the highly Davies Street, London W 1Y 2AA if
professional duo of Simon James and yo u s e e y o u r f u t u r e i n a r t s
Nick Webb, flamenco and traditional administration. Mikulka tour
Irish music from Ray Durham, clever
calypsos from Hugh Thomas, high
An extensive UK tour in the autumn
quality contributions from Doug Amsterdam Guitar Trio by the brilliant Czechoslovakian
Turner and Jim Sullivan. The
standard was exceptionally high
To the talented three from the
throughout, and the surroundings ­
Netherlands went the honour of
the delightful Thames Valley home of
performing the opening concert of the
David Alcock - could not have been
Quebec International Guitar Festival.
pleasanter.
Another concert in Canada followed
- Montreal on· 17 July. In August
they recorded Vivaldi's Four Seasons
Gold disc for Zaradin in their own arrangement, for
RCA/ERATO. This record will be
John Zaradin was presented with a issued in November. In September
Gold Disc by Chris Barber at Ronnie they will be in Thailand to take part in
Scott's Club on 12 June in recogni­ the Bangkok Guitar Festival, the
tion of the success of his Classics for opening concert of which will take
Vladimir Mikulka
Pleasure recording of the Rodrigo place in the presence of the King. The
concerto - more than two hundred programme will contain three com­ guitarist Vladimir Mikulka has been
thousand copies sold. One of Britain's positions by King Bumibol, arranged announced. Details can be found in

10
 the Concert Diary. He will also be
making his first visit to Ireland, with
concerts in Dublin and Limerick.
Immediately after 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 F arewel l Finl and,
Ro m ance a n d 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 Carlos Bonell and Ensemble.

Spanish Government Scholarship to
study with Jose Tomas at the Con­ New ensemble and the north of England in October
servatorio Oscar Espla in Alicante. and November (details in Concert
His previous teachers were Douglas Following the formation of Waves Diary). They have also chosen this
Rogers and Gerald Lee, and he has (Carlos Bonell and Mara in duo) time to make their official London
also attended master classes given by comes news of another ensemble with debut, although they have played pre­
Hector Quine, John Duarte and the famous guitarist leading a group viously at the Wigmore Hall with
David Russell. Already a seasoned containing Mara (flute, panpipes, Yehudi Menuhin and other members
performer, he has given concerts in percussion), Raymond Ursell (guitar, of Live Music_ Now. On that occasion
London and the provinces, and has drum) and Simon Wynberg (lO-string the critic of The Times remarked: 'I
played concertos in Germany and guitar). Superwaves, perhaps. particularly look forward to re­
Switzerland. Carlos Bonell says: 'I want all the encountering the sensitive guitar duo
instruments to shine, alone, in turn, of Peter Batchelar and Kenneth
and together to create a stunning Heggie'.
cascade of sounds, ever changing and This time they will be appearing,
Laucke debut exciting, surprising and original and, on their own, at the Purcell Room on
most of all, enjoyable and entertain­ 9 October. Their programme will
The young Canadian makes his ing.' The ensemble will be performing include 17th century lute duets,
London debut at the Wigmore Hall at the Queen Elizabeth Hall on 30 Scarlatti sonatas, Giuliani's Vari­
on 22 September, having previously October, the programme containing ati ons Concertantes, their own
played at the International Guitar music by Napoleon Coste (Grand arrangements of pieces by
Festival in Esztergom, Hungary, and Duo), Albeniz, Rodrigo, Michio Mendelssohn (Op. 44 No. 1) and
in Spain and Southern Europe. After Miyagi's The Sea in Spring, Folk Tchaikovsky (Op. 48), a new work by
returning to North America, he will Songs and Dances from Spain and Paul Keenan (NW Arts commission),
give his New York debut at the Car­ traditional music from the Andes. The Petit, Debussy and Falla.
negie Recital Hall on 26 October. intention behind the arrangements is After this London debut and the
In addition to his solo career, to preserve and project the spirit of following tour of the north, they will
Michael Laucke has founded the the music without diminishing its visit the Channel Islands at the end of
Canadian Guitar Quartet, which will original strength and impact. November and beginning of Decem­
be performing widely in Montreal. In October Carlos is not only ber. Together with harpist Rachel
Laucke studied with Bream, playing on the South Bank but is Masters, the duo become the Penna
Diaz, Segovia and Valdes-Blain. He giving recitals elsewhere in England Trio (guitar, mandolin and harp) for a
was chosen by Segovia to perform in and in Holland and in Jugoslavia, in major tour for the Regional Con­
his film made at the Metropolitan addition to concerts with the Vivaldi temporary Music Network in
Museum of Art, New York, in 1982, Chamber Ensemble and two concerts February 1984. Our previous news
which was televised throughout North with Mara in the Waves duo. item had this tour as already having
America. A tribute to his talents is taken_ place, which was a mis­
implicit in the fact that no fewer than understanding. Original works will
18 new works have been written for Aguado Guitar Duo includeHenze's Carillon, Recitatif
him and dedicated to him by and Masque, and Petrassi's Seconda
Canadian composers. This accomplished guitar duo (see Serenata, and also an exciting
Vol. 1 No. 5, p.7 for background) are arrangement of the suite from Kurt
doing an extensive tour of Scotland Weill's Threepenny Opera.

11
 A CJ4Ssj Combination
DADDARIO & THE CONCERT GUITARIST

Benjamin Verdery Michael Newman David Leisner Laurindo Almeida

Alice Artzt Michael Laucke

David Starobin

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12
 ANGEL ROMERO
JANICEMAY
Angel Romero with Moreno Torroba.
ANGEL Romero is, as the New York Times has com­
mented, 'that rarest of rare artists in the music world today:
a phenomenal amalgam of natural gifts and unique heritage
combined in one fiercely 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 five.
Angel recalls that he first 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 figure in Spain.
Joining his brothers Celin and Pepe, Angel became a serious
student: before he was five 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 after 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 effect
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 identified 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 c'ourse, 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 influence 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
fingertips.'
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 'deft 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 fly 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 find the demands of life
as a solo artist whether as a guest artist with orchestras or
as a recitalist add a significant 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 affirms. "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
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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 fine 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 first 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 flat, but since it was not the property
of my parents we did not have it for long. It was removed
from the flat, 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 find a good
teacher, Luise Walker. I started to learn the guitar with her,
and this was a very good chance for me. After 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 after 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 first teacher, and I studied with
her for eight years. Afterwards 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 Narciso Yepes.
I have had very good teachers. Each one of them
influenced me in different 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
influenced 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 influence
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 confidence 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 after 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 instruments in chamber music. He wrote
the very first 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 first 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 fingering. This
can be very difficult or very easy, depending on fhe piece.
You can spend a lot of time fingering 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 fluent. 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
performance 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 try to find a contrast between them.
I try to select pieces which have a variety of different
moods. A very fast, exciting piece must be followed by a
rather calm piece.
This is an aesthetic principle which you will find 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 after 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 different, subtle rhythms. After 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 fifteen 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
think 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 reflected 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 fine 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 find
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 fields, 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 fUr
Musik. This is good for the Hochschule. It happens to have
a jazz department now, and new ideas come from this field.
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 offered 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 affects 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 find 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 fit 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 find 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 field 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 influences the direction
of cultural life to some extent. If we look at the whole field
of culture and the way to make it more accessible to the
general audience, you put an effort 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
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18
 IN CONVERSATION WITH

ROBERT WELFORD,

Cambridge Luthier

CHRIS KILVINGTON
I WAS first 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 craft 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 first 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
the 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 finest available. They're made by
David Rodgers of Leicester and cost fractionally above
£100 - but this includes VAT! 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 difficult
Robert Welford
to define a guitar for all players, in fact one would not wish
this; individuality is what makes the world of music special. or placement of a bar for example; I thus have reference to
I know that you make your own rosettes; I presume this any minute changes which may take place. We are talking
is because you want to create as much of the instrument as in very small terms, you understand; I suppose this is the
possible, barring machineheads and strings? elusive search for perfection. I work by 'feel', it's almost a
Exactly! It's very time-consuming, of course, perhaps mystic thing; what I do is instinctive, not scientific. I have
twenty hours on one rosette, but it's never time begrudged. recently experimented in a quite different way - Alexander
All my evening class students do this, it's an excellent Macdonald asked if I would make him a long scale six­
discipline. string bass guitar for ensemble and continuo work and this I
Do you enjoy teaching? did. It's tuned an octave below the guitar's standard pitch
Very much indeed. I get to know the students well, with two extra frets. Obviously this is not my customary
they're all enthusiasts, and my role is simply to impart my work but I certainly enjoyed it.
experience in a common cause - we're all working What did the new owner think of it?
together with a single aim and the interest that each person He seems very pleased - perhaps I shouldn't say that!
will take in another's work is really quite amazing. It's a far At present he's experimenting with string tensions and
cry from the profit and loss of daily life. gauges so perhaps it will be a little while before we hear it at
You give each instrument a female name; I wonder its best.
why? Did you enjoy hearing it for the first time?
I like to have reference to each guitar, each is individual I really did!
and I can actually remember many, if not all, of them. I hate How do you feel when you hear your instruments
numbers, and I happen to think that the gentle curves of the played?
guitar are visually feminine rather than masculine. It's not When I finish a guitar I will have spent something like
like a christening! The new owner will often stipulate the two hundred hours on it. It is then still silent, waiting. I want
name, it doesn't have to be my choice. Maybe a string of to hear it, that's why I'm so keen for you to pl'ay for me
names is no better than a list of numbers, but I believe it is, whenever the purchaser, for one reason or another ­
so that's why it's done. perhaps if it's .going abroad - cannot do so. It's a need,
To what extent do you experiment? only now is the process complete as far as I'm concerned.
I normally make two guitars together and constantly This is probably not quite the same as when you hear
make extremely fine adjustments, perhaps to the thickness 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 Danda Music
have absolutely no control, it's all so unpredictable - this 292 High Street, Croydon, Surrey CRO 1 NG
is not to say my guitars are unpredictable, I'm sure they're Telephone: 01-686 2708
pretty consistent. But we've reached the stage where I no The incredible 'ASTURIAS' classicals at £225, £265,
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longer exercise any authority nor have any right to do so. I John Mills model available at £495
certainly become very involved but whatever pleasure I Range of guitars, sheet music, accessories & strings.
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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 SUBSCRIBE NOW TO
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
CLASSICAL GUITAR
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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.

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Telephone 01-458 2009 or write to
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20
 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 full third of the project was
therefore completed uncharted territory. It transpired that
the MSS and ensemble works were some of the most excit­
ing finds 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 first-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
flexibility - the flute 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 first
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
Blanc de Labante, et MM Lebouc, Guerreau, Casimir,
pastoral character, perhaps because of his friendship with
Ney, Triebert et Klose. Le beneficiaire executera aussi
the celebrated Parisian oboist Charles Triebert (1810-1867).
plusieurs de ses compositions.
Whatever the reason, he was sufficiently motivated to
compose several works with oboe (some with piano rather
than guitar accompaniment). Several survive in MS copies We do not know whether Coste and Triebert actually
in the Copenhagen Royal Library, a number were played together on this occasion, but it is probable that
published. All of those with guitar are included in the new Coste had completed the duet Op. 25 Consolazione by this
C hanterelle edition. time and perhaps Op. 33[b] Marche et Scherzo and Op.
Three of the works in the Chanterelle volume COp. 25, 34[a] Le Montagnard as well. By the time Coste had
published Op. 36 Les Regrets, Triebert was dead, for the
34[a] and 36) were composed for or dedicated to Charles
work is dedicated 'A la Memoire de Charles Triebert'.
Triebert, the principal oboist of the Theatre Italien opera
orchestra and a teacher at the Paris conservatoire. Two of Of these four works, three were published. Op. 34[a]
Triebert's pupils, Delaby and Larrieux, were in fact the was issued by Harand after 1851 (Hopkinson) with the
dedicatees of Coste's Fantaisie de Concert Op. 35 for two following title page:
oboes and piano. It is quite possible that Coste and Triebert A son ami / Triebert, / 1.er Hautbois du Theatre Imp
first met at this institution, for we know Coste had some Italien. / LE / MONTAGNARD, / Divertissement /
links with the conservatoire. His Op. 15 Le Tournoi PASTORAL, /POUR / hautbois ou VIOLIN et Piano /ou
dedicated to Hector Berlioz (issued in Vol. III of the Guitare / PAR /NAP. COSTE, /Op: 34 N 1. avec Piano,
Chanterelle Coste series) was performed there by Coste N? 2. avec Guitare, Pr: 7! 50 / A.V. / PARIS / Maison
himself. At any rate, both Coste and Triebert appeared on LEMOINE aine HARAND success. /20, rue de l'ancienne
the same bill at a concert held in late April or May 1855. Comedie. /A. Lafont / Prop pour tous pays. (Pl'ate nos. on
The advertisement in the Revue et Gazette Musicale (22 music only: H. 1292. {version with piano} & H. 1292(2)
April 1855, p 127) reads as follows: {version with guitar}).
L'habile guitarriste, Nap. Coste, annonce une soiree This version, with guitar accompaniment, was used as
musicale dans laquelle on entendera M. Paulin, ex premier the basis of the Chanterelle edition. The work was also
tenor de l'Academie Imperiale de Musique, Mme. Numa issued by Salme using the same plates (plate no. H. 1292.

21
1862. {the date?}). There is also a fine MS version in the
private collection of Robert Spencer. It is dated 1863 and
agrees with the published version in all but a few fingering
variants. This MS is almost certainly the work of a copyist
rather than a Coste autograph. I have reached this conclu­
sion after 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 first edition was most probably
that of Colombier with the following title page:
it 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
flute, 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 first published version in recent
times, if not the first 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
flamboyant 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: 'it son ami Charles
Triebert N. Coste 30 X re [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 staff of the Royal
Library Copenhagen, in particular Jytte Torpp Larsson who was
of great help in assembling the Coste sources.
 SCALE FINGERING PART III
NEILSMITH
THE previous article hopefully gave some indication of the
importance of position changing on string instruments. If
the left hand is unskilled in this respect, diatonic and
chromatic links and sequences become difficult and, what is
worse, actually sound difficult to a listener. The chromatic
scale (single string) shown in Ex. 1 is normally fingered as
the upper fingering (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 fingering can often be determined by the pre­
vailing rhythm (Le. position of accents and relatively long
sounds) and the clarification of the links with both the pre­
vious and ensuing phrases. In this complex area, good
fingering 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
fingering would seem strange, yet the move is perfectly
correct if the higher position demands this solution. Ex. 3
shows a more advanced fingering in that the two fingers 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 left hand,
I can assure the reader that they have practical uses. In Ex.
4 (Adelita/Timega) the 1 can be preplaced on string (1) to
steady the move to B and to aid the slur. Players with large
hands can often reach the B itself but small hands can still
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 fingers could press in advance, if
required). It can be seen that even if the Tarrega fingering is
used, the actual manner of placing the fingers is by no
means certain; the more we look, the more we see
unanswered questions. Could this be why the opening notes
are always fingered 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 often is this bar left
unfingered ?). 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
difficult 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 fingerings
for the same notes.
Recommended Study:
Arrangements and music by Tlirrega, Liobet, Pujol.
Arrangements of Bach Cello Suites (John Williams) (Schott).
Arrangements of Cimarosa, Buxtehude, Boccherini etc. (Julian
Bream, Faber).

Ex. 1

® >
..
2 3 .. 2
o o
o '0 ,t
o #0
1-- 1 2 3 4 1 2 3 4
1 2-2 3 4 1--1 2 3
1 2 3 -3 4 1 2-2 3
1 2 3 4- 4 1 2 3-3

Ex. 2 Ex. 3 3
..

1
1 3 * 0.

4 4
0

11 11
0 "

'
I'
1 1
@
--

Ex. 5
Ex 4 --- --- 3 _____ 3
3--3
-
--
1
,w.
- -
2. 1011oJ I .J -.J -.iotJ

r
t. -
- t.,
I 2
-
0--= 2

r
23
 r

CONCERT DIARY
September 25 Sunday 19 Wednesday

1 Thursday Philadelphia, USA: BENJAMIN VERDERY Limerick: VLADlMIR MIKULKA. Villiers

Edinburgh: GREGORY NEWTON. St (guitar), RIE SCHMIDT (flute). Philadelphia School (Limerick 51447)
C.G.S., Jefferson Alumni Hall
Mark's Unitarian Church, Castle Terrace, 20 Thursday
5 pm London: LONDON PRO MUSICA with
3 Saturday Christopher Wilson (lute). Wigmore Hall,
Edinburgh: GREGORY NEWTON. St
October 7.30 pm (16th cent. Italian music)
Mark's, 5 pm I Saturday 21 Friday
Sawbridgeworth: TERRY SPOONER. Old Romford: CARLOS BONELL and MARA in Southampton: VLADIMIR MIKULKA.
Malthouse Music Society, Knight St., 8 pm Waves. Romford Central Library, 7.30 pm
Southampton C.G.S., Southampton Art
4 Tuesday Gallery, 8 pm (Ringwood 6477)
4 Sunday
London: NIGEL NORTH (Baroque lute and Cambridge: CARLOS BONELL with the
22 Saturday

19th cent. guitar). Wigmore Hall, 7.30 pm Vivaldi Chamber Ensemble. Guildhall, Wheatley: V L A D IMI R MIKULKA.

(Weiss, Hagen, Bach, Giuliani, Sor) 7.30 pm (Carulli and Vivaldi concertos) Wheatley Park School, Holton, Wheatley,

5 Wednesday Oxford, 7.30 pm (Banbury 65133)

5 Monday
Edinburgh: GREGORY NEWTON. St Stroud: ROBERT BRIGHTMORE. Stroud Sawbridgeworth: DAVID PAR S O N S
Mark's, Castle Terrace, 12.30 pm International Festival. (Renaissance a n d baroque lutes). O l d
London: CONSORT OF MUSICKE. Malthouse Music Society, Knight St., 8 p m
6 Tuesday (0279 722318)
Wigmore Hall, 7.30 pm
Edinburgh: GREGORY NEWTON. St
6 Thursday 23 Sunday
John's Church, Princess St., 6.45 pm
Stroud: ROBERT BRIGHTMORE. Master Scarborough: HARVEY HOPE. Scarboro'
7 Wednesday C.G.S., 7.30 pm (Venue yet to be decided)
class. Stroud Int. Festival.
Edinburgh: GREGORY NEWTON. St London: VLADlMIR MIKULKA. Wigmore
London: CARLOS BONELL. Mill Hill
Mark's, 12.30 pm Hall, 7.30 pm
School, 8 pm
9 Friday Exeter: CARLOS B O N E LL . Exeter
8 Saturday
Newcastle upon Tyne: DAVID RUSSELL. University, 7.30 p m
London: GORAN SOLLSCHER. Sounds of
Newcastle Guitar Society, People's Theatre, Gloucester: AGUADO GUITAR DUO.
Sweden Festival. Wigmore Hall, 7.30 pm
Newcastle upon Tyne, 8 pm Courtyard Arts Trust, 7 pm
Newark: CARLOS BONELL and MARA in
II Sunday Waves. The Dome, Kelham Hall, 7.30 pm 24 Monday
Southill: MARTIN MASTIK. Southill Park L uton: FRANKFURT GUITAR DUO.
9 Sunday
Arts Centre, 8 pm (0344-27272) Luton Library Theatre Tel Luton 21628
B irmingham: P ACO PEN A (flamenc o
13 Tuesday guitar). Midlands Arts Centre, 7.30 pm (Box 25 Tuesday
Hull: MARK STOCKL. Bridge Guitar Circle, Office 021 440 3838) Dallas, USA: ELIOT FISK. Majestic
Ferens Art Gallery, 8 pm (info: (0482) London: JAKOB LINDBERG (Renaissance Theatre, 8.15 pm
634407) and baroque lutes). Wigmore Hall, 11.30 am Ewell: GUILLERMO FIERENS. Bourne
17 Saturday (Dowland, Cutting, Bach, Weiss etc.) Hall, 8 pm
London: THE ALBANY DUO. Leighton Bracknell: MARTIN MASTIK. Berkshire 26 Wednesday
House, Holland Pk. Rd., 7.30 pm (Albeniz, Guitar Soiety, Southill Park. Winchester: SEGOVIA. St John's House,
Gow, Burkhart, Bach, Duarte, Biberian) London: JAKOB LINDBERG (Renaissance 8 pm. Tickets £15 (0962 55438)
Sawbridgeworth: MICHAEL LAUCKE. Old and baroque lutes). Wigmore Hall, 11.30 pm
27 Thursday
Malthouse Music Society, Knight St. 8 pm (Sounds of Sweden Festival)
Rotterdam: CARLOS BONELL. De Doelen,
(0279 722318) London: AGUADO GUITAR DUO. Purcell
8.15 pm
Room (Scarlatti, Giuliani, Mendelssohn,
18 Sunday
Tchaikovsky, Keenan, Petit, Debussy, Falla) 28 Friday
Scarborough: DAVID RUSSELL. Scarboro'
Bristol: VLADlMIR MIKULKA. Bristol
C.G.S., The Corner, North Bay, 7.30 pm 10 Monday
Polytechnic (info: Bristol 47256)
London: BARTOLOME DlAZ. Wigmore Newcastle: GUILLERMO FIERENS.
Swindon: GUILLERMO FIERE N S .
Hall, 7.30 pm (Villa-Lobos, Castellanos, Newcastle Playhouse (Newcastle Festival),
Thamsedown Studio, 7.30 pm
Falla, Diaz, Ponce, Bach, Rodrigo). 7.30 pm
29 Saturday
22 Thursday 14 Friday
Cambridge: VLADlMIR MIKULKA. (Cam­
London: MICHAEL LAUCKE. Wigmore Chesterfield: CHRIS KILVINGTON.
bridge 276763)
Hall, 7.30 pm (Narvaez, Sor, Walton, Library Lecture Hall, New Square, 7.30 pm
(0246 33496) Stamford: ARANJUEZ GUITAR TRIO.
Papineau-Couture, Bach, Rodrigo)
Stamford Theatre, 7 . 30 pm (Scariatti,
Esher: GUILLERMO FIERENS. Claremont
23 Friday Granados, Falla, Albeniz, Granados, Albeniz)
Fan Court School (in aid of Joyce Grenfell
Enfield: MARCOS. Enfield C.G.S., Millfield
Centre), 7.30 pm 30 Sunday
Arts Centre, Edmonton N18, 8 pm (info:
Cambridge: VLADIMIR MIKULKA.
0707 874726) 18 Tuesday
Master classes (Cambridge 276763)
London: JOHN WILLIAMS with English Dublin: VLADlMIR MIKULKA. Irish G.S.,
Newpark Music Centre, Blackrock (Dublin London: CARLOS BONELL AND HIS
Chamber Orch. Royal Festival Hall, 7.30 pm
ENSEMBLE. Queen Elizabeth Hall, 7.15 pm
(I st perf. Concerto for Guitar by Patrick 893740)
(Spanish, Japanese and S. American music)
Gowers) London: LONDON EARLY MUSIC
GROUP (dir. James Tyler). Wigmore Hall, Windsor: GUILLERMO FIERENS. Arts
London: ROD WILLMOTT. Leighton
Cente, 8 pm
House, Holland Park Rd., 7.30 pm (Romantic 7.30 pm. Frescobaldi 400th anniversary
and Neo Romantic Guitar) Croydon: GUILLERMO FIERENS.
Presteigne: DAVID RUSSELL. Presteigne Fairfield Hall, 1.15 pm
Festival, St Andrews Parish Church, 8 pm. Oxford: GUILLERMO FIERENS. Holywell
BBC Recording (Info: 0544 267419) Music Room, 8.15 pm

24
 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 different, 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 fill 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 off 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 first 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 different technique,
and it takes, really, years to get it sorted out properly,
playing with the fingertips. It's quite a different way of
drawing out the sound. It's not just that you're playing with
the fingertip 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 different approach from nail playing. That's not to
discourage people, because I hope more and more people
will experiment.
i
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 find 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 fit 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 ac ually 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 find 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 fine 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 justified, 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 different. 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, flogging up
and down a motorway!
And 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 different 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 refingered out of all
recognition. Although, having said that it was a different in­
strument - and some might say that if it's a different in­
strument one should do it in a different 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
different 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 effects, which
are absolutely built round that D minor tuning, and
guitarists should perhaps pay a little more attention to
getting that effect 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 find this a problem?
It has been a problem in some halls, but I can't think of
a specific occasion on which it didn't work. It's just been
more effective 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 fingertip 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
different 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 after. My teacher at the Royal College,
Diana Poulton, always used to tell me off 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
qualities of poise and great dignity, which draw people to it.
Most modern instruments hit you when you're sitting in
your seat; the lute requires just a little bit of the audience
listening to it and concentrating. It must have been listened
to like that and treated like that for the music to come out
the way it has, so highly developed and cultured. And
always the best musicians of the day, for nearly three
hundred years, would write for the lute.
Wasn't the lute ever treated more casually, as a kind of
background music?
People have all sorts of ideas about the lute, and I think'
they forget just how popular it was. It would be like saying
nowadays that all pianists or all guitarists do this, and of
course there's an enormous divergence. In the guitar world
you have a folk guitarist who strums a couple of chords
while he sings, another one playing jazz guitar, another
playing serious classical concerts - all sorts of things. It was
just like that with the lute, I'm sure. You'd have your court
musician who'd wander round the tables, giving them a
bawdy song, with its three-chord trick, and you'd have
people such as Dowland and Sylvius Leopold Weiss, some
of the most brilliant musicians of the day.
The aristocracy themselves liked to play ...
Oh yes. They certainly liked to mess around with it. I'm
not sure how good any of them were at it, but they certainly
liked to try.
I was struck by the difference in sound between a
Renaissance lute and a Baroque lute. What accounts Fjr
this contrast in timbre?
It's partly tuning and partly the physical
characteristics. Basically, a s lute music became more and
more complex, the lute needed to expand and have more
strings accordingly. By the time you get to Bach the lute
had 13 sets of strings. By then they had these open basses
which you could tune according to different keys. People
like Weiss were able to modulate in a way that had never
been thought of before. A contemporary of Weiss, Ernst
Gottlieb Baron, who wrote a book in 1727 about the history
of the lute, mentions Weiss as having brought the instru­
ment to the peak of perfection.
If you look at the two different instruments, you can see
that the Baroque lute has a far bigger bowl and soundboard,
and a far longer string length. The Baroque'lute I'm 'I;laying
at the moment has a string length of 72 cm. When you'con­
sider that most modern classical guitars are around 65cm,
it's a very long string length to play.
It's always rather fascinating to know why an instru­
ment died out. I suppose when you hear the music at the
end of the 18th century and the beginning of the 19th, you
can see that perhaps the lute wouldn't have fitted in. Though
there is music for it in the post-Bach period"a lot of it very
well written for the lute, I don't feel that that's the best way
to sell the instrument, because it sounds too much like early
guitar music.
One theory is that all the extra strings made it too
difficult for amateurs to play?
I also think people were beginning to find it very
difficult to tune, and very cumbersome .. Partly that, and
partly the upsurge of interest in keyboards.
1 sometimes wonder if the guitar is going the same way,
with so many 8-string, 9-string and JO-string instruments
appearing.
I have very definite views about that, which may be
controversial. It'll never work. It's all been done before.
We've seen those pictures of Napoleon Coste and his army
of guitars. The whole beauty of the guitar is its simplicity;
the magic of it is that kind of music coming out of such a
simple instrument. If you take that away, I don't see what
you're left with. Some horrible, hybrid instrument - I can't
hear that it sounds any better, really. You're ending up with
an instrument which is trying to sound, trying to lie like a .
lute, but isn't. I can't see it working, though I'll probably be
proved wrong.
Once the amateur fails to get results from an instru­
ment, it's on its way out as a popular instrument.
Well, it is. You've got to have the popularity as a back­
ground, otherwise you'll never get the new generations of
players and consequently the new music. It's got to be a
self-perpetuating thing. It needs to have that backbone,
which the guitar iS J st starting to get - because it's played
in schools. I'm not saying that every brilliant virtuoso child
is going to become a guitarist. I've seen enough of them who
were brilliant as youngsters, and through their teens they get
bored, just as bther classical musicians do, and drop it. But
obviously some of them are going to go through with it.
There are, and there will be, some very great players.
The guitar has one great advantage over the lute in that
respect. A child can quite quickly make a sound that sounds
. like the guitar, but if you give a lute to a child - with some
very rare exceptions - it's not going to sound like anything
but a not very good banjo. So to make the guitar more com­
plicated would seem very silly to me. It's like saying, why
don't we shove a few more strings on the violin? There's no
point.
That firm statement seems a good point on which to
end. Cqn you tell me something of your plans for the future?
I l;dpe tQbe making a solo record, either at the end of
this year or at the 'beginning of next. There's an enormous
. repertoire and a lot left to be done. Although in many ways,
the lute doesn't suit a microphone terribly well, because it .
has such an atmospheric sound, when it's done sensibly it
. pan work quite well in a recording. It's mainly the difference
'. in volum.e: you can adjust it to your ear. It's the nearest
thing; you won't get many lute players coming and sitting
down in your front 'room, playing you a Dowland Fantasy,
but if you've got a record of someone doing it you can have
your own pri t 'performance. ,
Apart from that,; I'm still doing the circuits, mainly con­
certs on my own but also concerts with a singer. I'm
actually doing a concert of duets with another lutenist. It
seems like an awful lot of travelling.
I hope to do mort and more abroad. I played in France'
last summer. I shall be playing in Luxembourg this summer.
On the continent they do seem to treat concerts rather'
differently. They take them perhaps more seriously than we
do here. But my only plans are really just to go on and get'
to a wider and wider audience - and that includes more
recording.
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27
 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
Wigmore Hall Box Office, 36 Wigmore Street

London WIH 9DF. Telephone 01-935 2141

28
 THE FLAMENCO GUITAR
JUAN MARTIN
FINGERNAILS
YOUR fingernails of the right hand are going to be very
important to you in playing the flamenco 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 fingers.
If the nails are the right length, then in apoyando and
tirando playing the fleshy extremity of the fingertip will just
touch the string before the latter is hit by the projecting end
of the nail. This light brush with the flesh helps guide the
nail onto the string but it makes no significant 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 flesh.
There are some guitarists who become nail-neurotics:
they talk fingernails, think fingernails - perhaps even
dream fingernails. But this does not mean that the proper
care of your nails has to be a daunting and difficult
business. They need careful shaping and strengthening to
meet Flamenco's demands on them, but you will find that
time devoted· to their preparation and protection is amply
rewarded by your greater enjoyment and progress. You
should soon be able to find 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 fine-surfaced emery-boards. The
nails can then be further smoothed with the very finest
grade of emery paper. Coarser abrasives such as metal files
should be avoided. One can give the tips a final 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
fingers level with your eyes, the nails should project about
1/16 inch (1-1.5 mm) beyond the fingertips. Hold them up
to the light and you will get a good view of the translucent
tips of the nails. Different players may prefer slightly
different lengths of nail but you are strongly advised to start
with the relative length illustrated before you consider
making any slight modifications to suit your own playing
style as it develops.
The little finger-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 finger compared to
the other fingers.
Correct shaping of the right hand thumb-nail is critical,
particularly on the side where it contacts the string, so that
flesh 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 find used in the technique of
alzapua.
The fingernails of the left hand are kept smoothly
rounded and fairly short. They must not be too short, since
they are required to give a firm backing to the flesh: this will
allow you to produce a strong sound in /igado 'pulling-off.
Protection and strengthening
Even the thickest fingernails 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 first to
apply a base-coat 9f a clear nail-lacquer, Cutex 'Strongnail'.
Once this is dry, one or more thin coats of cellulose glue can
be applied evenly over it and can be built up in layers to the
required thickness. In Spain, 'Pegamento Imedio' is the
flamencos' favourite. In the UK 'Durafix' 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 finger of
the left hand, using a different (and corresponding) left hand
finger for each nail so that you have a clean fingertip 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 off 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. 'Tuff 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 softening the
nails unduly if used for long. An occasional application of
Mavala may help harden the nail and may reduce the risk of
flaking 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 avoiding 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
first-aid and to prevent small cracks becoming bigger.
Larger cracks, tears or flaking 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 often worry about the shape or
strength of their nails and feel they are going to present an
insuperable obstacle to playing in a really flamenco 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
JUAN MARTIN'S Guitar Method
EL ARTE FLAMENCO DE LA GUITAR RA
mento, he could produce an incomparably strong sound
from the guitar.
Price:£ 12
complete
This series on the Flamenco Guitar by Juan Martin is
adapted (with permission of the publishers) from his highly Method:
acclaimed 'Guitar Method - El Arte Flamenco de la 176 pages
12" x 9"
Guitarra' published by United Music Publishers, 42 Riv­ 100 pages of
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which comes complete with a 60 minute cassette played by clfra
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photographs
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13 rhythmic
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torques
Dally Exercises

JAZZ & POPULAR SONGS Improvisation

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Girl Next Door, Taking A Chance On

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Love, Lullaby Of Blrdland, Eleanor
47 musical
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examples
played by the
Sunny Side Of The Street. Far Away

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Places, Whilt A Wonderful World,

(Dolby Systeml
(They Long To Be) Close To You, Don't

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SATURDAY 19 NOVEMBER 1983

GUITAR SCHOOL
FEATURING THE WORLD'S GREATEST

Vols. 1 and 2 published as a single

GUITARISTS

volume

With Father and Pioneer of the electric guitar

Translated into English by Brian Jeffery

The Legendary Les Paul- Jazz Edited by Matanya Ophee

Paco Pena Flamenco

Published by Editions Orphee, Boston

Gary Moore Rock

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Tecla Editions
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Preachers' Court, Charterhouse,

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London EC1 M 6AS.

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Martin Taylor ,
Now available at £19.50 from all
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Diz Disley
good music shops or direct from
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Tecla Editions
(price including postage: £21.00)
Show to be filmed by

THURZA PRODUCTIONS

30
 A DOUBLE CELEBRATION FOR
JULIAN BREAM
BURNETT JAMES
Donald Sinden 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
in 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 ofT fainting fits 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 Greenfield (of The Guardian) and I almost did not
recognise him at first 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 afterwards 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.
After 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. Julian Bream and Burnett James.

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 gift 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 left the wish formed that we might
all be around for another of the same when he notches up
his ton.
GUITAR WEEKEND
at the South Bank
Ftiday 30 Septe mber; 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
New Guitar Catalogue SW34RP

A new catalogue of music for the Guitar is now

available from United Music Publishers Ltd. It has The Catalogue of
been completely revised and represents a
comprehensive listing of all the music for Guitar reveCo-cornisJi music
is now available. Amongst the new
which we distribute, ranging from Solo Guitar
publications are; -
through Guitar Ensembles to Guitar with Other
Guitar Music by Oliver Hunt.
Instruments.
The Barber of Baghdad (Bound) £3.00
If you would like to receive a free copy of our Babushka, Theme & Variations (Bound) £2.50
Guitar Catalogue, please apply to: Introduction & Toccata (duet) • £.3.50
Improvisation on the Classical Guitar £10.00
United Music Publishers Ltd, ..._____ Prices include postage and packing.
42 Rivington Street, London EC2A 3BN Overseas customers should add 40p, payable by Bankers Draft
Telephone: 01-729 4700 or International Money Order in Sterling, from; - Penny Cottage,
3 Middle Road, Harrow-on-the-Hill, Middlesex, HA2 OHW.

32
 ARE YOU A 'NUT' CASE?
TOM P. DA VIES

A rather unusual heading? But read on - it may apply to

Exposed portion showing
you! above fingerboard
Luthiers go to endless trouble to ensure that the 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 finally, the strings are tuned and
tempered so that the notes sound correct in as many posi­ .
// __ /i/_'/' . .. ,.. './//
, _ - / .
End of fingerboard
tions as possible. One would be entitled to think, after all I / ..

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 Fig. B - Front view.
top quality instruments. How often do we see a recitalist
off to give a perfect fit. Finally, the slots in the nut must
giving a quick tweak on the tuning machine-heads in the
obviously be deeper than the height of the zero-fret; this is
middle of a prelude - perhaps to correct the difference
most easily achieved by sawing the slots at an angle from
between an open and a stopped string, in spite of careful
the rear of the nut, and in line with the existing slope (Fig.
tempering? Hardly anyone is immune from this frustrating
A). The top of the fret should be slightly rounded, and not
and annoying problem, sometimes worsened by the poor
left with a sharp edge, otherwise the strings could be
quality of some makes of nylon strings.
damaged.
We can, however, minimize or alleviate this difficulty
by paying some attention to the nut ­ that often-neglected
piece of bone or ivory that holds the strings apart. Minute
variations in the length of the strings do occur which can be
SUBSCRIBE NOW TO
traced to the nut, depending on how well the slots were cut
and tailored to the individual strings. In theory, all the CLASSICAL GUITAR
strings should rest and be stopped on the front of the nut,
but in practice this is not always the case due to incorrectly To ensure you get every issue
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-jret' - 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 fingerboard 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, The Sensational New Humidifier
thus ensuring the same scale length for each string.
for G UIT ARS
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incorporates the zero-fret as shown in Figs. A and B. The
height of the zero-fret should be about 1/16" above the
fingerboard, depending on the size of the frets on your ins­
trument. To check that the height is correct, press down FREE room humidity indicator
each string in turn at the third fret; there should be a with each DAMPIT
perceptible clearance, approximately the thickness of a Regular size $9.50 Super size $10.50'
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33
 ,MUSIC SUPPLEMENT
EDITED BY NEIL SMITH

TOCCATA 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 left 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 figuration (bars 21 to 24
and 54 to 57), the device used by so many guitarist­
composers almost a century later.
JHA CHE VALLE 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 figure and this is
(not detached) and if the long reaches (left hand) are too
difficult, then the bass can be omitted. Be prepared to use
barre with other fingers 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

both attractive and technically quite awkward, the central Prelude by George Zarb should read as follows:
(A) section should present fewer problems. The trio is Bar 9 - 3rd harmonic F#
written in Quadruplets (four in the time of three) and should Bar 10 - Rhythm as Bar 1
be related to the count in the second time bar of the B Bar 13 - 3rd beat A# only (no 0)
section. Bar 17 - Last triplet, G#, D#
Bar 22 - 2nd beat E#
This piece is reprinted with permission from the music book Bars 42 and 44 - 2nd beat E#
'Barrios Vol. 1'. This book is published by Zen-on Music Bar 47 - Last note G.
Company Limited, Tokyo, Japan and is distributed in the Bar 48 - Last triplet note B.
United Kingdom by Alfred Kalmus, 2 13 Fareham Street, Bar 58 - 1st note, 3rd beat F#
Dean Street, London WIV 4DU. Bar 60 - 3rd beat E.
Vivace by Bernardo Pasquini should read:
BERCEUSE/Isaac Albeniz arr. J. Morel
Bars 2, 5 and 1 1 - right hand should indicate 'a'
A most appealing arrangement for all Albeniz fans. The title
(suggesting a lullaby) is the best guide to tempo, the chords IN OUR NEXT ISSUE
at the opening should be fingered to allow smooth left hand
movement. Notice the dominant pedal (a frequent device in
A SPECIAL INTERVIEW WITH
this style of music) appearing throughout the work. Links of

JUAN
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 difficult.

'LOVE YOU MADLY' by Frank Evans

,Dedicated to Duke Ellington, 'Love You Madly' is a low MARTIN
ballad featuring chromatic harmonies. The composer tells
me that the crotchets (quarter notes) should be held long
.
ORDER YOUR COpy NOW
i'

ISRAEL'S FINEST
GUITAR STORE
OFFER AN EXTENSIVE RANGE OF INSTRUMENTS
AND ACCESSORIES
12 EDELSON STREET, TEL AVIV

34
 TOCCATA IN C
JOSE ANTONIO CARLOS DE SEIXAS
(1704-1742)
ARR. MARTIN GRAYSON

Allegrissimo

Yz V III

020
"'"

© 1983 MARTIN GRAYSON

35
 11

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YzIII VII

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VII CID VII

36
 Revision de :
JesUs Benites R. 'JUA, CUE VALLE'
6th in D (Danza paraguaya No. 2)
AGUSTIN BARRIOS MANGORE
Allegretto

.
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© 1977 ZEN-ON MUSIC COMPANY LTD

37
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et. x
Fine

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38
 'BERCEUSE'
I. ALBENIZ
ARRANGED
lORGE MOREL

6th to D

Andante
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© 1983 ASHLEY MARK PUBLISHING COMPANY

39
 r12-C
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40
 'LOVE YOU MADLY'
FRANK
EVANS
ELLINGTON SUITE

o VIII VII VII VI V VIII

IV II

11 I

IV VIII VII x
VI VII VI
IV

r
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V IV III ; :. I 1 2.

III 11 V
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© 1983 FRANK EVANS

41
 ©

III II V VI

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p
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'The Broken Melody'

42
 NARCISO YEPES
A REAPPRAISAL
IVOR MAIRANTS
Narciso Yepes with Juan Orozco.
THE name of Narciso Yepes first 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 Wigmore 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. After 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 often 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 Fifty Fretting Years by Ivor
Mairants, p. 286.)
The years have rolled by and Narciso 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
after a few years' absence), I took the opportunity of attend­
ing the May 4th Queen Elizabeth Hall concert.
The first half of the programme, while not appearing to
herald music of great consequence, nevertheless introduced
rarely-heard composers.
The first 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 offering 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 first half was brought to a close contrary to normal
expectations with Erik Satie's Gnossienne, a dreamy
nostalgic piece arranged by Narciso in such a way that the
extra bass strings were brought to play so as not to disturb
43
 the flow of the chords and suspensions of the sustained gradually increased to a double forte of undistorted full
melodic line. The sum total resulted in full-toned authorita­ tonal capacity. Having risen to the maximum sound
tive serenity, very pleasing to the near-capacity audience. possible, the music faded in the most gradual disappearing
In the second half Yepes demonstrated his love of trick. I have ever experienced.
patria by including four Spanish composers, namely Regino This is one of the many attributes that places Narciso
Sainz de la Maza, Federico Mompou, loaquin Rodrigo and among the previously mentioned handful of master guitar
Francisco Tarrega, and ending with a brilliant composition individualists and in spite of the number of young players
by the Argentinian composer Alberto Ginastera (b. Buenos who may soon increase the handful of elite to two handfuls.
Aires 1916*) thus bringing the programme to an exciting His next year's appearance will be eagerly awaited by those
close (apart from two encores). who enjoyed his Queen Elizabeth concert and should not be
It is a measure of Narciso's versatility that after giving missed by those unable to have been there in 1983.)
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 *Ginastera died on 25 June, after this notice was written.
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,
GREGORY NEWTON
displays waywardness in phrasing when performing some of CONCERTS AT THE

the popular guitar classics, he is unique in demonstrating EDINBURGH FRINGE FESTIVAL

the works written for him by the contemporary composers

St. John's Church; Princes Street:
mentioned above. Comparing his playing today with that of
Tuesday 30 August - 6.45 pm
twenty-two years ago, I would say that he has developed his
Tuesday, 6 September - 6.45 pm
tonal control to such an extent and so positively that it has
St. Mark's Unitarian Church, Castle Terrace:
become a personal hallmark. A startling demonstration of
Thursday 1 September - 5.00 pm
tone control and dynamics was supplied by his first encore, Saturday 3 September - 5.00 pm
his adaptation of an 11th century Irish march. The music Monday 5 September - 12.30 pm
began with the most distant of pianissimo sound and as if Wednesday 7 September - 12.30 pm
manipulated by a finely tuned potentiometer, the volume

Barney
VIRTUOSO

I<essel
SOUTH
AMERICAN
Proudly presents his
GUITAR
11th Annual British
Guitar Seminar
JORGE MOREL
THE
GUITAR SOLOS
EFFECTIVE
GUITARIST \'IRi!fO,O SOU'lH AMU1K'>\!\ GUlgR

3 to 6 November
A beautiful music album of original guitar solos and
1983. For free arrangements of traditional South American themes by
booklet containing the brilliant Argentinian guitar virtuoso, lorge More!'
The 32 page book contains the following titles, 'El
detailed information Condor Pasa', 'Misionera', 'Carnavalito', 'Danza
of this proven course Brasilera', 'Romance Criollo', and 'Danza in E Minor',
arranged note for note by lorge Morel as he plays them
which is valid to
on his latest Guitar Masters recording GMR 1002.
guitarists of all styles Available from good music shops throughout Great
write to: Britain, 'Virtuoso South American Guitar Solos', retails
at £3.99.
In case of difficulty it is available direct from the
SUMMERFIELD publishers (add O.SOp for postage).
I I
I Saltmeadows Road ASHLEY MARK PUBLISHING COMPANY,

I Gateshead NE8 3AJ Saltmeadows Road,

Gateshead NE8 3AJ

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
difficult 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
finger 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 flight 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 different 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 fifteen 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
in the music, finished the group at the end of fifteen 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 defined as 'the grouping and organisation
of temporal phenomena'. This is a useful definition 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 reflections
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 gratification
of instinct". The most primitive forms of music consist of
pure rhythmical expression. The native beating his tom-tom
in the jungle, the schoolchild tapping her foot in time to a
dance tune, and the concert-goer nodding his head violently
in 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 often 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
 The human ear seems to demand of music the recognis­
able presence of a unit of time - the 'beat'. This is so even
in music purporting to have a free rhythm (such as GUITARES
plainsong, recitative, or certain folk music). If no rhythmic
indications are present in. the score both the performer and by
the listener tend to invent them. Research along these lines
(Bolton's experiment) has shown that when a stream of
Michel Foussard
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 PHOTOGRAPHS
second, third or fourth impression. The mind imposes order BY
on a meaningless string of sounds - perceiving something
which is, in fact, not there - thus giving those sounds an
MAURICE BERARD
added interest and evoking a sensuous pleasure.
On the strength of these findings Seashore has
attempted a new definition 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 efficiency through the group­ The most beautiful book on guitars as
ing".
Despite this tyranny of rhythm, deviations from the
works of art ever published. Text in
rhythm in a piece of music usually increase the interest and English and French, 320 pages (12t" x
variety. This is very evident in mid-European folk-music
9+"), hard cover - textured paper.
and was successfully exploited by Bartok, both in his folk­
music transcriptions and in his original compositions, where Magnificent photographs illustrate the
unusual and striking compound rhythms are found. These, book, and most of these are in colour.
however, pale into insignificance beside the incredibly
Price £40.00 U K, post and packing
complex compound rhythms of primitive and oriental drum
players, who, with the aid of a piece of stretched skin and £2.50. Available from Ashley Mark
two unaided hands can produce a combination of rhythms, Publishing Company, Saltmeadows
cross-rhythms, accents and sonorities much too elaborate to
be scored on paper by even the most able of composers,
Road, Gateshead NE8 3AJ
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 Franz Jahnel
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 Manual of
should attempt to play this passage with the right hand
only, on the piano, fingered as indicated. Even experienced Cuitar Technology
5' 4 » 4

I $ ,,& tp W I J..
I S' .•

"" ... e/d(O.) "" The History and Technology

01 Guitar Technology

'I
Manual
An authoritative book on the evolution. technology. and
of Plucked String Instruments
materials of plucked string instruments which will become an
essential reference lext for craftsmen. students, and amateurs.
The standard source of information on the guitar family first
I publish d in German in 1963 is now available in English

I' translation.

Based on the autho(s lifelong work with guitar makers and

pianists are inclined to stumble over such a passage as this students of musical instrument technology.

Analyses all the aspects of the subject - history. design,

until it is analysed and recast mentally as in Example l(b). materials, scientific principles.
Available from
Size 24 cm x 33.5 cm, 240 pages.
Ashley Mark Publishing
E..: ..... ple lib) Copiously illustrated - there are
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166 illustrations.
design pla,ls (1: Z) of aciual instrulllents.
including
Company
Price £45.00 - Postage £2.00 Saltmeadows Road
ISBN 3920 112717

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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
 rnl concerts
at scale work in Canciller (composed by The Great British Guitar Public's
his one time teacher, Pablo Escobar). reward for Mr Estarellas's skilful perfor­
The Barrios selection was a happy mances of their native music is to stay
choice, with the artist totally at home away in large numbers from his concerts.
with this music. His renditions were based The handful of people who attended this
more on the recordings of Barrios himself recital, on a not very wet night, was small
than on published editions, and one could even by Purcell Room standards. Recent
really imagine that Barrios himself was solo recitals, even when indifferent music
playing, so well was Morel's temperament was being played (certainly not the case
attuned to the music. His own Latin on this occasion), have been much better
Impressions, which followed highlighted attended. Either the GBGP doesn't go to
the parallel between himself and Barrios. a guitar concrt to hear good music, or it
If you wished you had seen Barrios in his just doesn't like duos.
prime, go to see lorge Morel now and Paul Gregory's solo contribution
witness a similar legend in the making. consisted of the Suite Valenciana by
Morel has a powerful empathy with Vicente Asencio, preceded by his own
Gershwin (and. other great US com­ graceful tribute to the Spanish composer.
lorge Morel posers) and the three songs from Porgy 'The rising tones of the coda create the
and Bess were, for me, the highlight of the effect of an ascent to Heaven' says the
JORGE MOREL helpful programme note a b o ut
second half. Once again the performer
College of Art & Technology, Newcastle
was completely at home with the idiom. Zarabanda; it may be a play on words,
upon Tyne. 25 May 1983 but the sincerity of both conception and
The Tarantella by Rossini displayed
lorge Morel has become a regular visitor breathtaking speed, musical drive and execution was transparent. The Suite
to Newcastle and he has inevitably built technical skill. It was a showstopper that Valenciana showed a similar commit­
up a nucleus of admirers. The fact that he failed to stop the show. An enthusiastic ment, unifying the muted colours -
was presenting a completely new ovation from the audience was rewarded unusual for Spanish music - into an elo­
programme was an added attraction. by two encores; the audience would have quent whole.
Morel is known for his prowess as an liked still more, but Morel was exhausted Stephen Dodgson's 3rd Partita is full
arranger and composer as well as a having spent all day in a recording studio of melodic ideas, compressed so as to
performer; his arrangements of the (good news, that means another record in make the maximum effect in the shortest
Albeniz works were as effective as any I the offing). space of time. This is one of the things the
have heard. His Gershwin Suite retained lorge Morel is one of a handful of guitar does well, and I think Mr Dodgson
all of the essential elements of the com­ truly compelling performers on the guitar. knows it. The liturgical feeling of the 2nd
poser's score; the Rossini piece became a He is, in fact, unique. He grabs your movement, with the harmony changing
virtuoso showpiece for guitar. These attention and you are swept along by his on virtually every beat, is broken by an
works had the hallmarks of successful verve. He has a truly virtuosic technique animato long enough to count as a
arrangements They transferred the which is always geared to musical separate movement, before the Adagio
beauty of the originals to the guitar and purpose. He has a great musical skill and returns with some melodic interjections to
they sounded as though they had been the ability to convey his concept of the form the fourth movement. The fifth,
written for the instrument. If they had music to the audience with an apparent Allegro, is marked con umore - light­
any weakness it was that few performers ease reminiscent of a really good singer. hearted and robust, says the composer in
could play them nearly as convincingly as Every lover of the guitar (no matter of his programme note. And also very
lorge Morel. what persuasion) should make an effort English, he might have added. Despite
The programme was a little short on to see him in concert, or at least to obtain some beautiful moments, I did not feel
original compositions, but those there his recordings; this audience was that any significant new ground was
were demonstrated what aficionados positively thrilled by the evening's being broken, but perhaps that was not
already knew, that Morel is a composer entertainment. the intention. There are bound to be
of Latin American music at once Brian T. Arthur many more performances; meanwhile
idiomatic and original. Although the there is no doubt at all that an attractive
works are light and accessible, they and enjoyable piece of music has been
display a flair for melody, harmony and PAUL GREGORY and GABRIEL added to the repertoire of playable con­
rhythm that ensures an almost universal ESTARELLAS temporary music.
appeal. Some, such as Pampero, are Purcell Room, London. 21 May 1983 The duo has improved a lot since
evocatively impressionistic, others, such The Spanish guitarist Gabriel Estarellas their preview at the October Gallery last
as the Andante from Latin Impressions has done a lot for contemporary British year. The ensemble is well balanced and
(published in the lan/Feb issue of this music. Eleven years ago I heard him give clear; their ability to anticipate. each
magazine) are sweet and lyrical with bags two first performances in one evening - other's movements finely developed.
of saudade, yet others, such as the Richard Stoker's Improvisations and Bach's French Suite No. 3 exemplified
Allegretto from the same suite, are spicy Lennox Berkeley's Theme and their general approach: tidy, well-chosen
and humorous, this one making extensive Variations. As i f that were not enough, he tempi, relaxed, nothing sensational, but
use of 2nds. The 'piece de resistance' included Tom Eastwood's Amphora, good, thoughtful playing. The ponticello
must be the Danza Brasilera which premiered the previous week by Thomas in the Minuet was well managed, putting
should be a hit single. It is one of the Hartman. the change of tone in a proper musical
catchiest sambas ever. Eleven years on, at this 1983 recital, perspective. After some excellent con­
The audience have come to expect a he gave the first performances of Stephen trapuntal work in the Gavotte; the Gigue
fine show from lorge Morel and he Dodgson's 3rd Partita as his solo con­ was fast without being rushed. If short on
delivered the goods in no uncertain terms. tribution to the duo performance. It was immediate excitement, the musical
From the opening number, Pampero, an intelligent, highly charged reading of a integrity of this performance more than
he showed an easy virtuosity which highly accessible work that seems compensated. Sor's Fantasy in E
remained with him all evening. He went destined for a permanent place in the produced some fine tone, and an agree­
on to demonstrate a dazzling proficiency repertoire. able idiomatic style was achieved.

47
 Oliver Hunt' s new work, charm, the second in particular, with its hold on to in the way of melody and
Introduction and Toccata, was originally pizzicato trumpet-like tune and delicate harmony, and produced some graceful
for solo guitar, but it seemed over­ filigree work. playing where it was needed - in the
ambitious to the composer after the first Turimi's Sonata Op. 61 is a pleasant Allegretto Grazioso - and an expansive
draft. He rewrote it, finding two guitars enough little work by a minor composer, grandeur of tone in the final allegro.
better than one for the purpose of exploit­ useful enough for starting a recital with, 'I will play the programme from the
ing his 'musical figuration', to borrow a but not really up to occupying the centre beginning again', announced the guitarist
phrase from the programme notes. The of the stage in the most important part of in response to a request for an encore,
long melodic line was received with a recital, the twenty minutes before the bringing to mind Vladimir de Pachmann's
pleasure by an audience already made interval. It is a beautiful and charac­ reply to a similar request after he had
grateful by Dodgson's digestible tonality. teristic work by a master of great refine­ played the Hammerklavier: 'You like?
A good climax was achieved, beginning ment; dedicated to Segovia, it contains Pachmann play it again'. But Pachmann
on one guitar and ending on two, and the abundant poetry and emotion in a did play it again; Myslivecek was only
energy generated in the closing passages classical framework that makes it a joking, something at which he is as adept
made an impression that was more than worthy addition to any guitarist's as playing the guitar. In the event we got
fleeting. repertoire. the now-familiar Villa-Lobos Study No.
The last wor k, Ca stelnuovo­ Well, take your pick. There can be 1, a busy Toccata by Eben and a sonata
Tedesco's Sonatina Canonica, served no argument about Martin Myslivecek's by Carlos de Seixas.
mainly as a vehicle for the duo, by now superb playing of these masterpieces or Colin Cooper
operating smoothly in top gear. The minor works. He is not always careful
Fandango had some of the best playing of with his tone, but his dynamic range is
the evening by a richly talented duo, who impressively wide and his sense of
on this occasion achieved musical results rhythmic structure rock-solid so that he is
of a satisfying order. It only remains for able to project a piece of music as an
them to find a satisfactory audience. entity with satisfying shape and form.
One word about the encore, Pujol's Myslivecek gives the impression that no
arrangement of the Intermezzo from notes ever written are beyond his ability,
Goyescas, by Granados: Paul Gregory's though there were one or two minor and
stretch is so great that he can rest the side forgiveable fluffs. His real strength comes
of his hand on the saddle while his thumb from his unerring ability to pinpoint
operates over the soundhole, out of which tempo and rhythm with the precision of a
he charms the richest and roundest ballet dancer, achieving a unity that must
pizzicato ever to roll around a London put him into the class of great or
concert hall. An extraordinary effect, potentially great guitarists. Attention to
complemented by Gabriel Estarellas's detail is exemplary - the way he handled
sensitive but crisply formed melodic line. a crescendo in the fourth Sor minuet, for
If the depressing experience of a too-small example, and an equally sensitive
audience does not deter them, we may diminuendo in the last Soliloquy of
expect much good work in the future Tucapsky in the second half. At times the
from this accomplished duo. strong contrasts of his essentially
Colin Cooper dramatic playing tended to resolve Carlos Bonell
themselves into pure black and white,
MARTIN MYSLlVECEK whispers and shouts, but general clarity CARLOS BONELL
Wigmore Hall, London. 20 June 1983 of expression made the experience one to Wigmore Hall, London. 5 June 1983
Opinion was divided about the first half be enjoyed. The full-blooded rasgueado in There is more than a hint of the showman
of the programme chosen by the Czech the last movement of the Turina would about Carlos Bonell. Indeed, there are
guitarist Martin Myslivecek, who was have done credit to any flamenco player. echoes of Liszt or Paganini in the long
making his London debut. The following The second half found the guitarist hair, the fanciful attire and the expansive
descriptions are intended to reflect both on pretty unassailable ground, with three gestures with which the instrument is
points of view. works by contemporary Czech com­ attacked. However no ladies fainted in the
The two Pavanas by Luis Milan posers. Petr Fial, born in 1943 and the aisles at this recital for rather than the
have been heard and played so often that youngest, dedicated his Five Epigrams to demoniac poise of the nineteenth century
it is hardly necessary to play them yet Myslivecek. Short and pithy, they exploit virtuoso, Bonell's manner on the concert
again. They are well-constructed the guitar's resources in a competent way platform is relaxed and warm, chatting
examples of early Spanish contrapuntal without doing anything particularly uninhibitedly between works and over­
writing, and well worth reviving to show disturbing or strikingly new. The last of coming technical difficulty not only with
modern audiences what the guitar can do them, an allegro energico, seemed the ease but with pleasure. Nor can he be
with them. There is always someone best, with some interesting ideas une­ accused of vapid exhibitionism, for
hearing them for the first time. quivocally clothed in contemporary underlying his technical mastery is a
Abel Carlevaro's arrangements of techniques. Peter E be n ( b . 1 929) strongly felt poetic spirit most at home in
Gaspar Sanz's Spanish Dances are fussy represents an older generation. His music that allows a measure of expressive
and superfluous. Cleverly adapted for six­ rhapsodic variations Tabulatura Nova licence.
string guitar by a contemporary master of were prefaced by the delightful experience The evening began with works by
the fingerboard, they reveal the Baroque of hearing a classical guitarist actually Napoleon Coste, possibly receiving their
age of guitar music in all its glory. Sor's sing on the Wigmore Hall platform. first performance for over a century. The
Four Minuets are insubstantial salon Myslivecek did it quite well, all things Grande Serenade is not an easy work for
pieces with a certain romantic charm, considered. It took courage, but he is the the audience; rather long and highly
useful as encores but scarcely suitable for sort of born performer who could virtuosic, it too often appears to
playing in groups of four as if they probably play and sing while standing on deteriorate into mere gesture. The
somehow constituted an important his head, if he thought the circumstances Andante opus 39 and Polonaise opus 1 4
sonata. They have established themselves required it. Eben's work uses the full contain more of the fine melodic sense
as firm favourites in the guitar repertoire, range of the guitar, but it was slightly that is Coste's greatest asset. The
and no true guitar recital is complete disappointing that more was not made of polished and romantic performance these
without at least some Sor. These traditional Czech forms. Soliloquies, by works received will undoubtedly add to
characteristic pieces have considerable Antonin Tucapsky (b. 1982) had more to Coste's growing reputation.

48
 Ginastera's Sonata is turning up some marvellous phrasing and virtuosity. tonal contrasts. The concluding Leyenda
quite frequently in programmes at the Some of the last variations were played at was played at a breathtaking speed
moment so one wonders whether Bonell's a phenomonal speed but the performance though Neil Smith was in enviable
apologia for its more unusual sonorities was nothing short of excellent. Neil command of the technique of his instru­
was really needed. Those who did find the followed this with a thoughtful interpreta­ ment. The audience clearly enjoyed every
'special effects' troubling would do well to tion of the Andante Largo Op. 5 and moment of the recital and Neil had to
shut their eyes for they are far more finished the group with the Gran Solo Op. give two encores - the Xodo de Baiana
disturbing visually than aurally. Bonell 14. I have heard Neil Smith play this by Reis and a Danza by Ruiz-Pipo.
played with such conviction and unstopp­ work several times and was most Neil Smith undoubtedly has a
able energy that even the most conserva­ impressed by the way his interpretation of mastery of technique and in my opinion
tive listener must have been won over. In the piece has grown over the years. His his playing has matured considerably
the Sonata Ginastera has created a performance showed plenty of dash and over the years; the communication and
musical language in which pitch has verve but in the few moments of repose rapport that he can create with an
become secondary to colour and texture. that the piece offered the contrast audience shows him to be an artist of the
What lies beneath the exciting and obtained was beautifully sensitive. very highest degree, destined to become
innovative exterior only time will reveal. Then we moved into the 20th one of the great guitarists of our day.
After the fireworks of the first half century with John Duarte's Danseries Important also is that he is always keen
Walton's Five Bagatelles were surpris­ No. 2 which is a tongue in cheek look at to pass on his knowledge to other
ingly reserved. It was probably to the two types of dances: the tango and the guitarists as he did the day following the
good that Bonell tempered his poetic feel­ tarantella. The works are full of concert in a workshop which was also
ings a little in this work which certainly unexpected chromaticisms and Neil sponsored by the Bristol Spanish Guitar
does not benefit from an excess of Smith gave a humorol1s, almost theatrical Centre. Unfortunately I was unable to
romanticism. It is to be feared that the performance of these quite technically attend on this occasion due to illness, but
year of Walton's death will bring many demanding pieces. reports suggest that it was a most
second-rate performances of the The first half of the recital ended illuminating experience and one which
Bagatelles, s o i t was gratifying t o hear a with two favourites by Timega - the proved to be a big success.
good one. Capricho Arabe and the famous Dave Shepherd
Granados' Spanish Dance No. 6 was Recuerdos de la Alhambra which,
heard in a new arrangement for guitar although it contained a couple of very ROBIN PEARS O N and KATE
and electronic watch alarms. Despite the minor slips, was given a marvellous DICKINSON
interruptions Bonell was completely in his performance. Churchill Hall, Worksop College. 27
element with this piece, exploiting to the After the interval we heard works by May 1983
full his remarkably fluid approach to three composers, the first of which was The distinctly 'English' setting of
tone. Likewise Barrios' Armonias de Barrios. Neil Smith played a 1914 version Work sop College recently played host to
America and La Catedral were ideally of La Catedral and the 'difficult' version a concert by Robin Pearson (Midlands
suited to Bonell's temperament. If Barrios of the Danza Paraguaya which was Spanish Guitar Centre Principal) and
is remembered for one work and no other absolutely astonishing. Kate Dickinson.
it will surely be La Catedral which so Next came the first performance of The sparse attendance of only 76,
remarkably evokes the sound of a mighty Gareth Waiters' Jigges and Fancies. It is albeit devotees, was probably occasioned
organ thundering away. In this work a short four movement work consisting of by the clash of dates with the FA Cup
Bonell's virtuosity and romantic spirit two jigges and two fancies, its title relat­ final replay!
were in perfect balance creating a perfor­ ing back to the Renaissance, and this However, the empty seats didn't
mance that was, for this reviewer at least, reference to times gone by was reflected deter Robin and Kate from providing a
the high point of the recital. in the mood of the opening Fancie which memorable evening.
Encores of a Paganini Menuet and a was slow, brooding and nostalgic. The The first duet was Andante from
Mudarra Fantasia rounded off a recital Jigge, in contrast, had a jaunty, rhythmic Concerto in G by Vivaldi. Under­
that combined the popular and the vitality. The second Fancie had much standably, for the opening piece, the
unusual. Though a little inclined to let his more forward momentum than the first sound was a little impassive, although the
hands run away with him Bonell dis­ and was the most memorable of all the performance was predictably precise.
tinguished himself as a musician of con­ movements. Leaning quite heavily on Kate Dickinson then performed two
siderable gifts not the least of which is the tonality it had a very pleasing melody solo items; Passacaglia by Weiss, and
ability to give pleasure to his audience. although again it was mostly solo line Sor's Marlborough Variations. Her
Nicholas Hudis work. The piece ended with another technique was virtually flawless, but she
rhythmic and syncopated Jigge which tended to diffuse a rather too formal
made more use of controlled dissonances, atmosphere.
NEIL SMITH
finishing with a pleasantly unresolved This solemnity was dispersed on the
Bristol Polytechnic. 3 June 1983 chord. In all it was an interesting and return of Pearson. He radiates personality
This concert was an important event for pleasing new work which was well and warmth, and established a comfort­
guitarists and one which drew an received by the large audience who gave able rapport with the audience.
audience from many miles around. It both the performer and the composer a After a confident rendition of
marked the return to Bristol after an warm reception, and because the work is Yokoh's Variations on Sakura, Pearson
absence of two years of the ever popular not too technically demanding it should performed one of his own compositions,
Neil Smith to give the latest concert in the prove a popular addition to many a Guitar Calendar. This marvellous entity
marvellous season promoted by the guitarist's repertoire when it is published consists of twelve passages representing
Bristol Spanish Guitar Centre. The by O.U.P. the guitarist's musical interpretation of
audience was treated also to the first The programme ended with a sub­ the year. To allow the piece to flow
performance of a new work by the stantial group of pieces by Albeniz. In the uninterrupted, the audience respected
English composer Gareth Waiters so it Rumores de la Caleta we see probably Pearson's request not to applaud for a
was in all an auspicious occasion. the most obvious use by Albeniz of his year!
The recital began with the Pavanas, native flamenco idiom and Neil Smith After the interval, Kate performed
Espanoleta and Canarios by Gaspar played it with plenty of latin verve. Neil three pieces including Barrios' Choro de
Sanz before moving on to a group of then almost danced his way through his Saudade, a little pedantic despite the
pieces by Sor. The first of these was the own arrangement of the Capricho impressive and colourful array of sounds.
perennial Variations on a theme of Catalan but it was a very effective Robin then re-appeared with a
Mozart in which Neil Smith displayed interpretation with a good deployment of spirited Variations by Rak, and followed

49
 this with three of his own items from La ments into a language that is modern and harpsichords. There was never a moment
Guitarra Flamenca which admirably immediate as well as rooted in traditions, lacking in musical energy and the cross
displayed his technical fortitude. both ethnic and classical. Although one string trills in the first movement were
The evening closed with seven duets must not be rash with predictions it is not breathtaking. In one contrapuntal section
from Pearson's Side by Side. Despite the beyond possibility that time will prove a beautiful thin tone was produced (how
apparent simplicity of the pieces, a pleas­ Gilbert Biberian to be one of the most sig­ many guitarists can produce a beautiful
ing tone was produced, drawing an nificant figures to have devoted himself to thin tone?). Above all there was the
interesting recital to a fitting close. writing for the guitar. Russell hallmark of an interpretation that
Gareth Thompson There was more contemporary always seems spontaneous but con­
music with the third performance of trolled; always powerful but never exces­
GILBERT BIBERIAN Alfred Nieman's The Earth is Your Shoe. sive.
Rosslyn Hill Chapel, Hampstead. 7 June 'Mac the Knife' in the 'Threepenny Before the Baroque and psuedo­
1983 Opera' might be talking about this work Baroque we heard Napoleon Coste's
'If you don't eat up your Smith-Brindle when he says 'It's not nice, you fool, it's Introduction and Polonaise Op. 44. With
you can't have your Albeniz'. This art'. It was written, I am told, to startle its wealth of good tunes, this is 19th
attitude often seems to accompany the conservative guitar audiences. This it did century salon music at its very best.
presentation of contemporary works in not really do, although at least one person Coste may be becoming the fad of the
guitar recitals, where, sandwi ched visibly stiffened when the bottleneck was day, but this work should be here to stay,
penitentially between salon pieces and produced. He was not seen again after the particularly if it is always played with the
lollipops they are heard to poor interval. The work was subtly disturbing, charm and warmth David Russell
advantage. Thus it was pleasing to hear a with a nightmarish kaleidoscope of brought to it.
recital devoted to contemporary music. In sounds, few of which were familiar or Apart from two short works by
fact Bach and Villa Lobos were also on comfortable. Another critic has described Gilbert Biberian the rest of the pro­
the programme but the real business of Mr Nieman as being like a young gramme was Spanish. The Biberian, a
the evening was the performance of schoolboy. The 'schoolboy' was present Chopinesque waltz and a prelude,
works either written for, or by, the soloist. this evening, tall and white haired, to revealed the composer in one of his more
The latter made up the bulk of the embrace and congratulate Gilbert tonal moods. T!mega's totally grotesque
programme, allowing the audience to Biberian on his convincing rendering of a Variations on the Carnival of Venice
become completely absorbed into the work which cannot be any easier for the were played with appropriate humour
musical language of one man. It is a performer than for the audience. and a wry smile at the pauses. It is hard
remarkable language. Biberian spoke of This reviewer has dwelt on Biberian not to sing along whichever set of inane
the importance of improvisatory techni­ the composer but Biberian the performer words you know.
ques in his compositions and indeed, like is a no less formidable figure. No whizz­ Ro drigo's Invocacion y Danza
improvisations, his ideas grow naturally kid, he plays with dignity and total com­ brought the recital into the flamenco in­
and logically out of the fingerboard. One mitment. His tone is rich but with a spired idiom in which it remained through
could say there is a level at which these poignant edge capable of producing on Turina's Sonata and Tango and
works are the apotheosis of the 'doodle' the lower strings some of the most beauti­ Seguidilla by Pujol. Of these works the
- those fragments we have all heard in ful sounds I have heard from a guitar. No Rodrigo comes closest to evoking Lorca's
our inner ear and failed to bring to sub­ matter if his Bach and Villa Lobos were a 'Llanto de la guitarra' but ultimately in
stance. However, this is only one level, little rushed, they were not the point of music of this kind it is the tunes that
for in Gilbert Biberian's hands the the occasion. This was after all no count, and tunes were in abundance.
'doodle' has grown into an intense and ordinary recital but a chance to share the Perhaps David Russell's programme
fully worked out whole, bearing witness vision of a truly remarkable and original lacked a little in substance but he is the
to considerable thought. The composer musical mind. kind of guitarist who could captivate an
has said that Beethoven is his musical god Nicholas Hudis audience with Twinkle Twinkle Little
and this influence can certainly be discer­ Star. It is not simply faultless technique
ned in the uncompromising development nor a deceptively carefree stage manner;
of themes and particularly in the way DAVID RUSSELL it is sensitive and natural musicianship
every note emerges full of significance. Lucy Cavendish College, Cambridge. 26 that puts David Russell into the top rank
Six Haiku (1978), like the poems June 1983 of guitarists.
which inspired them, are a remarkable The relaxed atmosphere and pleasant sur­ Nicholas Hudis
feat of compression and intimacy which roundings of Chris Kilvington's Cam­
at this recital somehow won a battle bridge Guitar Workshops provide
against Hampstead's operatic blackbirds excellent conditions in which to hear
with their Boeing 747 continuo. At times major guitarists. On this occasion an
the mingling harmonics, which are a appreciative audience responded enthusi­
special feature of the work, seemed to astically to the light and entertaining
resonate throughout the whole chapel. programme played by David Russell.
Monogram (1977) grows from silence Although it must be granted that we
and returns to silence and in between live in more musically enlightened times
makes an involved exploration of its than previous generations, it is difficult to ROBERT
material. Structurally, it must be one of understand how Ponce's Suite in A could
the most satisfactory works written for ever have passed as genuine Weiss. It is BRIGHTMORE
the guitar. about as baroque as chili con carni. This 'CLASSICAL GUITAR'
Preludes Book II was receiving its was never more apparent than this
VPS 1077
second performance. Despite the implica­ evening when it was followed by the
tions of the title these works are not utterly authentic keyboard Suite No. 7 by
Handel. A rich dose of romanticism in This outstanding recording is
miniatures. Each is a complex and highly
available for £5.50
developed sound poem and the group as a David Russell's interpretation showed
(including postage and packing)
whole adds up to an experience on a scale that he had no doubt about the historical
from:
rarely heard in guitar music. Gilbert position of the Ponce. A rollicking Gigue Ashley Mark Publishing Company
Biberian's Near Eastern background is brought the work to a satisfying conclu­ Saltmeadows Road, Gateshead
particularly apparent in these works, not sion. NE83AJ
as undigested folkiness or sentimental The Handel was a triumph; even the
nationalism but welded with other ele­ sceptical could sit back and forget about

50
 for two lutes, preceded the Schubert, and wind, to which the strings adjusted,
illustrated the thesis that the Bream/ leaving the harpist out on a limb. By the
Williams partnership is more a matter of time Spohr's Nonet in FOp. 31 was
contrast than of concordance, containing reached, with no harp to consider, tuning
an element of the ping-pong battle that had adjusted to the severe humidity. The
does not however conflict with the need guitars, for once, did not seem to be
to make two guitar parts into a coherent unduly affected.
whole. Some deftly phrased bass in the Paul French wrote his Ibizan Lift
Combattans movement was a measure of Music for the combined forces of Endy­
the high quality. mion and Omega. A good joke, but not
Julian Bream's prowess on the lute quite pointed enough. The guitars did not
was evoked in a short but exquisitely have a lot to do, which was a pity.
phrased group of Dowland songs, in It was sad to hear that the Omega
which the excellent Robert Tear darkened Guitar Quartet have decided to split up.
his voice to striking effect for If My Pressure of other engagements seems to
Complaints, reverting to light and be the main reason. So well-adjusted an
humour even more effectively for Sweet ensemble cannot maintain standards with
Stay A while. Tear's superb diction made deputies, and the increasing risk of con­
Britten's Songs from the Chinese easy to flicting engagements made the future
follow for once, with a corresponding more than ever a matter of uncertainty.
boost to one's perception of the difficult For more than ten years the Omega
guitar part. John Wiliiams made light of Quartet have led the way in guitar
difficulties that for many guitarists are a ensemble music in this country, achieving
deterrent to learning the part at all, international recognition in consequence.
imbuing the music with a sparkle and They stimulated a quite remarkable
Julian Bream
incisiveness that played a large part in amount of original composition, and pre­
JULIAN BREAM making this group the critical success of sented other and established works in
50th Birthday Celebration the evening. It was also the best thing I skilful and effective arrangements by
Wigmore Hall, London. 15 July 1983 have heard John Williams do for some founder Gilbert Biberian, Colin Downs,
time - a well-aimed shaft in the direction Bernard Watson, John Taylor and others.
It is rare for a Bream concert to go by
of those who tend to see him as a once­ Bach, Handel; Debussy and many other
without at least a few words spoken by
fine player ruined by popular success. 'classics' all had their genius displayed in
the maestro, however informal. This was
Nothing could be further from the truth. these unusual circumstances. One of the
one of them. Obviously pleased by the
The superbly executed Jigados in most astonishing feats was to transform
warmth of his reception, he returned to
Depression, the almost nonchalant treat­ Giovanni Gabrieli's pieces for antiphonal
the platform again and again, but only
ment of the descending chromatic chords brass into pieces for antiphonal guitar,
once to play an encore - a repeat of the
in Dance Song and the stimulating vigour and still retain the overall effect.
Zingara movement from Schubert's
of The Big Chariot represented classical Ensembles come and go in all
quartet version of Matiegka's Op. 21
guitar playing at its best, the equal in spheres of music. Other quartets survive
Trio. The prolonged cheering and
every way of Robert Tear's finely crafted to carry on the good work. The members
applause could have left a stranger in no
and supremely intelligent handling of the of the Omega Quartet - Colin Downs,
doubt about the esteem and affection in
vocal line. No one could have had a Barnard Watson, John Taylor and
which this most poetic of guitarists is held
better fiftieth birthday present. Forbes Henderson - will undoubtedly
in his native city. How pleasant to
Colin Cooper find other ways of making an effective
observe, for once, a prophet with honour
contribution, but their uniquely combined
in his own land.
THE OMEGA GUI TAR QUART E T effort will be greatly missed.
The Schubert/Matiegka Quartet/
with THE ENDYMION ENSEMBLE Colin Cooper
Trio had some excellent dialogues
between viola, cello and flute (John 1983 Y outh & M usic Cushion Concerts
Underwood, Stephen Orton and William Royal Academy of Arts, London. 7 July G E RA LD G A RCI A, GI L B E RT
Bennett respectively), complemented by 1983 BI BERIAN and PERI ASTON
sturdy if sometimes over-emphatic guitar The discomforts of sitting on a cushion in Rosslyn Hill Chapel, London 5 July 1983
work from the subject of the evening's an over-hot room soon disappeared as the Biberian's Pierrot for two guitars and
celebrations. The Lento produced a true Omega four attacked Grieg's Holberg mime was the main work in this
Schubertian flavour, making the addition Suite with their customary zest and preci­ programme, and was performed with elo­
of the cello part seem less like an sion. Bernard Watson's arrangement - quence and grace by Peri Aston and the
unwarranted tampering with another based on the original piano version, but guitars of Gerald Garcia and the com­
composer's work and more like a stroke with reference also to Grieg's own poser. Thi&is Biberian in lyrical mood,
of genius. arrangement for string orchestra - abandoning the density of thought and
Bream's own transcription of stands up as well as ever, though I wish texture that makes sure of his music too
Schubert's G minor quartet (D 173) for they wouldn't take the Rigaudon at such 'modern' for ears unwilling to make the
two guitars is less successful, so many are a furious lick. With such clear and strong effort of comprehension. The French
the problems involved in turning four professionalism having gone before, it song Au Clair de la Lune is treated in a
parts into two. But a fine pace was comes as something of a shock to find number of ways, and so is another 'folk'
generated and maintained, and as a tour details suddenly becoming blurred. song that turns out to be an invention of
de force in a 'modest celebration' Episodes from Falla's El Amor the composer. The lightish texture makes
(Bream's own words) it worked pretty Brujo, arranged by Colin Downs, had for easy digestion, while the melodic
well and was received with enthusiasm. some excellently idiomatic rubato in the invention and the firm rhythmic base lend
John Williams was not only the obvious Tango; a model of ensemble playing by delights of their own. It is the harmonic
choice as a partner but undoubtedly the four guitarists who have been playing structure of the work that yields the most
best and, artistically speaking, possibly together long enough to be able to time enjoyable reward, however. Surely an
the only. The two guitarists know each their attack to a split second. advance on Columbine, Pierrot is one of
other's work so intimately that they can A cO,ol and refreshing account of Biberian's most telling works.
take liberties that would require many Ravel's Introduction and A l/egro for Some scrappiness in ensemble
hours of rehearsal for less gifted players. Harp, Flute, Clarinet and String Quartet reduced the impact of Bach's second
Telemann's Partie de Polonaise, written was marred only by the rising pitch of the English Suite, though some notable

51
 profundity was achieved in the Sarabande cor anglais tone complemented Bright­ Gascoigne's somewhat meandering
despite a misunderstanding. George more's firm and resonant sound, Stream, written for the ensemble. The
Zarb's three Preludes received a deserved heightening the tension to a satisfying applause for Vivaldi's little concerto for
outing in Gerald Garcia's capable hands. degree. Something of this intensity carried sopranil}o recorder was no greater - or
Melodic, not difficult to grasp at a first over to the last movement, where con­ less - than that for the guitar pieces by
hearing, they show an intuitive under­ ductor and performers appeared to prefer Barrios, played by John Williams with the
standing of what makes good guitar a continuation of the first movement's skill and insight that perhaps we tend to
music, with some e ve changes of heady poetry to the lightness of spirit take too much for granted. It was difficult
mood nicely placed by the composer and suggested by Rodrigo's phrase 'the to decide where the audience's tastes lay.
fully appreciated by the performer. James hidden breeze that stirs the treetops'. The Possibly people ask for little more than
Patten's Appell,'-in a first performance, final descending passage came over as a seeing their favourite group enjoy
was more difficult, with abrupt phrases reflective epilogue to a deeply felt themselves with some not very demand­
coming and going before they could be experience rather than as a lighthearted ing music. Enjoy themselves they
assimilated. There were', clever res­ flourish. certainly did, with acrobatic work by the
onances, and good use was made of over­ The first performance in London of percussionist, some deft footwork by the
tones in the first section. Percussiveness, Rodrigo's Musica para un co dice clever player of the recorder (and the
carefully placed dissonances and an salmantino was a notable event. Set to flute, crumhorn and tin whistle) and the
awareness of tonal values all made an distinguished verse by Miguel de sort of rapport among musicians that
impression, and a further hearing should Unamuno, it is almost operatic in its makes observers feel left out if they
make things clearer. Gilbert Biberian treatment. The powerful and sonorous cannot go all the way with it. In fairness,
played with his usual great care to present bass voice of Noel Mann did much to just about everyody seemed more than
the composer's case in as favourable a bring about success. So, possibly, did the willing to go all the way with it.
light as possible. His arrangements of decision (made with the composer's per­ The Guitar Is The Song is the title of
Bartok's familiar Roumanian Dances for mission) to use a full body of strings a medley of popular and traditional music
two guitars are so enjoyable in their astr­ instead of the original 'one-of-each-plus­ from many countries, arranged with a lot
ingent brevity that one is continually a-handful-of-wind' formula. The warmth of percussive effects that only ocasionally
regretting that they are over before the of the Bournemouth strings gave the enhanced the music. Only towards the
taste buds can adjust. singer a Veridan backing that he end did some unadorned folk music
Colin Cooper appeared to relish. emerge, when two South Americans took
Rodrigo's Canticos Nupciales was the stage with cuatro and charango to
also receiving its first London perfor­ show how little arranging is needed in the
mance - and its third ever, including one best folk music.
in Portsmouth in June and one on the Colin Cooper
occasion of the composer's daughter's
wedding in 1963. Without the trappings A NGEL RO MERO wi th th e
of the marriage ceremony itself, the Bournemouth Symphony Orchestra
'jubilant discords' fell a little below the (cond. Van Pascal Tortelier)
required feeling of joy, though organist Colston Hall, Bristol. 8 July 1983
Derek Fry made so good a use of the
The Aranjuez must surely be one of the
opportunities offered to him in solo
most overplayed works in the classical
passages that Rodrigo ought to write him
concerto repertoire but such is its intrinsic
an organ concerto.
quality and charm that one never really
Two choruses from Atlantida show
tires of it. Add to this the large number of
Falla at his most devotional, a mood
interpretations one hears and there is
reversed at the end of the evening with a
always some new aspect of the work to be
lively account of the music from the ballet
found in each performance. This was
El Amor Brujo, in which paganism and
certainly the case on this occasion when
ritual are the basis of sheer musical
we were treated to Angel Romero's
inventiveness. This was undoubtedly the
sparkling interpretation, imbued with a
most exciting music of the evening, the
strongly nationalistic quality for this most
warm sound and crisp attack of the
characteristically Spanish work.
Renaissance Choir and the Bournemouth
The opening rasgueados of the first
Sinfonietta serving as a reminder of the
movement showed the way for a clear
great wealth of professional talent exist­
and uncluttered account while the second
ing and, it is to be hoped, flourishing in
movement was once again the highlight of
Robert Brightmore the provinces of Britain.
the evening; one could almost compare it
Colin Cooper
MUSIC OF SP AIN with a soulful flamenco player, such was
Queen Elizabeth Hall, London. 3 July the range of emotions displayed. From a
1983 JOHN WILLIAMS AND FRIENDS lyrical beginning it developed through
Difficulties with the orchestral parts Royal Festival Hall, London. 29 June moments of passion and reflective
deprived London of the opportunity to 1983 solitude. The cadenza itself was
hear Rodrigo's Madrigal Concerto for Several thousand people paid large sums breathtaking and was played
two guitars, originally written for Presti of money to hear the great guitarist and tremendously fast though there was
and Lagoya but eventually performed by his friends perform an odd mixture of nothing at all technically lacking from the
the Romero brothers. David Russell and music from the banal to the poetic. Few performance. After all this the last move­
Robet Brightmore were to have perfor­ of these eager consumers would even ment seemed almost like an anticlimax.
med the work. I hope difficulties will be imagine themselves at a Wigmore Hall The performance was memorable
overcome and the event restaged. recital; for them, there is only one indeed from the technical and musical
On this occasion Robert Brightmore guitarist in the world, and his name is aspects but was far from being perfect.
performed the Aranjuez instead, and John Williams. It is a strange phenom­ Angel Romero chose to use amplification
although opportunities for hearing it in enon. in the large hall but unfortunately the
London appear to be limitless, the Reasonably, a concerto by Vivaldi balance wasn't as good as it might have
integrity of his playing and the qualities of arranged for two guitars (Gerald Garcia been, with the guitar at times still not
the Bournemouth Sinfonietta made it an was the other guitarist) was greatly being heard clearly, and with some loss of
unusually pleasurable experience. Good enjoyed, but so apparently was Brian tone colour and quality. Also, the evening

52
· 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 flamenco 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
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 confident 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
its 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 flower,
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 Sunday

organised by Simon Cohen and Peter Cruddas was held at A seminar on Sor's Variations on a Theme o/Mozart, in
the Castle Chare Community Arts Centre in Durham. The which Simon compared a copy of the original version with a
main aim of the course was to provide an opportunity for later edition. Some of the differences to emerge included
guitar-minded people to get together for a concentrated altered fingerings, the addition, deletion and regrouping of
weekend session, the emphasis being on a relaxed, friendly notes, and, in the later version, the omission of the entire
and informal approach. The format of the weekend was as introduction! Simon ended the seminar by performing the
follows: 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
Friday evening
masterclass on Sunday afternoon, during which a number
A time for introductions, a substantial cold buffet and a
of us were put through our paces. Neil's approach was
chance to examine the large selection of music on display ­
down-to-earth, encouraging and totally professional, and I
collections and compilations of the works of the major
was particularly interested in his observations on the group­
guitar composers, individual pieces and numerous duets,
ing of notes in some of the music of Sor, Carcassi, Giuliani
trios and quartets at a variety of standards. A 'playaround'
and Carulli, and how the manner in which the stems of the
for anyone who wished to participate, and solos and a duet
notes are written can be taken as an indication of the
from Simon and Peter to round off the evening.
separation of the parts, or instead of phrase marks. Equally
informative was the chat during the coffee break in which
Neil was asked about the lifestyle of the professional
Saturday classical guitarist - meticulous planning and constant atten­
Working through Trinity College Grade lists in some depth. tion to detail seem to be the watchwords here.
As well as the technical and musical problems presented by Sunday evening's student concert brought the
the pieces, other aspects covered were the use of the rest opportunity to show our colleagues what we could do, and
stroke, alternative left-hand fingerings, care of the nails and it was pleasing to note that a lot of the programme consisted
various 'damping' methods and vibrato techniques. of ensemble pieces performed by people who had been
Lunch in the adjoining 'Pot of Basil' restaurant strangers at the beginning of the course. Indeed some of the
followed by an afternoon of loosely defined groups working players had hardly ever performed to anyone before, and
through duets, trios and quartets, and individuals in quiet the concert provided a nerve-racking but fulfilling end to
corners getting to grips with some of the techniques covered what had proved to be a packed weekend.
in the morning session. Simon and Peter were constantly on In retrospect, the main impressions to stay with me are
hand with advice and encouragement. the importance of the fun and enjoyment inherent in guitar
Late that afternoon local lutenist Jim Bickel gave a talk playing (but which can sometimes be overshadowed by
on lutes and lute making, and after discussing how tablature problems of technique or interpretation) and the
differed according to its country of origin, he demonstated individuality of the instrument. My own major discovery
his points by playing a variety of examples of music for the was that there is no right or wrong way to play the guitar ­
lute. A number of instruments were passed around for in­ it is that which. suits the player concerned which should be
spection and all questions were readily answered. the main consideration.

53
REVIEWS I
LE DUO ROMANTIQUE
F E D ER I C O MOR ETTI: S o n a t a ;
FERNANDO SOR: L'Encouragement;
L U IG I C A S T ELL A C C I: Hu i t
Montferines; 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 difference 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
Montferine by Castellacci and in the two
pieces by Ferrer y Esteve which I found a
pleasant discovery. The Sor suffers 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 final
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
R o m a n t iqu e f o r u n e a r t h i n g 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 Kiimmerling and Leif Christensen
(guitars)
Paula Prod. nr. 14 (distributor in the UK:
Tecla Editions)
This record by Maria Kiimmerling 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 first
time. The celebrated Russian melodies
weave in and out, the 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 Kiimmerl­
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 JejJery
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 justified.
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
records
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 magnificent.
Christensen takes the difficulties 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 JejJery
MIGUEL LL OBET: Obr a s 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 first 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.
Christ nsen's performance responds
to the composer's achievement, bringing
out the strength of the Variations on a
Theme of Sor, the restlessness of the
impressionistic preludes, the
melodiousness of the songs of this com­
poser's native country. One of the finest
of guitar records.
Brian JejJery
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,
effective 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 dormir a un negrito (Valdes); Cuba and those who favour the combination of
greedy pleasure that demands more of the dentro de un piano (Alberti); ANON: guitar with the singing voice, will possibly
same. But time moves on, and classical (Elizabethan) I saw her; JOSEPH find a sufficient variety of sound on this
guitars occupy the remainder of the side CANTALOUBE: (from Songs of the record to give pleasure.
and of the record. Pujol's Manola del Auvergne) Lo Fiolaire (Series 3 No. 1); Charles Scott
Avapies has a flexible grace. Gismonti's L'Aio de rotso (Series 1 No. 3a);
Dam;a no. 2 ushers in the contemporary FEDERICO MOMPOU: Esta noche un FE RNANDO SOR: LA GUITARE EN
guitar with a percussive clang. Liverpool mismo viento; Solo lasflores sobre ti; Te D UO
Sound, an improvization devised by presentia como el mar; ENRIQUE Divertimento Op. 62
Gerard Rebours and based on Beatles' GRANADOS: La Maja de Goya; Les deux Amis Op. 41
works, concludes side one and lasts SERGEI RACHMANINOFF: Vocalise Le premier pas vers moi Op. 53
nearly seven minutes, the longest work on Opus 34 No. 14 Andantino, Allegretto
the record. A certain dreaminess, though Riki Turofsky (soprano) and Michael Fantaisie Op. 38
pleasant, suggests nostalgia rather than Laucke (guitar) Souvenir de Russie Op. 63
the down-to-earth Liverpool lads. Aquitaine Philippe Lemaigre, Guy Lukowski
Side 2 begins with several of Comparisons may be odious; but, on (guitars)
Vladimir Bobri's arrangements of popular hearing the first five songs on this record Pavane Records ADW 7016
traditional music from Russia, Hungary I found myself measuring the work of this Sor's reputation as the foremost of the
and Rumania. None of them is a waste of Canadian couple against the similar com­ classical guitarist composers rests on a
anyone's time, though the deeper emo­ bination of the Brazilian contralto Salli handful of his compositions. It is
tions are seldom engaged. A transcription Terri and guitarist Laurindo Almeida in a therefore interesting to see a record
of some children's piano pieces by the 1958 recording Duets . with the Spanish devoted to a less familiar part of his
contemporary Turkish composer I1han guitar (Capitol P.8406) - a record output. This record is not a musicological
Baran strikes an unfamiliar and which bids fair to become an 'evergreen', exercise and the interpretations are very
refreshing note among all this Tziganery. its popularity compelling several re­ modern, exploiting to the full the
The intervals are strange, the rhythms issues. Noting that Miss Turofsky hailed resonance and power of the post-Torres
intriguing, and a certain astringency from Toronto and for many years lived in guitar. Both Lemaigre and Lukowski
about it makes a welcome contrast to all the Yukon, I wondered how she would produce a rich bell-like tone, and there
the sweetness that has gone before. come to terms with the Brazilian and are times when they seem to overwhelm
La Rue des Reves is Hajdidakis in Iberian music which predominates on the the music. Perhaps flesh technique and
his familiar style, with the guitarists record. In fact, in trying to achieve the early guitars would have been more sensi­
reproducing the bouzouki sound with simple style of what is basically folk t i v e . H o w e v e r if s c r u p l e s a b o u t
slightly tongue-in-cheek but wholly music, the singer produces a rather thin authenticity are cast aside the lively and
delightful gusto. Such lively music ought tone, which is sometimes out of tune. The romantic mood of this record is very
to be happy, but there is an underlying tone required is more one of warmth and pleasing.
melancholy. There is a truly funky bass sunshine; often it is breathy, and is As for the music itself, Sor handles
note at one point, apparently produced by neither concentrated nor focussed. the medium of two guitars with impres­
an instrument called .the 'folk theorbo However, on some of the 'art' songs, she sive craftsmanship. Both guitars are kept
guitar'. A tarantella arranged by Bobri achieves quite an exuberant operatic tone busy and the texture is rich and varied.
concludes the Mediterranean section, which is more her natural voice. Listening The shorter pieces work best, such as the
after which we make it landfall in South to the present record one is forced into delightful Andante Cantabile from Op.
America: Mexico (Bobri again, arranging regretful comparisons. 62. In the longer works a lack of drama
Viva la Chontalpa, Argentina (Tango by In Punto de habanera the singer and a sameness of tonality resulting from
Nunes), Paraguay (Danza no. 1, Barrios) achieves a fair degree of Latin verve, and the theme and variations form makes for
and Brasil (Tico-Tico no Fuba). cleverly parodies an operatic style, with tediousness. Sor's fatal weakness is an
The Barrios piece was arranged for comic effect in Cuba dentro de un piano. inability to develop his themes in convinc­
two guitars by the composer, as was the The Elizabethan I saw her is a beautiful ing ways. Ultimately he is just too
Nunes work and the Pujol piece on side song, and here is beautifully sung, but, by pleasant and urbane to back up his crafts­
one. The other two pieces are cheerful virtue of the guitarist's very full manship with inspiration. However those
nonsense, barely over two minutes in accompaniment, sounds strangely who, like the present reviewer, retain an
combined length, and guaranteed to raise 'modern' (possibly because these days we affection for Sor's music, will find this a
a smile on the coldest English day, have such a plethora of performers welcome addition to the available Sor
though perhaps not in the coldest accompanying such songs on the lute, or, recordings.
intellectual circles. if on the guitar, with an authentic Nicholas Hudis
Rebours and Cadour formed their 'Renaissance' sound!).
duo in 1978, and so have had time to Cantaloube's Songs from the
settle down. Familiarity allows them to Aubergne, as has been superbly demon­ J OHAN N S EBAS T IAN BACH:
play very fast and still retain a oneness. strated by Joy Hyman with the brilliant SIL VIUS LEOPOLD WEISS
They can take unblushing liberties with young American guitarist, Gregg Nestor, BACH: Suite for lute BWV995; WEISS:
rubato and still stay together. Their are ideal material for the combination of Prelude; Tombeau sur la mort de M.
playing, over so wide a range and on so voice and guitar; truly complicated Comte de Logy; Fantasy in E minor;
many different instruments, is never less 'duets', to which both singer and player Tombeau sur la mort de M. Cajetan
than very good, and sometimes brilliant. here do justice. The trio of songs by Baron d'Hartig; Ciaccona; Plainte;
As a celebration of nearly five hundred Mompou are well varied with the guitarist Gavotte
years of fretted music, this enjoyable demonstrating his sympathy with the Oscar Caceres (guitar)
record will do as well as any, and better singer. La Maja de Goya is, of course, Pavane ADW 7040
than most. well-known to guitarists as being one of The third of Bach's lute suites, syn­
Colin Cooper the favourites in the repertoire of Segovia. onymous with his Suite for 'cello in C
The final piece (new to me) by minor, is a gentle work when c.ompared
JADE EYES Rachmaninoff has a beautiful, haunting with the passion and exuberance to be
HEITO VILLA-LOBOS: Blue Dusk melody; a wordless song with an found in the others. Caceres captures the
(Tarde Azul); Love Song (Cancao de accompaniment of dark sombre guitar reflective mood beautifully in the expres­
Amor); XAVIER MONTSALVATGE: harmonies. sive opening to the Praeludium and whilst
(from Cinco Canciones Negras), Punto de All in all, despite my initial reserva­ the Presto moves quickly enough there is
habanera (Lujan); Cancion de cuna para tions, I think that enthusiastic guitarists, always a happy sense of containment.

55
This overflows into the Allemande which
- like the Courante, Sarabande and both
Gavottes - is played without a repeat of
its second section. I felt that the first
Gavotte sounded simultaneously bland
and ungainly in view of what had gone
before but the concluding Gigue rounded
off the suite in style. Apart from a couple
of extraneous sounds, which on this first
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 final
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 refined 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 fine reputation
and this disc will help to support that
opinion.
Chris Kilvington
NAPOLEON COSTE MUSIC FOR
GUITAR 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 difficult studies tucked away in
one of those big general anthologies. It
would be too much to suggest that Coste
is t h e d i s c o v e r y of t h e c u r r e n t
musicological interest in t h e late
nineteenth century guitar. Certainly he
avoids the sentimental platitudes of Mertz
and, to judge by this record at least, is
less often 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 gift for good tunes which is seldom
compromised by the limitations of the
fingerboard. His musical language is one
56
of nature-inspired romanticism evoked by been overplayed almost to the point
expressive adagios and rustic dances in where nothing exists but its very
which the influence of French folksong is popularity.
seldom distant. The works for guitar and Scherzino Mexicano must be
oboe are particularly effective. familiar to every Grade 8 student. The
Simon Wynberg's interpretations are notes are accessible to amateurs, but it
well thought out and effective though he takes a player of stature to give it shape
is at times a little heavy handed and and distinction. Estarellas attacks the
insecure in quicker passages. In the duet Prelude and Ballet - more pastiche -
pieces a little more guitar sound would with the same vigour that distinguished
have been nice as the instrument is not the Gavotte in the opening work, but
limited to an accompanying role. The one saves his largest tone for the Waltz. The
thing that seriously mars the record is the crisp precision of all this makes for easy
quality of the sound which is not good and enjoyable listening.
and makes the guitar rather boxy. The surfaces are good, with not a lot
Despite this reservation Wynberg of tape hiss. Modern taste seems to prefer
and Anderson must be congratulated on more resonance, but I personally am
this venture; it is a brave undertaking to grateful for a performance which can
produce a record devoted to an unknown convey the essential poetry of Ponce
composer. It is even more remarkable without once descending into an all-too­
that it should succeed as well as this common lushness.
record doe . Let us' hope that many will Colin Cooper
hear it and be encouraged to explore
further into the works of this forgotten THE CONTEMPORARY FINNISH
composer whose works deserve a place in GUITAR
today's repertoire as much as many N O RD G R E N : B u t t e r fl i e s ;
'major' twentieth century pieces. RAUTAVAARA: Monologues of the
Nicholas Hudis Unicorn, Serenades of the Unicorn;
BERGMAN: Midnight; HEININEN:
...touching ...
GABRIEL ESTARELLAS Jukka Savijoki (guitar)
MANUEL PONCE: Suite in A; Tres Bis LP-207
Canciones; Scherzino Mexicano; Pre­ It is a fact (sad or otherwise) that whilst
ludio y Ballet; Vals many contemporary British composers'
Maller API-99 works are known and performed in
Segovia, Williams, Diaz, Hill, Matsuda Finland, very few Finnish compositions
and Lundestadt are only some of the ever reach our shores; the majority of
names on previous recordings of these guitarists in this country would be hard
pieces, so there is no shortage of alter­ pressed to' name even one Finnish com­
natives. That means that a player must poser, let alone include a work in his/her
work all the harder to establish his own repertoire.
individual voice, his particular interpreta­ Jukka Savijoki's selection of five
tion, something that will make relatively new works serves as a useful
discriminating purchasers prefer his introduction to his music, even though the
version to others. quality varies.
The young Spanish guitarist Gabriel Butterflies Op. 34 (1977) by Pehr
Estarellas succeeds very well in this Henrik N ordgren, inspired by the
respect. Playing an exceptionally sweet­ butterfly stories in Lafcadio Hearn's book
toned Bernabe guitar, he turns in a 'Kwaidan', is in five sections totalling 12
serious and committed performance, minutes, and is based on the composer's
taking the view that even if the Suite in A later manuscript, rather than the three
is pastiche, it has been written by the movement version published by Gehrman
most distinguished composer of. guitar (Stockholm), which differs considerably.
music in recent times and deserves every The composer describes the form of the
possible consideration. It is an attitude to work as 'free and fantasia-like'.
be commended, and enables Estarellas to The two Unicorn pieces by Eino­
bring the much-played old suite to life in a juhani Rautavaara were written in
convincing way. His tone is not deeply response to a commission by Josef
resonant, but has a lightness that allows Holecek, Serenades in 1977 a n d
clarity to prevail. It is however a clarity Monologues i n 1980. Rautavaara writes,
that does not impede the underlying 'their world is the fabulous realm of the
romanticism of all Ponce's work, but in Unicorn - a timeless creature'. In the
fact ensures that sentimentality does not Serenades the unicorn is located in anti­
intrude. quity, whilst in the Monologues, it
This is very noticeable in the three appears in the dreams of remote masters.
Mexican songs, where guitarists are not The above three works occupying
the only musicians who tend to drool over the first side of the disc are intended to
Estrellita. Not so Estarellas, whose represent the more traditional style of
elegant poise and touching simplicity of composition and, generally, ti].ey succeed
approach make the old tune shine like admirably.
new. Hace ocho meses also has great Side 2 reflects the search for new
character and charm, and some beautiful musical resources, and this is where the
playing in Marchita el alma confirms that project deteriorates.
Estarellas has a rare gift: the ability to Erik Bergman's Midnight Op. 83,
extract true poetry from music that has written in 1977, is his second opus for
solo guitar, following the Suite (1949),
and employs the usual tiresome effects ­

1 st Birthday Quiz
tremolando, Bartok pizzicato, spoons
(Bergman has the dubious claim to fame
of being the first Finnish composer to use
spoons in his works) and percussion of devised by COLIN COOPER
every conceivable kind. Since receiving
the record I have listened to this Closing date 30 October 1983. Winner (first correct solu­
particular track several times and I am tion opened) will receive five sets D'Addario Pro-Arte Str­
now convinced that Bergman's Midnight
ings.
is one of the poorest guitar pieces that I
All the answers can be found in the first volume of
have ever heard.
Whilst the final item, ...touching ...
Classical Guitar. Add issue number and page number to
by Paavo Heininen, written in 1978, is each answer. E.g. the answer to the question 'Who learnt
marginally better than the previous track, how to improvize by copying Jack Bruce?' would be 'John
little of interest is offered. The constituent Holmquist, No. 6, p 25'.
parts of the work are 'characteristic
1. Chopin wrote a Revolutionary Study, but who wrote a
features or pairs of features': sostenuto­
'pleasantly dissident Sonata'?
sonority/step like movement in quarter
tones, light percussive sound/rhythmic 2. Who put forward the hypothesis that all modulations in
repetitions, glissando/meandering zig-zag compositions of the 'classical' period are prolongations
movement, trill/pattering in close of the Tonic chord?
intervals.
3. Who stayed at home and watched Starksy and Hutch
If this is all that Finland has to offer
on TV instead of going to a Julian Bream concert?
the contemporary guitar repertoire than I,
for one, can happily survice without it. 4. Who has 'ten strong fingers, a musical sense, and a
Jukka Savijoki is clearly a very fine delight in the sound a guitar makes', but is 'just not a
musician as this record and his previous string man'?
record of baroque music show, and it is 5. Who used to hate carrots and was given a chill by
regrettable that the general standard of
Schonberg?
the music does not measure up to the high
quality of performance. 6. Napoleon Coste's career was brought to a sudden and
The recording quality is excellent, unfortunate end when he fell downstairs and broke his
albeit a little distant, and the notes right arm. Who described this tragic event as 'a bit of
provided on the sturdy gate-fold sleeve bad luck'?
are informative; Savijoki's Fischer guitar 7. Who produced machine-gun-like flourishes?
is credited, but is it really necessary to
credit the maker of the spoon?
8. On whose forehead was a pattern 'attractive in a
Raymond Burley certain light'?
9. What was produced from a breast pocket with a
natural and appropriate dignity and applied to the bass
ANSWERS TO strings so as to produce a series of delicate sounds?
COMPETITION IN 10. Who took to wearing black clothes and letting his hair
ISSUE 6 grow long?
11. Whose first guitar experience was a beer advertise­
1. MANUEL BARRUECO
ment?
CARLOS BONELL
12. What were Duke Ellington and Ravel doing while
2. HERMANN HAUSER
Gershwin entertained on the keyboard?
ROBERT BOUCHET
13. Who forgot his evening dress in Cheltenham?
3. MANUEL PONCE
WILLIAM WALTON 14. Who, when light music was mentioned, wondered what
'dark' music sounded like?
4. AGUSTIN BARRIOS
15. Where is 'the real teacher'?
LEO BROUWER
16. For what did Alice Artzt and Carlos Bonell win a non­
The first three correct entries were
existent first prize?
received from Angela Snowdon of
Skelmersdale, Nicholas Mackey of 1 7. Who was tone-deaf but 'had a fine sense of smell when
Clitheroe and Tom Dupre of it came ,to profits'?
London. They all receive a Guitar 18. Why are first hearings of Martin Best's recordings 'The
Masters record as prizes.
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
WHEN REPLYING TO variety of contrapuntal styles, block chordal movement
ADVERTISEMENTS SAY in both classical, choral and jazz styles, various kinds
YOU SAW IT IN of voice leading, arpeggio backgrounds for the melody
in the bass or treble, tremolo, pedals, harmonics,
CLASSICAL melody transferred to various voices, references to a
variety of historical periods, rhythmic variation - and

GUITAR more'?

57
 REVIEWS I
CINQ NOUVELLES ESTUDINES for
solo guitar by Francis Kleynjans
Alphonse Leduc/Paris. £3.10 (62p per
page)
REV E R I E PO U R DEUX
AMERTUMES; three pieces for solo
guitar by Francis Kleynjans
Editions Henry Lemoine/Paris.
(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 left with the impression of a very
mediocre ability with rather
musical ideas.
The five Estudines are prefaced by
the following somewhat superfluous
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 first two
pieces, Lent and Pas trop vite, are fully
representative of Mr Kleynjans' work in
that they are restricted to
occasionally second position, are"covered
in detailed markings by the composer and
seem, to me at least, harmonically very
cliched. Mr Kleynjans is
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
though at crochet = 88 it is much harder
than the others despite its
limitation. There is an accidental missing
in bar 28. By the fifth 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 find 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 first piece being in
Bb major. The final piece has a printing
error in bar 5 and conspicuously· bad
fingering 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 film. With directions such
as ' w i t h h u m o u r a n d d e r i s i o n ' ,
'confidentially' 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 first 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 first 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
musical level demands. Mr Kleynjans is
£3.20 once again lavish with his directions: 'ask
carefully', 'a little helpless' and over the
final bars of the 5th Estudine 'open and
lift up to the sky, then scatter. . .'. It may
seem churlish of me to be
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
shallow
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 BulatofJ
Zimmerman/Novello. £2.88 each
TRE SONATE for violin and guitar
first, and
(Nos. 1, 2, 4) by Nicolo Paganini, arr.
John Duarte
Zanibon. n.p.
It is all too easy for guitarists today to
obviously
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 shift in the commentary,
while Grunfeld cites descriptions of
interest Ferranti and Regondi: 'What Paganini is
on the violin ... Ferranti is on the guitar';
positional 'Regondi is the very Paganini of the
guitar'. However the checklist of com­
positions reveals that the guitar figured
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 off with
the lion's share of the music'. This is not
borne out however in the editions under
review, for in the Bulatoff editions the
violin has the melody and the guitar a
discreet accompaniment. The violin parts
are not too difficult, and the Duetto
Amoroso could be managed equally well
by a flute.
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 first suggested he should 're­
create' the guitar parts; and in crediting
Gregg Nestor with the fingering, 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
music
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
their 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
so
CIRCLE'S END by Steve Marsh
Hampton/Belwin. £2.95
The six solos by Steve Marsh were a
pleasant surprise, ranging from first 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
flattery, then Mateo Albeniz flatters 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
Logroiio 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
his reasons for not being more
adventurous, h e 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 fingers. This example is in 6/8,
marked Presto, with a conventional that the volume opens easily; in terms of the nonsensical editing goes a long way to
major-minor-major layout, a jolly piece quantity it's not bad value at all - just obscuring Sor's original musical inten­
to be rattled off at a cracking pace if you feel the width. tions.
can play the passages in thirds incisively Chris Kilvington If you happen to be a Yepes freak,
enough. But perhaps you should work this edition will provide an insight into
through Scarlatti himself first. FIVE PIECES by S. L. Weiss, trans. for this player's solutions to the technical
Much the same may be said of the guitar solo Martin Grayson problems of the work. If, however, you
works by Rafael Angles and Galles, well Hampton. £3.50 are looking for a clean edition of the
laid out for two guitars by Oscar Caceres, The name of Sylvius Leopold Weiss has piece, it might well be more beneficial to
and only 39p a page. Both these trans­ become familiar to guitarists through purchase one of the facsimile copies
criptions make an excellent addition to transcriptions of his lute music taken in currently on the market; if you are
the repertoire of a guitar duo. If such a capable of playing the work, editing
the main from manuscript collections in
duo is considering playing a group of should not be a problem.
London and Dresden.
works from this period, they might also Raymond Burley
As well as being the most prolific
take a look at the arrangement of another composer in the history of the instrument,
E minor Sonata by Galles, transcribed by he was thought by many to be its most SONATA FOR LUTE IN E MINOR by
Castellani and Andriaccio and published esteemed exponent. A contemporary, Silvius Leopold Weiss, trans. by Michael
by Oxford University Press, New York. E. G. Baron, writes in 1727: 'He has Lorimer
This, like the other two works mentioned brought the lute to the highest peak of Pacific/MeI Bay ML 103. £3.00 (37.5p
above, is presumably taken from Joaquin perfection'. per page)
Nin's collection, though it doesn't say so. The style of his music is immediately This Sonata, composed about 1720, is
Colin Cooper identifiable with that 'of his friend J. S. taken from the Dresden Landesbibliotek
Bach, but distinguishes itself by falling manuscript Musica 2 8 41, V.l, and
THE CLASSICAL GUITAR: Solos, gracefully on its home instrument, represents one of the few complete Weiss
duets and songs by Sor, Giuliani, Aguado thereby bringing into question the sense Sonatas to transfer readily to the classic
and other guitar masters of the early 19th of arranging this C18 tablature for a guitar. I am aware of two other published
century. S e l e c t e d /t r a n s c r i b e d by medium so far removed as the modern versions of this Sonata (there may be
Frederick Noad classical guitar. more), by Frederick Noad in his Baroque
Ariel Publications. n.p. Martin Grayson, in his introduction Guitar anthology (Ariel), and by Karl
This is a rather rambling, ill-assorted to the above edition, muses on the Scheit (Universal 14426). Both Lorimer
collection featuring, principally, works by problems of transcription and provides and Noad have elected to transpose the
Giuliani and Sor; Aguado is accorded a here a useful sample of a great man's work from D minor into E minor, whilst
mere eight of the 144 pages, the same music arranged for the guitarist. Some of Scheit's edition remains in the original
number as Carulli who nevertheless does the editor's fingerings do, however, seem key.
not make the front cover. Regondi, rather inapporpriate to the style .of The Sonata (or suite) in E minor is
Diabelli, Legnani and Meissonier each playing this music encourages, and I find made up of eight movements; an
scrape in with one item apiece while Hampton's cost of £3.50 rather high con­ unmeasured Prelude, Al l e m a n de ,
Carcassi manages to double this. 'About sidering the poor print quality offered. Courante, Bour e, Minuet 1 , Sarabande,
the Composers' informs us that ' Schubert David Parsons Minuet 2, and Gigue.
and von Weber were players'; but guitar Whilst the Sonata never reaches the
masters? A five stave song by Paisello, INTRODUCTION A ND V A RIA­ musical heights of the composer's two
from his opera La Bella Molinara is also nONS ON A THEME BY MOZART, magnificent Tombeaux, it nevertheless
included. Neither Coste nor Mertz is Op. 9 by Fernando Sor, ed. by Narciso provides us with an excellent example of
represented, unusually perhaps when the Yepes the 13-course Baroque lute Suite.
editor confesses that the anthology is the Mainz/Schott GA 612. £2.55 (36.4p per The consistently high quality of the
result of four years of labour, 'much of page) music, together with Michael Lorimer's
the time having been spent in locating and Of the five editions of Op. 9 published informative Preface, makes the Sonata a
studying original editions and manu­ during the composer's lifetime, Narcisco good all-round purchase.
scripts'. In his preoccupation with Sor Yepes draws on three for the present Guitarists of around Grade 8
and Giuliani, which he admits in his publication, Meissonier (Paris c.1820 and standard, not technically equipped to
introduction, Noad appears to have com­ c.1827) and the Royal Harmonic Institu­ manage a complete Bach lute Suite, might
pletely overlooked the possibility of tion (London c.1821). well be able to do justice to this challeng­
incorporating certain other interesting There is little point is analysing the ing music; on the other hand, the better
composers into his book. The pieces are music in detail as the work is already very Weiss Sonatas might make an alternative
set in an order of progressive difficulty ­ well known - some might say too well to the rather predictable, almost com­
more or less - and culminate with Sor's known! pulsory, programming of the Bach lute
Grand Solo Op. 14, Fantasy Op. 7, and The first page of music appears on works.
Minuet and Rondo ex. Op. 22, coupled page 9, following the Preface, facsimile Raymond Burley
with Giuliani's Variations on a theme of title pages ( Meissonier 1820), the Mozart
HandelOp. 107 and the GrandOverture original, Das klinget so herrlich, das THE CLASSIC GUITAR COLLEC­
Op. 61. Some firm favourites, then, but klinget so schon, and two pages of TION. VOLUME ONE for solo guitar
Noad is hardly breaking new ground editorial symbols. Whilst conventional ed. Harvey Vinson
here. My feeling is that he would have signs for harmonics, barre, etc. are Ariel Publications. n.p.
done better to have concentrated on his retained, less familiar symbols for This volume claims to contain music
two main composers entirely; there is an apoyando and tirando, placing the right from six centuries. Seventy per cent of
air of half-l1eartedness about the whole hand fingers prior to the moment of this is from the 19th century and a further
thing as it stands. Retail price will be playing (amongst many others) are also 25 per cent from the 16th and 17th
around £5.00; it would be interesting to employed. centuries. This does not leave a great deal
know its market intention - its 'general' Those not aware of Yepes' editorial in the remaining three. Although the
nature, coupled with far too wide a range practices might well be balled or even collection is aimed at the 'fairly
of technical requirement, would prevent shocked by the eccentricities imposed on accomplished guitarist', the contents of
me from recommending it to any such basic music. the present volume would only interest a
particular level of student. Those not Whilst this edition corrects many of beginner.
dismayed by such comments will be the errors that have achieved authenticity A careful search through the book
pleased to know that the print is clear and through continual printing and reprinting, will reveal many of the perennials of the

59
 teaching repertoire; pleasant and easy secondly, the price which is out of movements, is a chord study which has
studies by Sor and Giuliani, the usual proportion to the value of the book. all guide fingers indicated. It is an
Timega and enevitable Romanza and Nicholas Hudis introspective little piece, creating a
Saltarello. However, they are hidden dreamy' atmosphere through alternating
among a large quantity of dross and quite PRELUDE No. 1 (Hommage a Claude consonance and dissonance. Raindoctor,
a few oddities. The former is of the Debussy) for solo guitar by Phillipe portraying the repetitive chanting of a
'repetitious, roly-poly alberti' variety, to Lemaigre tribal witchdoctor, provides more work
borrow Duarte's delightful phrase. As for Editions Musicales Hortensia EMH 604. with chords, use of the right hand thumb,
the oddities, there is a 14th century n.p. and harmonics. Musically, it is modal and
Estampe that is totally unguitaristic, a This is the first of six preludes by make much use of parallelisms. This one,
fragment from a Bach gavotte, solos by Lemaigre published separately, in the although repetitive by design, might
Kuffner which a little research reveals are tradition of the Villa-Lobos Preludes and nevertheless benefit from the deletion of
really the first guitar parts of duets, pieces Suite Populaire Bresilienne. An irritating some of the repeats. Raindrops, intended
ascribed to Sor when they are in fact by practice, because there is no real reason as a light shower rather than a downpour,
Coste and sound like it; and finally, for it except greed. What's next? is another arpeggio study using a p-m-i
thrown in, as if an after-thought, a couple Publishing pieces in one-page sections? pattern. Once again the melody is in the
of Bartok transcriptions. It is written in tribute to his com­ bass" with upper support consisting
The editorial policy is appalling. It is patriot Debussy, as are the other five Pre­ entirely of the open 1st and 2nd strings,
almost as if the easier works of guitar ludes. Not a novel idea but always an and gentle dissonances adding to the
composers have been rifled at random. interesting one, as it takes a great deal of musical interest.
Only in one case is an opus number or skill to imitate the style convincingly. The All of the movements are fully
source given. The fingering is thoughtless. biggest danger lies in 'a piece turning out fingered for the left hand; right hand
The fourth finger is repeatedly used sounding more like pop music than fingering is only present in the last move­
unnecessarily at the third fret despite the Debussy. This does not happen here ­ ment. There are, unfortunately, no
fact that there are few hands that cannot occasionally it comes a bit close, but for dynamic or expressive indications, which
make this stretch with the third finger and the most part it is quite stylistic. Lemaigre would have been of benefit. Notes on the
no hand that should not be encouraged to has done his homework, and it shows. pieces and metronome markings are
do so. In Sor's Opus 60 No. I an attempt The structure alternates rhapsodic sec­ included at the beginning. On this point,
is made to show actual note durations by tions with sections of free-floating the marking for the 4th movement is
part writing. The result looks nothing like arpeggios, successfully incorporating 184; since the piece is in , one assumes
the original and is highly confusing. It is other Debussyian traits of songlike this should actually read . = 184.
so much easier in a case like this to do as melodic movement, spicy rhythms, use of It is a nice addition to the repertory
Sor recommends in his Method and hold upper-extension chords and wide spacing of accessible contemporary music for
the fingers down for as long as possible. thereof, and most importantly captures students of intermediate ability or higher,
Finally, if you buy all three volumes the colour, spirit and emotion of his and a good mixture of basic technical
and put them together the front covers music. subjects combined with enjoyable musical
add up to a picture of a naked woman The edition is intelligently fingered settings.
reclining beside a guitar. Not only is this and the printing satisfactory, although the Gregory Newton
highly insulting to many potential users, it two page turns are rather inconvenient.
is also a cheap and crude advertising There are adequate dynamics, but TRE D UETTI for guitar duet by Filippo
stunt that perpetuates the myth of the occasionally they are erratic - in some Gragnani, rev. Ruggero Chiesa
classical guitar as a purely romantic and places it is clear what the composer Edizioni Suvini Zerboni. n.p.
sentimental instrument. Classic Guitar wants, in other places it is not.
The three duets (D major, A minor, G
Collection Volume One represents Technically, the requirements are modest
major) are published separately and run
everything that is bad about guitar except that the arpeggios must be fairly
to 23, 24 and 27 pages respectively. Each
publication. The fact that it is a reprint of facile.
book also contains individual parts for
an earlier publication does in no way Its title will naturally invite com­
each player. Gragnani (1767-1812) wrote
excuse it. The sooner editors and parison with the Falla Homenaje. Maybe
attractively for the guitar and while these
publishers understand that productions this piece is not as successful or as
pieces should be quite accessible to Grade
like this are totally unacceptable and can stylistically accurate. It is, however, a
6 performers they would also represent
have no place in the contemporary guitar charming work skillfully written by one
good recital repertoire for those with
world, the better. who knows the guitar, its capabilities and
more advanced techniques for whom the
Nicholas Hudis limitations, very well. essential challenges would be musical
Gregory Newton rather than digital. Each has three move­
ments, the outer being of some velocity in
LEICHTE SOLOSTUCKE ALTER RAIN SUITE for solo guitar by Chris every case and the central one marked
MEISTER FUR GIT ARRE l ed. Kilvington andante mosso in the D major and
Ehrenhard Skiera Hampton Music Publishers. £2.25 (37p adagio in the others. Chiesa's introduc­
Biirenreiter. £3.96 (30p per page) per page) tion indicates editorial adherence to first
A collection of twelve easy pieces of the Lest we forget, there still can be beauty in publications and, when possible, the com­
16th and early 17th centuries. A single simplicity, and such is the case here. The poser's manuscripts; apparently Grag­
later work; a menuet by De Visee stands suite consists of four programmatic nani added virtually no fingering and
out as incongruous. The pieces are movements, centering on rain-related sub­ whilst Chiesa has fingered quite
thoughtfully chosen, well laid out, and jects. It is primarily aimed at students, extensively he has limited his marking to
provided with practical fingerings. providing a variety of good technical the individual parts; incidentally, I feel
Familiar pieces such as Greensleeves are work as well as uncomplicated yet that these could have been a little more
included as well as less common ones. satisfying music. carefully considered in order to reduce
The editorial 'knife' has been freely Rainbird, describing a bird's foretell­ page-turning difficulties to zero. Bar
employed to simplify textures but all the ing of rain, is an arpeggio study using the numbers are indicated throughout and the
alterations are well judged and mentioned formulas p-i-m-a-m-i and p-i-m-a-p-i, and print is clearly laid out on quality paper
in footnotes. This volume would be an the left hand must deal with some within good covers. Guitarists seeking
excellent introduction to the period for a moderately tricky chord changes. It is full something sparkling from the 19th
player of Grade I to II standard but for o'f pleasing dissonances, with the melody century period would do well to look at
two reservations; firstly, that historical in the bass and the high E string acting as these items.
notes should have been provided and a pedal. Rainbow, the shortest of the Chris Kilvington

60
CONCERTO IN A MAJOR for guitar from Aguado's Nuevo Metodo para ostinato in double notes with accents on
and strings Op. 30 by Mauro Giuliani, Guitarra (Madrid, 1843). However, Herr the I st, 4th, 7th and 8th beats of 8/8 time.
rev. Ruggero Chiesa Worshing gave the title as 'Metodo [sic] The melody, apart from a 3/4 section, is
Edizioni Suvini Zerboni-Milano para Guitarra': Aguado wrote no work carried by the second guitar with some
S 8856 Z . £12.00 (l5.5p per page) with that title, although a version almost 'off-beat' accents that will tax the players'
There are several sources for this famous certainly pirated and without authority sense of syncopation to the full. The end­
Concerto; the version in question is for did appear with that title some forty years product is a 'country' dance that is
guitar and string quartet which has the after the composer's death. Herr Koch, in refreshingly different.
same date of publication (c.1810) as that his turn, gives the title as 'Metodo [sic] de In Summer Air has a gentle
for guitar and large orchestra although, la Guitarra': again, Aguado wrote no melodious single string theme, weaving its
as Thomas Heck writes in his The birth of work with that title. Other dates and way through a succession of remote keys,
the Classical Guitar and its cultivation in statements in Herr Koch's preface are set against a second part of well-varied
Vienna. reflected in the career and com­ incorrect. harmonies and arpeggios - a section
positions of Mauro Giuliani, "The com­ In several cases, Aguado provided that gives both players scope for expre­
plete orchestral parts are not known to his music with explanatory text, but Herr sive playing.
have been published originally with the Koch has omitted this text without telling Cradle Song is a form aptly suited to
quartet version in 1810". Chiesa us that he has done so. Thus, Aguado's the intimacy of the guitar, a tuneful
acknowledges his debt to Heck thus: "We original Lesson 29 in his Nuevo Metodo merging of the two guitars.
were able to consult this version thanks to para Guitarra described in detail how to And lastly, Finale. A jovial romp,
the courtesy of Professor Thomas F. perform a double ascending and descend­ this; taxing, yet rewarding, for the
Heck, who was kind enough to send us a ing appoggiatura on the guitar and then players; but also gaily and tunefully
photocopy of the original in possession of gave a musical example; and Herr Koch's optimistic.
the Guitar Foundation of America". A No. 4 is merely the example shorn of Hampton quote the duo as Grade 7­
description of the music seems almost Aguado's own explanatory text. Similarly 8 but I feel that enterprising duos of
redundant; anyone who may be consider­ with Aguado's original Lesson 47 which Grade 5-6 should find this an exciting
ing this work for purchase must surely be described how to bring out three different change from the standard 'popular' duets;
familiar with it through recordings (one parts on a guitar, as though played by a enjoy it!
well worth listening to is that made in string trio, and his Lesson 31 which Charles Scott
1979 by Vladimir Mikulka for Supraphon discussed mordents and barres: these
1110 2700, also based on the manuscript have become Koch's Nos. 8 and 17 and A T ARREGA COLLECTION for solo
owned by the Guitar Foundation of the text has gone without a trace. Yet guitar
America). The first movement, Andante Aguado was a major theoretician of the Ariel Publications AY 15372. n.p.
maestoso, is approximately the same guitar and it is his text which informs the
According to an introduction by Louis de
length as the second (Siciliana) and third musical examples and gives them sense.
Swart the common factor in these original
(Polonaise) combined; the whole is a Aguado taught an integrated system
compositions and arrangements is that
felicitous demonstration of the 19th of guitar playing in which fingering
they were all dedicated to Dr Waiter
century virtuoso guitarist-composer's played a basic part, and he provided
James Leckie who, after an unusual
work. In its present form it certainly detailed fingering for all the pieces con­ medical career, became Timega's patron.
offers the genuine opportunity for tained in Herr Worsching's and Herr He had apparently made a fortune from
advanced players to achieve something in Koch's anthologies. This fingering, speculating in nitrate whilst in Chile, this
a chamber performance, a string quartet provided by the composer himself, has
- together with a pension from the
being somewhat easier to come by than disappeared in both editions and has been
Chilean Government - allowing him the
the large orchestra otherwise replaced by new fingering based on
financial freedom to renounce his voca­
necessitated. No fingering is given, nor different principles. No indication is given tion. Mr de Swart states that Pujol, in his
should it be required; any guitarist that this has been done except by the un­ biography of Timega, 'is unaccountably
seriously working on this piece should be specific words 'Herausgegeben von Fritz prejudiced, giving the impression that
fully capable of his/her own fingering and Worsching' and 'New edition, with revi­ Tarrega found Leckie's company intoler­
will in any case recognise certain for­ sions by Hans Michael Koch'. able and an imposition'. This view is not
mulae peculiar to the composer. The Brian Jeffery substantiated in any way. An included
edition is in score form with no separate (I should mention that the complete anecdote, if true, would leave me tending
parts for either the soloist or the strings, is original text of Aguado's New Guitar to concur with Pujol's opinion: "Once, at
clear, and although running to 77 pages it Method, with all of his own words and a concert given by Pujol at the Bechstein
nevertheless opens easily; the preface music and his own fingering and titles, (now Wigmore) Hall, Leckie - who was
indicates that the parts are on sale (No. translated into English, is available from at the back of the hall - left his seat
8857). Thoroughly recommended. Tecla Editions at 8p per page. A review during a performance of Tarrega's
Chris Kilvington will follow. Capricho Arabe, walked the whole length
Chris Kilvington) of the hall and, shaking the astonished
guitarist by the hand, cried out in Spanish
24 STUDIES by Dionisio Aguado, ed. at the top of his voice: 'Long live
Hans Michael Koch MINIATURE SUITE for two guitars by Tarrega'. He sounds impossible.
Mainz/Schott GA62. £4.35 (1O.9p per Paul Carr It is only mentioned in passing that
page) Hampton Music Publishers HFO 12. the selection of items for this anthology
This edition of 24 selected didactic pieces £3.25 (40p per page) was made by Carlos Bonell; the sources
by Dionisio Aguado, although it does not Although this is a Hampton 'Facsimile' are two manuscript volumes now in the
say so, is a reworking of the well-known Edition it is, despite a plethora of possession of Leckie's grandson.
old edition 0 f 'E fild e n und accidentals and detailed fingering indica­ The four original compositions
Tonleiterstudien' of Aguado, edited by tions (by Robin Pearson), clearly read­ included here don't amount to much with
Fritz Worsching and published by Schott able. the exception of the tango Maria! (not to
in 1928. It has the same catalogue Prelude has some dainty little frag­ be confused with the Gavota of the same
number, GA 62. Twenty-two of the mentary melodies, echoed at varying name). This always seems to be a popular
pieces are the same, although in a intervals by the second guitar, and moves work. The arrangements vary greatly.
different order; two pieces have been intriguingly through a number of minor Two pieces based on compositions of
removed and replaced by others. and major keys without creating any Verdi I found tedious while Seguidillas y
The edition does not have textual unduly dissonant effects. Dance is fast Tango by Juan Emilio Arrieta was quite
authority. All the pieces in fact come with the first guitar pursuing a staccato 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 Tannhiiuser) - 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 fine
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
J AZZ A ND POPULA R S O NG S
A R RANG E D FO R CLA S S I C
GUITAR: 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 in spite of being primarily
known for his work in the classic field. 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 playable 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 difficult to convey the subtle
nuances required to give really effective
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
surely be the first to say. He's done his
part in making available a total of 20
songs - Girl from Ipanema,
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 profit 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 (effects, percussion, etc. etc.);
this is not meant as a criticism. It is
mentioned only to further define the style
of writing which is at times most poetic.
Technically, the work is easier than, say,
the Castelnuovo-Tedesco Op.
relies on good ensemble playing rather
than virtuoso 'flights' up and down -the
fingerboard. An advanced player looking
for a new concerto with thematic material
developed in conventional ways would
find much here. The printing is clear and
the guitar part fingered accurately.
Neil Smith
LEICHTE GITARRENMUSIK
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
anthologies. The selection of nineteenth
century works are poorly selected. For
example, Brian Jeffery has convincingly
demonstrated that Sor's opus 51 is a
scathing parody of the banale musical
trifles 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
centuries' might find a place in
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 difficulty, no thought is given to
the development of musicianship, a key
signature of four sharps, for example,
being found on the first page. Thus the
would collection is unsuitable as a primary
source of teaching material.
Nicholas Hudis
Basin
SIX INVENTIONS for flute 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
difficult (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 flute 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 flautist
with whom to play then buy the music
anyway and perform with another
guitarist - the flute parts will make good
reading and are unfingered.
Chris Kilvington
MOUVEM ENTS PERPETUELS for
flute 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
99 and first 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
fingers overnight, for this is cumbersome
and not guitaristic; at anything like the
composer's tempo marking there is every
AUS 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 first two are nice and you
can always try the other and maybe look
at the original yourself.
Chris Kilvington
OUVE RTU R E A ND BALL ET by
other Sylvius Leopold Weiss realised b y Rafael
Andia
Ed i t i o n s M u s i c a l e s T r a n s a t l a n t i ­
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 stuff and in this age of
Teutonic discovery musicologists may
three feel free to verify the authenticity of the
the manuscript (unseen of course) and flog
their opinions to the highest bidder. The
pieces are of particular additional interest
in that they represent the first established
instance of pre-natal guitar composition.
Weiss, born in 1686, actually cheated
somewhat and elicited the assistance of
his earthly amanuensis Ponce
doubtless felt honour-bound
acknowledge his predecessor's part in
full. In other words, it's a very old joke
and pretty boring too; it would
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
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 benefit 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 in two parts; the first consisting of
a tuneful 16-bar single string melody
(with repeat) in 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 Semplice on sightreading/ensemble work­
simple, technically, that it could be shops with players of relatively limited
performed by the very young (or Grade ability; if worked in some detail such
1) players who could concentrate on pieces are of real value in helping to
who producing beautiful tone, and on making develop musicianship.
to both melody and counter-melody 'sing' Chris Kilvington
(in fact the piece could be performed as a
duet with a moderately competent player
be reading and playing both 1st and 2nd
parts!). SIX BAGATELLES for guitar solo by
The small size of what is essentially Oliver Hunt
facsimile manuscript notation, despite the Harrow/Revelo-Cornish. £2.50 (16.6p
simplicity of the piece, may cause some per page)
reading problems with three players Following the success of Oliver Hunt's
having to read from one copy, so that I two programmatic works, The Barber of
would consider the 75p per page rather Bagdad (also published by Revelo­
expensive. Nevertheless the piece would Cornish) and Garuda (Musical New
Joan be a melodiously useful introduction, for Services) comes the set of six Bagatelles,
the very young, to the joys of ensemble written in late 1981, which, although
playing. slightly less accessible than the afore­
Charles Scott mentioned compositions, are nevertheless
first-rate additions to the repertory.
SONATA SEMPLICE for guitar quartet Premiered by Robert Brightmore at
by Alan Martin Atkin the Wigmore Hall in January 1982, the
Hampton Facsimile Guitar Editions Bagatelles (lasting approximately 12
HF 028. £3.50 (50p per page) minutes) continually change style and
This is a useful addition to the repertoire mood, from the very rapid rhythmic
of easy ensemble music and thus aug­ ostinati of Bagatelle No. 1, the slower
ments the work of composers such as improvisatory freedom of No. 5, through
Pieter van der Staak; their style is quite to the presto con fuoco of the final
similar in fact, featuring well balanced Bagatelle with its virtually continuous left
single melodic lines only occasionally hand legati.
venturing up the fingerboard for the first The most approachable piece from
guitar, with a minimum use of chords. the set is Bagatelle No. 4 which was
The complete absence of fingering is to be included in the music supplement of the
approved; What Atkin has taken care to first issue of Classical Guitar.
include is a host of dynamic markings To do justice to the work in its
which, if precisely followed, will make a entirety requires both a sound technique
considerable difference to a performance and a good sense of interpretation, and I
(herein lies one of the essential strengths would therefore hesitate to suggest these
of the study of ensemble compositions). Bagatelles to anyone less than a Grade 8
The outer movements are both quite player. However, don't be afraid to give
lively, separated by a shorter and slower them a try, as they will amply repay the
.
one, and rhythmic problems are virtually time and effort spent.
non-existent; . incidentally, note the Anyone not acquainted with the
absence of a quaver rest for third and Revelo-Cornish publications might be a
fourth guitars in the first bar of the final little perturbed to find reproductions of
movement - this will be seen to occur on hand written manuscripts; not always
several further occasions. Fascimiles do ideal, but in this case, by and large, there
vary according to the tidiness and care of are very few deciphering problems, even
composers; Atkin has a very neat hand though the original manuscript has been
which enables his work to be read easily reduced.
even if the notation is a little smaller than For the price you come away with
that to which we are more usually 15 pages of tightly packed music, photo­
accustomed. There is an additional score copied onto reasonable quality paper,
and if this is 'counted' in the price then together with a plain grey paper cover
the cost is only 25p per page. I would that falls off after two or three sessions.
have no hesitation in using the Sonata Raymond Burley
63
 W S I§I
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 afTord. While
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 benefit of much
efficient research.
The chapters dealing with
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 finding 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
five-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
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
it 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
the 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
SEGOVIA
bo oks
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 figures:
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 prolific with the
one-ofTs.
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

makers is one of the best illustrations in a

profusely illustrated book. Musical A Celebration of the

examples are useful and generous, though

it is almost impossible to be too generous
Man and his Music

in a book of this kind.

At the beginning
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
endeavours.
Commendable enthusiasm
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
first flying machine. The
Segovia as a creaking,
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
by Graham Wade
the author
Beautifully illustrated with a
wonderful series of tributes by
some of the world's greatest
musicians including Joaquin
Rodrigo, A lexandre Tansman,
Pau l Torte l ie r a nd Ye hudi
Menuhin. This book tel ls the
remarkable story of Segovia's
career and achievement, and
Wade's
provides an assessment of his
for his r e p e r t o i r e, t e c h n iqu e a n d
influence.
A comp lete discography, a list
of edit i ons and a generous
selection of recital programmes make this new book an essential
item for the classical guitarist.
picture of
Available for £8.45 (USA $16.00) hard cover and £4.00
wire-braced
(USA $7.00) soft cover including post and packing from:
ASHLEY MARK PUBLISHING COMPANY
SAL TMEADOWS ROAD, GATESHEAD NE8 3AJ

64
 '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 significant 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 effects, passing
them from hand to hand, so often do they appear and
reappear in the works of all five.
One should perhaps apologize for including the nude
woman in a list of properties and effects, 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 different 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 Still Life With Guitar - Georges Braque.
stone, he favours a four-stringed guitar. 'Guitar on a Table',
1918, is a collage of pasted papers, showing five strings. By 1919 Gris seems to have reacted even more,
'Guitar', 1919, is in painted stone and has no strings at all. developing in 'Still-life with Guitar and Glasses on a Table'
Cut from a single block, it shows only the frontal aspect, a more fluid style, though still displaying the essentials of
and is a fine study of various receding planes. Cubism. His earlier but similarly titled 'Guitar and Glasses
Juan Gris has seven examples, showing a wide on a Table', of 1913, shows a guitar with four strings of a
disparity. Two or three have three strings, one has four, heavy cord more suitable for tying up a substantial yacht
another has five too close together. 'Guitar on a Chair', than for playing music. The 1919 guitar has only three
1913, has four thick strings, all of which miss the soundhole strings, of a more sensible gauge. The soundhole is a grace­
by several inches. Executed in oil on canvas, with some f\;ll ellipse, repeated elsewhere in the composition, notably in
pasted elements and sand providing contrast in texture, the glass and carafe.
work also uses descriptive colour and shadow to create its The two greatest names in Cubism, Georges Braque
effect. and Pablo Picasso, have eight guitars each in the show.
By contrast, his 'Violin and Bow on a Table', 1916, a Braque favours four strings, but one of his guitars has only
less complex but austere study in blacks and browns, shows three ('Man with a Guitar', 1914) and another ('Guitar on a
a violin in surprising detail, with f-holes symmetrically Table', 1909) has five strings, five pegs, but only four
arranged around a bridge in perspective, and the correct buttons on the bridge. The head is bent at an angle more
number of strings attached to the tailpiece, itself attached to appropriate to a lute. In 'Guitar, Glass and Newspaper',
the body by the customary short length of gut. The planes 1912, the guitar's waist is replaced by a violin's cut-outs. In
are flat, but the artist's rigorous exclusion of non-essentials 'Man with a Guitar', 1914, the upper bout is bigget than the
makes the picture memorable. In 1917 the bright colours lower, and the three strings are wound.
and complex composition of 'Harlequin with a Guitar' Braque's identifiable shapes in 'Guitar, Glass and
indicate a reaction against this earlier style. The guitar has Newspaper' are lost in the abstractions of 'Seated Man with
two pegs but no apparent strings, focus being mainly a Guitar', a year later in 1913. 'Man with a Guitar', 1914, is
directed towards the patterning of Harlequin's costume. 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 figurative 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, five 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 effect. 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 fingerboard 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 five, 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 often 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 justified them up to the
hilt. The best artists are so often 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 influential 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.
66
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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 Yepes, 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/Tedesco, 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 vailable now
£5.50 UK and Europe ($12.00 USA)
(including post and packing)
From
Ashley Mark Publishing Company
Saltmeadows Road, Gateshead NE8 3AJ
Profile
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 first 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, beautifully illustrated
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 first
'Tutor for Guitar' to the
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', often
rendered inaudible by the then
popular instrument, the accordion, most
guitarists played plectrum-style acoustic
guitar. Classical guitarists were very thin
on the ground - a mere
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 ...').
After 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 films 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
Royal 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
often played with chamber ensembles,
most both in concert halls and for Radio and
Television.
The steady growth of guitar teachers
and players in Israel owes much to the
handful efforts 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.
Popular&
Classical
ments
for finger
stY,le
guitar.
Fin e selection
of traditiona l
and contem­
p orary titles.
Send SAE. for
complete
catalogue and
price list.
69 Harrison Road, Swaythling, 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\Vare of the great success that many excellent guitarists have gained through
the simple expedient of finding a suitable tag or label which \ViII remain in the memory
when equally \Vorth\Vhile 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 \Ve kno\V 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 \Vith 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 \Vith the image
of extreme youth. A hint of juvenile acne would also be desirable - a skilled makeup
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 assu e that you will be able to play all these \Vithout 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 \ViII have heard of
them either. Since it is your talent we are promoting and not that of composers,
ho\Vever accorr.plished they may be in their own sphere, \Ve feel it would be \Viser to plan
your programme along the lines that Mr Basso suggests.
If you are in agreement \Vith this broad outline, please let us kno\V 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\V-up in depth, \Vhich \ViII 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", \Vhich in some \Vays is the most attractive title of all.

Yours very sincerely

W fJvVTJ(Jdv
Desmond Rosewood
BASSO MUSIC

To judge by the date of this latest communication from our mole in the offices 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 efforts 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
'B razilian Popular Music and
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
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.
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 first 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
the 1 9 30s . After Django
spontaneously created one his his dazz­
ling improvisations (fingerstyle),
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
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 fingerstyle 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
achieves this is 'good' music.
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 definitive 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 officials,
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
information about this historic meeting?
twelve 'phrases' as coinciding with a
modulation. This is despite the fact that
every 'phrase' except the final one
cadences in a different key to that in
which it begins.
After first reading Oliver Hunt's article I
To be pedantic for a moment it
the sat down intending to write just a couple
should also be pointed out that the
of paragraphs to make a few general
cadence at the end of the 'phrase' shown
remarks. However, on closer examination
as ending at bar 33 is not perfect, which
there turned out to be so much that
would seem to suggest that the 'phrase'
seemed worthwhile debating that I found
it difficult to know when to stop. In view continues until bar 36.
the
of the resultant number of comments I
Sub Phrase
have followed the layout of the article and
If one accepts Mr Hunt's definition of
dealt with each point as it arises.
'phrase' then 'sub-phrase' becomes a
necessary term to refer to the divisions
A representation of musical
within each 'phrase'. However, it does
structure b y means o f graphics often aids
seem extraordinarily inconsistent to say
understanding ahd Mr Hunt's matrix is that the V - I progression between bars
admirably clear. However, there are
11 and 12 is not to be regarded as a
USA many peculiarities to be found in his
cadence despite the fact that according to
treatment of the compositional
the matrix it manages somehow to
parameters.
establish the relative minor key!
Sections Modulation
This representation of motivic variation - The matrix shows a modulation to the
may be useful for certain musical styles supertonic minor at bar 7. In fact the
but it is completely inadequate as a chord of E minor does not even appear
representation of the motivic structure of until bar 9 and one does not feel settled
this piece. While the matrix suggests in this key until bar 11.
some fairly clear-cut kind of variation - B minor is shown at bar 12. In fact the
form the piece itself derives from a modulation does not occur until bar
typically Baroque process of melodic
14.
continuation wherein the opening motive
- E minor is shown at bar 19. The E
may be said to be developed but which
natural on the last quaver of bar 19
certainly does not consist of a number of does begin the movement away from F
variations. sharp minor but E minor is not reached
had
It is extraordinary that according to until bar 21.
the matrix the prominent restatements of - The return of the tonic marked at bar
it is
this motive do not ever coincide with the 21 is two bars early, and when it does
establishment of a new key. This surely take place, at bar 23, the passage con­
misses the point of the transitional nature tinues to modulate.
of the passages preceeding each restate­
What is totally misleading about this
ment and strongly disagrees with the
greater plan of the modulations (besides its
actual musical effect.
inaccuracy), is that no distinction is made
Bars 27 to 41 are grouped under the
between short and unstable passing
all-embracing heading of 'E' and thus the modulations and the firm establishment
various sequential figures appearing in
of new keys.
these bars are treated as one discrete
group. However, the so-called 'variation' Motive
that appears in bars 4 and 5 (marked B) is Presumably the paragraph under this
clearly differentiated from that which heading has been misprinted. Saying that
appears in bars II and 12 (marked C). the auxiliary note motive is repeated
that
Such inconsistency reduces the usefulness throughout the whole piece and then
of the diagram to nought, even if one does drawing a diagram showing it to appear
A.HALL
accept the premisses on which it is based. in only nine out of forty-eight bars is
otherwise inexplicable. I assume that the
Phrase
shaded areas of the diagram represent the
The definition of 'phrase' given here is bars in which the motive from the first
quite different to any normal musical and second beats of bar I do not appear.
useage. The redefinition of a word that It seems strange to talk of the motive
has for so long had a perfectly clear and
as consisting of only the first two beats of
accepted meaning can only destroy its
bar 1 as the following two beats are of
usefulness. If such a definition was to
some importance and form the basis of
become at all common in analytical writ­
the figure appearing in the final three
ings then a new word would have to be
bars, bars from which Mr Hunt suggests
coined to replace 'phrase' in the old sense
that the motive is absent.
so as to avoid the inevitable confusion.
Surely it would be more sensible to use a Rhythm
different word here to refer to this From a performer's standpoint this
impractically narrow concept of a approach to rhythm is of no value
passage of music that must consist of a whatsoever. It treats the whole piece, with
self-sufficient group of ideas and must the exception of one bar, as having the
end with a perfect cadence. same rhythm, completely ignoring any­
A strange feature of the matrix is thing except the superficiality of the
that only three times does it show the quaver movement, and missing the
C.E.H.S. perfect cadence that ends each of the importance of changes in harmonic
69
 rhythm and, for instance, the way in In fact the idea that these 'Uhrlinien' In the second example the unessen­
which shorter phrase lengths give added may form the basic foundation of melodic tial notes above the altered chords would
vitality to the rhythm in the final five structures is a logical and almost become accented passing notes.
bars. unavoidable one once one accepts the sig­ Whether one regards the E in the
On this particular point I accept that nificance of the 'Uhrlinien' on any level first bar and the D in the second as an
little justice can be done to the subject of deeper than the foreground. While it accented passing note or the D in the
rhythm in such a short article. However, certainly seems correct to say that the first bar the C# in the second as
even given unlimited space for explana­ relevance of this 'Ursatz' level to perfor­ unaccented, they should be played in the
tion, it is hard to see how the representa­ mance is probably slight, in the end the same way. i.e. The E and D are both held
tion of rhythmic structure in this manner answer to this must depend on the for two-thirds of a beat until they resolve
could ever rise above simplemindedness. particular piece in question rather than on by step to the note below.
If a rhythmic analysis does not take a generalization, to which there are
Errors
account of all the factors that effect certain to be exceptions.
rhythm then it will be of little value. As for the remark that 'one should Article I (Sept./Oct. 1982)
never attempt to force music into a priori (1) The Matrix The phrase should end at
concepts which do not fit the musical bar 36 not bar 33 as shown in the
Fig. 2 - Bars 11 and 12
facts satisfactorily,' it is effectively a matrix.
Ha ving stated that 'The distinction
tautology, logically impossible to refute, (2) The Motive should read 'The shaded
between chord tones and unessential
and certainly not the criticism of areas represent the bars in which the
notes is most important when deciding
Schenker that it seems intended to be. motive does not appear.
upon good fingering' Mr Hunt then
proceeds to distinguish incorrectly P. G. M. JONES
Article 11 (Nov./Dec. 1982)
between the two. Clifton (1) P 42, Column 1, line 18. All condi­
The C sharp on the second beat of Bristol tions are fulfilled in bars 28 to the
the second bar would seem to me to first half of bar 36 (not bar 35).
belong to the chord of F sharp major Oliver Hunt has asked us to print the (2) P 42, Column I, line 23. The chord
rather than being inessential. However, it following in regard to his series on Bach's symbols should be:
could be treated as inessential as long as Prelude in D. 16 (old key)
the A sharp is treated as an inessential C.E.H.S. II6 (new key) V6 I
chromatic passing note between the
A number of points have been raised in Article III (Jan./Feb. 1983)
implied A in the previous chord and the B
response to my four articles on Bach's (1) P 45, Example 1, 2nd bar, 2nd beat.
on the following beat. There is, however,
Prelude in D. 3rd quaver should be F#, not A.
no way in which the A sharp can be a
(2) P 46, Example 3, 1st bar, 3rd beat,
harmony note and the C sharp an l. The Matrix
2nd quaver. The 3 should be under
inessential note, as Mr Hunt suggests. None of the rows in the matrix will make
the B, not the C .
Also, if the C sharp is inessential, not part much sense if read in isolation. The inter­
(3) P 46, Column 1, line 19. (e.g. bars 37,
of an F sharp major chord, how can there relationship between the parameters will
38 to the first beat of bar 40 (not bar
have been a modulation to the relative only become clear if they are compared
46».
minor as suggested? with one another.
(4) p 46, Column 1, line 2l. (e.g. bar 11
As to the harmonic analysis of these
2. Modulation to the first beat of bar 14).
bars, this is also a little odd. The figures
The modulation row may look a little (5) p 46, Column 1, line 22. (e.g. bars,
for the second chord in the second bar
strange to those that regard modulations 11, 12, 13 etc . . . ).
reflect the confusion over which notes are
as being established after a V/I cadence. (6) P 46, Column 2, line 14. 'climactic'
to be considered as belonging to the
I also include what can best be not climatic.
chord and are in themselves nonsensical.
described as the grey areas, which either
Also, to number the final two chords as Article IV (March/April 1983)
show the accidentals which lead into the
VI in the key of B minor is totally without (1) P 36, Columns 1 and 2. The codes for
new key before the cadence, or, in some
justification and is apparently only done the left hand from L4 to L13, should
cases pivot chords before the cadence,
as a result of knowing what happens later be listed as L3 to L12.
where the whole thrust of the music is
in the music. (2) p 36, Column 2, R4. (Example lA
highly suggestive of movement away
and B, not Example 2A and B.)
from the old key.
The 'Uhrlinie' - Bars I to II O.B. HUNT
The fact that the phrase divisions
This is a useful analysis and may well and the modulations do not always Harrow on the Hill
benefit any interpretation of the piece by coincide is one of the principle ways of
a thoughtful performer. However, I would maintaining continuity in the music.
disagree with Mr Hunt's comments on
3. Nomenclature of Chords Matanya Ophee's letter in your last issue
the value of the ideas of Heinrich
There are unfortunately alternative ways is so full of distortion that it would take a
Schenker. Firstly, to say that Schenker
of labelling some chords, particularly in longer and more detailed response than I
suggests that the Uhrlinien 'dominate'
passages which include unessential notes think would interest your readers. Suffice
entire movements is misleading. It would
because figured bass numbers do not it to say that more words does not
be more accurate to say that he believed
that there are basic and simple scalic generally take passing notes into account. necessarily equal more truth.
patterns to be found forming the When the chord symbols are placed DA YID LEISNER
generally unperceived foundation of most below the music, however, it is usually New York
relatively easy to determine which is
musical structures. It may be said that
which. Sometimes two different chord
this is in effect saying the same thing with
interpretations will produce an identical
more words, but it is in a way that does
end result in terms of what the player
the idea greater justice and gives it at I have for several years advocated that an
actually does.
least some degree of plausibility. Mr international symposium should take
Hunt's suggestion of domination also e.g. Ex. 2 Article* Example 2. place to establish a system to' standardize
misses the important point that generally II II6 V V I I I 6 classical guitar technique.
the 'Ursatz' can often be more usefully III #3 VI vq On the suggestion of Maurice Sum­
conceived as being a by-product of art merfield, to whom I have mentioned this
could be labelled
ascending series of structural levels rather opinion on several occasions over the
than always the generator of a descending II III V V I III 5 past few years (and once again in New
series. V # VI VI York recently), I am now writing to

70
Classical Guitar magazine to hope that
some of your readers may agree with my
view and decide to organize such
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
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 off to me the first five
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
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
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 official hand-out and not an editorial
opinion. I don't know where the sponsors
got their information, but I agree with
Anita Bridges: the guitar is a very
difficUlt 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
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
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
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 differ.
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
was these are represented often 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
the spatial fidelity 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 fidelity 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 extremely aggressive and
unnatural, and while I did find the sense
of clarity and immediacy striking, I did
not find this worth losing the truly beauti­
ful sound Bream is noted for on previous
recordings. An y t h i n g I found
problematical on this recording I could
easily attribute to the digital process
for 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
tradeoff 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 first 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 fine 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
 Classical Guitar Teachers
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Road, Swaythling, Southampton S02 2JH.
Tel (0703) 550446.
Pamela J. Poulton lTCl, AlCM, 60
Barton lane, Barton on Sea, New Milton.
Tel 616560.
Leslie Spickerwell, 38 longwood Ave,
Cowplain P08 8JA.
Joshua H. van Heygen, cle arranging, 11
Wilmott Close, Gosport P012 3SB. Tel
070-17 8258.
HERTFORDSHIRE
Peter Cracknell AClM, 149 George St,
Berkhampstead. Tel 4570,
Anthony Pigg lGSM, laneside, 39 Green
Drift, Royston, Herts. Tel (0763) 43149.
Candida Tobin Hon.FTCl l TCl, The Old
Malthouse, Knight Street, Sawbridgeworth,
Herts CM21 9AX. Tel 0279 722318.
HUMBERSIDE
Sandra Wellington lGSM, Rise Hall, Rise,
Hull HU 11 5BL.
KENT
Derek Faux Bowyer lRAM, 8 Alma Road,
Herne Bay. Tel 62816.
Adrian Harrison ARCM dip RCM, 127
Croydon Rd, Bromley. Tel Farnborough
50052,
Raymond Love, Elizabeth Cottage, The
Green, leigh, Nr Tonbridge. Tel Hilden­
borough 832459.
Colin Simmons ARCM, 302 Minster Road,
Sheerness ME12 3N3. Tel Minster
874405.
Norman Vaux, 95 Glentrammon Rd, Green
St, Green, Orpington. Tel Farnborough
58665.
Peter Wild, 8 Middle Field, Pembury, Tun­
bridge Wells. Tel 2498,
LANCASHIRE
Andrew Alien B.Mus. M.Mus, 13 lower
Park Road, Victoria Park, Manchester M14
5RO. Tel 061-225 0558.
Roy Crosby CertEd, 2 Pine Dale, Rainford,
St. Helens. Tel (074) 488 4339.
Paul J. Fowles AlCM, 5 laxford Grove,
ladybridge, Bolton Bl3 4PW. Tel 652322.
Alan Jones, Wilvere Drive, Little Bispham,
Blackpool. Tel Chevelys 821831.
David Kellett lTCl CT YCM, lancaster
Gtr. Studio, 67 Church St, Lancaster. Tel
(0524) 69077. Tuition in all styles to
Diploma Std.
Nicholas A. Mackey, Clitheroe Guitar
Studios, 12 Fairfield Drive, Clitheroe. Tel
24793,
Neil Smith FlCM, 2 Catherine Street East,
Horwich, Bolton Bl6 7JZ. Tel 0204 68945.
H. Walkden, 11 Kingsway, Penwortham,
Preston. Tel 743335.
LEICESTERSHIRE
Michael Grimm, Central School of Music,
123A Belgrave Gate, Leicester lEl 3HS.
Tel (0533) 57243.
Christopher Susans, Kirkland Hse, lower
Church St, Asbhy-de-Ia-Zouch. Tel 0530
416564.
LONDON
Colin Arenstein lRAM FlCM, 92 Station
Rd, Hendon NW4 3SR. Tel 202 7279.
Gareth Balch BMus(Hons), Write to 30
Steeles Road, Hampstead NW3 4RE.
William Baulch, Blackheath Conservatoire
of Music, 20 Courtlands Avenue, London
SE12 8HZ. Tel 01-852 4043
J. Bennett, 10 Corbicum, London El1. Tel
01-539 7953.
David Catling ARCM, 18 Dryburgh Road,
Putney, London SW15 1Bl. Tel 788 3512.
Katy Caws, Flat 4, 112 Thurlow Park
Road, Dulwich, London SE21. Tel 670­
8736.
Sarah Clarke BA lTCl, NW1. Tel 01-485
4421.
Tom Dupre lRAM, 18 Knivet Road,
Fulham, London SW6. Tel 01-381 9526.
,L. &' R. Gallo, 616 Green lanes, Harringay
N8. Tel 888 4666.
Roberto Garcia AGSM, 42 Howcroft
Crescent, Finchley, London N3 1PB. Tel 01­
349 0787.
Neil R. Garner llCM, AlCM, 122 Christ­
church Road, Tulse Hill, London SW2. Tel
061-671 2119.
Sandra Hambleton lRAM, 31 Allenby
Road, Forest Hill, London SE23.
David Hayhow BA AlCM, 12 Heber Road,
East Dulwich SE22 9lA. Tel 299-218.
Peter Howe ARCM, 11 Palmerston Rd,
Wimbledon, London
- SW19. Tel 01-540
7049.
Doug Kennedy, 1A 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 13 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.
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 1HE. 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 HA1
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 Whitworth MA DPhil, 30 Holley
Cres, Headington. Tel Oxford 61273.
SCOTLAND
Tim Baker MSc, 233 Perth Road, Dundee
002 1EJ.
Graham Butcher BSc, 103 Rose Street,
Edinburgh EH2 3DT. Tel 031-225 9582.
Sonya Harlow AlCM, T h e S quare,
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 D r inkwater St, Mountfields,
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 Hart 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 lTCl,
'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.
R ichard (Steve) Stephenson, 4 0
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 Ashworth 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.
K e v i n S. B o l t o n B A l T C l , 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 Wellhouse,
Golcar, Huddersfield. Tel 657837.
S. Mason lTCl, 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 1RJ. Tel Bingley 4209.
Martin Nockalls FlCM llCM (TO) AlCM,
Cert. E d. 5 Winnery C lose, 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 lTCl 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.
Bertil 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.
Robert S. Trent, 17b W. Coulter Ave, Coll­
ingswood, NJ 08108.
LATE ENTRIES
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
j ust arrived. Master Classes offered by the
Visiting Artists will be held at the Music
Department of the University of Puerto Rico
and la Casa de Espana.
Course 'A' JOS E 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 register, one half of the total cost of
the courses elected should be received by the
Festival before 20 October 1983. The remaining
balance is to be paid one day before the course
commencement. All payments should be made
in US Dollars by postal money order or official
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.
Chesterfield Guitar Society, contact Steve Marsh, 5
Shaftesbury Avenue, Ashgate, Chesterfield. 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.
Enfield Classical Guitar Society, Sec: Mrs. J. Warwick, 24
Little Park Gdns, Enfield, 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 PO16 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 first 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 first 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 B14.
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
Wealden 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 fide 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 Concert Guitar 1976 excellent condition.
Davies Case. £800. Tel 42789.
Ramirez 3P Concert 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 this 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,
colleges 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, " All are unreservedly recommended" Charles Seott, Classical Guitar and Fretwire Magazine

GUIT AR MUSIC

THE COMPLETE GUITARIST Comprehensive claS$ical 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 . £5.95
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 £2.50
POPULAR SONGS FOR GUITAR 2 17 more easy pieces in staff notation and tablature. El Condor
Pasa, Van der Valk, The Entertainer, Rodrigo Concerto Themes etc. 32 pages £2.50
Companion Cassette, Contains all music in books 1 and 2, 60 mins. playing time £4.95
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 £3.50
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."
"
£3.95
Companion Cassette to book 2 all music note for note, 70 mins. playing time £4.95
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 £2.50
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 £2.50
TRADITIONAL TUNES IN TABLATURE 8 pieces. Jig, hymn, reel, Spanish dance etc. 12 pages £0.50
Companion Cassette. All music in Popular Tunes 1 and 2 and Traditional Tunes. 60 mins. £4.95
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. £3.50
Companion Cassette or L.P. of a selection of the music. 50 mins. playing time £4.95
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 £2.75
Companion Cassette. All the music in A Variety of Guitar Music 2 and Chant of Falsity £4.95
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
£2.50
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. £3.50
Some Pieces are recorded on L.P. ' A Miscellany of Guitar Music', M. Raven.
£4.95
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. £2.50
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. £1.50
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
£2.25

HOW TO ORDER
All books can be order d 'rom your local music shop (distributors to the trade are Music Exchange Manchester Ltd).
.
If you expertence .
any diffIculty they can be obtained direct from the publisher, Michael Raven. Cassettes and records
an only be obtaine from Michael Ra'!en, 26 Church Lane, Derrington, Stafford. 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 clearing bank.