GUITAR NEWS The Officia l Organ of the INTERNATIONAL CLASSIC GUITAR ASSOCIATION

No. 61 Single cop,y price 1/4 (U.S.A. 20c.) SEPT./OCT., 1961

Ph oto: Marhel

Jn MARIA LIVIA SAO MARCOS 2 G UITAR NEWS 5EPT.- 0CT .. 1\16 1 Ricordi Publishers - Milano

Rruxcllcs - Buenos Airc-s - London - LOrrach - Mexico - New York - Paris - Sao Paulo - S)'dney - Toronto NEW EDITIONS FOR GUITAR By MIGUEL ABLONIZ TRANSCRIPTIONS 129879 J. S. BACH, Fugue (1st Violin Sonata). 129882 J . S. BACH, Two Gavottes (5th 'cello Suite). l 29880 J . S. BACH, Sar,abande-Double, Bourree-Double (1st Violin Partita). 129347 J. S. BACH, Two Bourrees ('French overture') and March (A. Magdalena's book). 129652 L. van BEETHOVEN, Theme and Variation ('septet'). 129653 G. F. HANDEL, Aria ('Ottone'). 129654 G. F . HANDEL, Sarabande and Variations (Suite XI). 129655 J . P. RAMEAU, Six Menuets. 129349 Two ancient 'Ariettes' by A. Scarlatti and A. Caldara. 130056 J. HAYDN, Minuet (Op. 2, No. 2). 130057 F. MENDELSSOHN, Venetian Barcarole (Op. 19, No. 6). 129348 Three short ancient pieces: Aria by Purcell, Minuet by Clarke, Invention by Stanley. 130059 R . SCHUMANN, Four "Album Leaves": Valzer Op. 124, No. 10. Larghetto Op. 124, No. 13. Danza Fantastica Op. 124, No. 5. Presto Op. 99, No. 2. 129884 A Guitar Anthology of T welve Pieces (Purcell, Bach, Mozart, Chopin, de Visee, Gruber, etc.).

TWO GUITARS 129350 J. S. BACH, Prelude No. I (48 Preludes a nd Fugues). 130055 J. S. BACH, Prelude No. l ("Six Little Preludes"). 129351 A. VIVALDI, Aria del vagante ("J uditha triumphans").

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G. RICORDI & C. Ufficio Edizioni, Via Salomone, 77. Milano-Italy. SEPT.- OcT. , 1961 GUITAR N EWS j OUR COVER PICTURE HE picture on the front cover shows' the Brazilian guitarist Maria Livia Sao Marcos with the Quarteto de Cordas Municipal of Silo Paulo­ T Johannes Oelsner, viola: Calixto Corazza, violoncello; Gino Alfonsi, 1st violin; Alexandre Schaff man, 2nd violin. This famous quartet was founded in 1935 and has given concerts not only in South American lands but also in France, Italy and Germany. · These five musicians may be heard in Boccherini's Quintet in C major on an LP record (SRE-2) ''Violas dos Mestres" produced by Ricor~i (Brazil). The record also includes solos by Maria Livia Sao Marcos- the Sor-Mozart Theme and Variations and works by Savio and Nogueira. The 'programme notes' (in Portuguese) on the sleeve of this record are exceptionally interesting, especially those on Boccherini. The photograph is printed by courtesy of Ricordi Brasileira.

ALIRIO DIAZ GUITAR recital lasting 30 minutes by Alirio Diaz was broadcast on Hilversum (Holland) Radio on July 31st. The Venezuelan guitarist A was in great form and played with amazing fluency. His purity of tone and sensitive control of dynamics were superb. His rendering of Moreno Torroba's Sonatina was pleasing but it was in the 'near folk' music of Lauro (Venezuelan Dance), Ponce (Popular Mexican Song) and Villa-Lobos (Choros) that he displayed a breathtaking vitality which really brought this music to life. His final item Sevilla (Albeniz) showed his artistic restraint and just the right amount of 'expression' for this more delicate music.

SEGOVIA'S AUSTRALIAN TOUR UITARISTS in Australia are delighted to know that Segovia will visit Australia during October and November. G His recitals are as follows : Melbourne- 17th and 18th October. Perth-23rd October. Adelaide- 25th October. f{obart- 30th October. Sydney-4th and 6th November. Brisbane- 9th November. He will make at least one Television appearance.

THANK YOU! I.C.G.A. wishes to thank the many readers who have sent congratula­ tions on the Tenth Anniversary Issue of "Guitar News"-No. 60. 4 GUITAR NEWS SEPT.-Ocr., 1961 INTERNATIONAL CONTESTS RESULTS HE famous Paris concert hall, Salle Gaveau, holds about 1,100 people, and every seat was sold for the playing of the finalists in the Concours T d'Interpretation, and the announcement of the prize winners, of this contest, and also of the Contest for Guitar Compositions organised by Radio­ diffusion- Television Francaise on the instigation of Robert J. Vidal. Of the 30 guitarists who entered, 26 had been eliminated, thus leaving four, who each played the test pieces and an 'own choice' solo.

Photo: R. T. F. (Louis Jo yeux) KONRAD RAGOSSNIG First Prize was awarded to Konrad R agossnig (Austria), the jury being unanimous. He received a Medal of Honour, a Diploma, a Scholarship at the famous Paris Conservatoire, Schola Cantorum, 500 new Francs ( = £50 or $140 approx.) and a concert tour of 10 to 15 recitals in France arranged for him by the Musical Youth of France. His 'own-choice' solo was Sonata in A major by Moreno Torroba. Konrad Ragossnig studied with Prof. Karl Scheit and (at Santiago de Compostela, Spain) with Segovia. It may be remembered that he won the Guitar Contest at Cheltenham Competitive Music Festival last year. In November 1960 he was appointed Professor of Guitar at the State Academy of Music in Vienna. The second . prize in the playing contest was won by Michel Roger (France) who received a Diploma, a Schola Cantorum scholars:hip and a money prize equal to half the First Prize. S EPT.- 0 CT., 196 1 GUITAR N EW S 5 Composersr' Contest The original compositions for guitar solo had been reduced by the jury to two : "Invocation et danse" and "Hommage a Ja Guitare" which were entered, according to the rules, under pseudonyms. They were played to the audience by Alirio Diaz. Then the sealed envelopes were opened and the names of the winning composers were revealed. First Prize- 1,000 new Francs and some valuable books- was won by Joaquin Rodrigo for his Invocation and Danse in homage to Manuel de Falla. Second Prize-750 new Francs- was awarded to Eduardo Sainz de la Maza (brother of Regino Sainz de la Maza, Professor of Guitar at Madrid Conservatory). To round off this wonderful evening, Alirio Diaz played a recital of guitar music by Milan, Molinaro, Galilei, R. de Visee, Sor and Bach. The Jury consisted of Marius Constant, Guy Erismann, Daniel Lesur (Director of Schola Cantorum), Pierre Wissmer, Mrs. Suzanne Demarquez, Alexandre Tansman and Emilio Pujol. Also supporting the contests were Raymond Lyon (Director of the Musical weekly 'Guide du Concert'), Schola Cantorum and Musical Youth of France. It is intended to repeat the contes,ts next year with the addition of a contest for the best composition for two guitars.

The Classics of the Guitar MARIA LUISA ANIDO The volume of 64 pages, with coloured cover, contains : bi ogra phy ; 60 rare and original photographs; reproductions of docwnents; letters and autographs of M . Uobet and other masters; Tarrega's guitar and ot her information of great interest. Notes, translation and text in Italian by E. R. Roveri. Photography by F. Redaelli. For orders (advance payment only) write to: - EDIZIONI E. R. ROVERI, Via Piatti 3, Milano, Italy.

Price, includin,g postage, $2.50 (U.S.A.). 18/- sterling. 1.500 Italian lire.

SPANISH GUITAR STRINGS Processed Nylon and Gut and Wound Wound on Terylene on Silk Each Each 281 1st Nylon ... 1/10 136½ 1st Gut .. . 2/11 282 2nd ,, 2/2 137½ 2nd ,, 3/2 283 3rd 2/6 138½ 3rd ,, 3/8 284 4th w'bund .. 2/9 148 4th Wound 2/11 285 5th 2/11 149 5th 3/6 Calb~dral Strings 286 6th 3/4 150 6th 3/10 287 Set .. '.' 15/6 150½ Set 20/0 ~ole Manufacturers BRITISH MUSIC (GN) STRINGS LTD., 130, Shacklewell Lane, London, E.8. ENGLAND. 6 GUITAR NEWS SEPT.- OcT .. 196 1 Classical Guitar Music Guitar Archive - Segovia Editions - Pujol Editions Transcriptions by Deric Kennard - Arrangements by Len Williams - Compositions by Villa Lobos Contemporary Guitar Music. Also Publications by Bibliotheca Fortea (Spain), Berben (Italy), Eschig (France), Bote & Bock (Germany), etc. Apply for new Guitar Catalogue . • SCHOTT & CO., LTD. 48 Great Marlborough Street, London, W. l

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R. Esenbel 19 Boulevard de Montmorency Paris 16e CONCERTISTE France cordes pour guitare classique PARIS S,-,_ PT.- OcT., 1961 G UITAR N EWS 7

ITRAWI .. ♦ ♦ By Tim Verey ("Timbuctoo")

HERE actually was an Italian musical instrument made from straw, but this article is nothing to do with that obsolete curiosity. The T 'straws' in this case show the strength and direction of the wind- in the musical sense. They symbolise the stray bits of news and statistics which add up to a realisation that MUSIC- real 'art' music- is in the ascendant. Straw No. 1 Take the piano, for instance- admittedly rather a heavy 'straw' for it requires colossal strength to take a piano anywhere! Not so many years ago a piano was considered as necessary to a middle­ class home as a certific_ate of marriage. The coming of radio and television resulted in auction rooms being crowded with unwanted pianos for which not even a bid of ten shillings could be obtained. The making of pianos dropped from 60,000 a year in 1930 to just about nil in the 1940's. Now, the figure for 1960 has risen again to 20,000 a year, and the people who are buying them are not just 'keeping up with the Jones's' but intent on making their own music. The revival of the classic guitar during this difficult period undoubtedly helped to stimulate an interest in good music. Straw No. 2 There is a picturesque lake in the park at Kenwood in North London. With a natural background of trees the Philharmonia Orchestra, conducted by Charles Mackarras, gave a symphony concert on a recent s,ummer evening to an audience on the other side of the lake. The programme included Beethoven's Pastoral Symphony. It mus.t have been a financial risk to organise such a concert, English weather being what it is, but, as though to demonstrate their confidence in good music people came in their thousands - 8,700 of them to be precise! Reporting this in R eynolds News, Arthur Jacobs pointed out that this is nearly three times the capacity of the Royal Festival Hall, London!

Straw No. 3 Jazz is the death-watch beetle in the Temple of St. Cecilia, but it should never be (orgotten that 'jazz', from the money angle, is a vast series of rackets. The Olympia Music Hall, Paris, was, recently booked for an "All­ English Rock-and-Roll Festival". Fearing a repetition of the hysterical outbreaks which such events have produced in other lands, 25 gendarmes were sent to keep order. They were not needed, however, for the theatre was less than half full and the misguided instrumentalists, were greeted with cries of "For goodness sake shut ·up!" So, maybe the degradation of musical taste has. reached rock-bottom; maybe the straws in the wind show that good music is gaining ground. 8 GUITAR NEWS SEPT . -◊CT .. 1961 HOW WE SHOULD START THE STUDY OF THE GUITAR By Miguel Abloniz (Italy) Chapter IX-THE CONTINUITY OF SOUND. THE DIATONIC SCALES EFORE dealing with the diatonic major and minor scales (that most important chapter for the development of a sound technique on any B musical instrument), I think it is convenient to mention here one of the main and most difficult problems of guitar playing : the continuity of sound. How the rupture ( or break) of sound happens : Left hand : (a) when the finger which presses a string that has been put into vibration diminishes its pressure ( or ceases completely pressing) before the rhythmical completion of the entire value of the note; (b) when on playing on the same string two (or more) ascending notes we place the finger that will prepare the higher note, some time before the rhythmical completion of the previous one; (c) when on playing on the same string two (or more) descending notes we lift the finger that was pressing the first (higher) note, some time before its rhythmical completion; (d). when, for lack of adequate technique (sometimes also because of bad 'fingering' of a work), the left hand cannot promptly make jumps, of many frets. As I have written before : the guitarist who has not yet got a sound technique, to be able to play in correct time, makes the notes cease too soon; just to give himself the time to prepare the notes that follow. Right Hand : (a) when a finger that has to strike a note on a string which is sti!J vibrating, goes and rests on it some time before the instant on which it ought to strike; (b) when the fingers generally develop the bad habit of stopping on the strings for a longer period than that minimum which is required to put a string into vibration. I wish to illustrate this with an example : a whipping-top in motion resembles very much a v_ibrating string, where the whip = right hand finger and the turning-top = vibrating string. If while the top is turning, the whip is allowed to stop on it for longer than is necessary for supplying it with new energy, the top will stop. The same with the string : if we wanted to re-play on a string which had already been struck and was still vibrating, the right hand finger should be fast in its action, otherwise, by delaying its stay on the string it would oblige it to stop vibrating, in other words, causing a sound rupture. Naturally, even when we play correctly, i.e. by keeping our right hand fingers in contact with the strings as briefly as possible, on the moment that a finger touches a vi brating string it interrupts its vibrations, but this, is not detectable by the ear as, during that short interruption, the guitar sound-box is s,till sounding. So, the remedy, after one has understood these elementary rules, rests entirely on the ear : we must constantly listen to the sound we are producing, S EPT.- O CT. , 1961 GUITAR N EW S 9 play slowly and try to co-ordinate well the action of the hands. The ear gets developed to such a degree that it can easily detect the difference between a note that has ceased because the vibrating string has exhausted its 'vibrating power' and a note that ceases suddenly because of one or more of the above-mentioned faults.

THE DIATONIC SCALES In these articles, being concerned with the technical s1de of the guitar, we shall consider that the students are already familiar with the theoretical formation of the various scales; those who happen not to be should study them in any text-book of 'Theory of music'. I would only mention that our musical system consists of twelve notes (number of semitones contained in an octave) and that since from any one of them it is possible to start either a major or a minor scale the diatonic scales are 24, twelve of the major mood and twelve of the minor, the latter one usually being practised in its 'melodic' form. Readers who have learned what 'enharmonic equivalence' is, know of course that one and the same scale can be written by using sharps or flats; in this case, although it has different names, it sounds, just the same and for us it has exactly the same fingering. On the guitar (with its extension of three octaves plu& a fifth) 16 out of the 24 scales are practicable on a maximum extension of three octaves and are the major keys of : E, F, F sharp, G, A flat, A, B flat, B, and the minor keys of : E, F, F sharp, G, G sharp, A, B flat, B. The remaining eight scales are practicable on a maximum extension of two octaves and are the major keys of : C, D flat, D, E flat, and the minor keys of : C, C sharp, D, D sharp. Having had the opportunity to examine the diatonic scales in a con­ siderable number of 'guitar tutors' (some not of remote publication) and noticing that they might have been presented in a somewhat more 'simplified' way for the beginner, who should memorize them with little effort and practice them daily, I have reduced the 24 scales into four types, with the result that the student by learning only four scales knows automatically how to play all 24 (by a -simple 'transposition' and without any change of fingering, as we shall soon explain). As in various other ins,tances, on the guitar too, one !Jlay start from a certain point and reach another one by following different directions. When playing a scale, the easiest and shortest way to take is, the one involving such a 'fingering' where the left hand changes 'position' as little as possible. By 'position' here I mean the placing of the left hand so that the four fingers occupy four consecutive frets, each finger serving one fret (as is the case of my eight exercises for the independence of the left hand fingers, described in chapter VII). In scales, each new position should be taken : in the ascending part, nearer to the bridge, whereas, in the descending part, nearer to the nut. The upward or downward direction of the notes should be accompanied also by the 'nearer to the bridge' or 'nearer to the nut' forming of new positions, for the left hand, 10 GUITAR N EWS SEPT.- O c T. , 196 1 Right hand : fingers i.m.a. used two by two, give us the six combinations we already know. Practise then the scales playing 'apoyand o' (supported stroke), with any of the two-fingers combination (same two fingers., alternating all the time, for ascending and descending) and as we have said for other cases : slowly and vigorously at first, more lightly and rapidly later. It is also advisable to play scales by using i.m. in ascending and a.m. in descending, or vice-versa; any two-fingers combination in ascending, involving in descending the finger which did not participate in ascending. It is also possible, for exercising, to use combinations of three alternating fingers. Is it necessary to repeat that the words : ascending, descending, high, low are here always used in the musical sem,e? RHYTHM. There are various rhythmical combinations : (a) The easiest and most used is when all the notes are of equal value, played in good rhythm and wit hout repeating the highest note (when playing many times the same scale s,trike the highest and lowest note only once). (b) In each octave, the key note as a crochet (1 /4 note) and the remaining six notes as quavers (1 /8 notes), all the time: one crochet- six quavers, resulting in a square rhythm. (c) Considering the scale to be written in 'triplets' and thus accentuating the first of every three notes. (d) In 'quadruplets', accentuating the first of every fo ur notes. (e) Finally, by using the dot either for the odd or for the even notes. (To be continued .)

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UNIVERSITY OF RECIFE, BRAZIL E have pleasure in announcing that a Chair for Classic Guitar has been established at the School of Music and Fine Arts of the University W of Recife, Pernambuco, Brazil. The Director of the University, Rev. Padre Jayme Diniz, has long been in favour of an official Guitar Course, and this has now been realised by the appointment of Jose Carrion as Professor of Guitar. Prof. Carrion is well known as a virtuoso of the 'cello as well as the guitar. He studied the latter instrument under Emilio Pujol. 128 guitarists applied to take the Guitar Course, which is for nine years, but eventually 18 students were selected. On May 2nd a special concert of Chamber Music was given at the University, in which Prof. Carrion not only played the 'cello in ensemble music by Mozart, Bach and Mendelssohn, but also played the following guitar solos : Sarabande (Handel), Gavotte and Rondo (Bach), Capriccio (Legnani), Elegia (Fortea), Leyenda (Albeniz) and Prelude No. 1 (Villa­ Lobos).

SUCCESSES IN PHOENIX, ARIZONA HEN Segovia vis.ited Phoenix on March 23rd his recital was a re­ sounding success, for it was greeted with thunderous applause. But W success came also that day for 19 year-old John Wetter of Phoenix, who played for over an hour for Segovia and was awarded a full scholarship to enable him to study with Segovia at Santiago de Compostella, Spain, during August and September. John Wetter, who _has studied the guitar with Manuel Lopez Ramos of Mexico, was presented at Phoenix Little Theatre by the Phoenix Classic Guitar Society in a recital on May 22nd. His, programme included the Sor­ Mozart Theme and Variations, Fugue by Bach, Third Sonata by Ponce, Recuerdos and Capricho Arabe by Tarrega, Tango and Sevilla by Albeniz and music by Purcell, Weiss, etc.

PRESTI-LAGOYA DUO DA PRESTI and Alexandre Lagoya vis,ited Coruiia, Spain on April 12th for a recital of music for two guitars which was organised by the Phil­ I harmonic Society. They played works by Marella, Bach, Paganini, Sor, P. Petit (Tocatta), Rodrigo, Albeniz and M. de Falla, as well as Melodia y Divertimento by A. Lagoya and La Hongroise by I. Presti. lt was a most successful event, unique in the musical history of Coruii.a. 12 GUITAR NEWS SEPT.- OcT. , 1961 AT THE THEATRE OF EPIDAURUS PIDAURUS was the birthplace of Healing, the "Supreme Hospital" where Aesculapius and his fellow physicians treated the sick. ·E Its amphitheatre, famous for its architecture and unrivalled acoustics, was built by Policlitos in the 4th century B.C. for the performance of Greek Tragedies. At these performances the music of the guitar (kitara) was often heard in the intervals. Homer records that 'Fimios took part in symposiums with his golden-stringed guitar, and was generously paid', while Amiveos received 'one attic talent' for playing in the intervals. But sometimes there were great guitar contests in which participated the famous Terpandros and his pupil Arion, Periklitos, Archilogos, Lasos, Ermioneus, Pindaros, Melanippidis and lvycos. Often there were singers with guitar or lyre accompaniment.

DIMITRI FAMPAS AT EPIDAURUS Since 1954 an annual festival of Greek Tragedy has been held at this ancient theatre and last year Bellini's, 'Norma' was performed there (with Maria Callas). On May 21st, 1961, the Touring Club of Greece organised a mass visit to the Theatre of Epidaurus to hear a recital of guitar music. The ship "Neraida" was chartered to take some of the tourists; others travelled the 160 kilometres by car. Before an audience of about 1,000 SEPT.- OCT., 1961 G UITAR N EWS 13 people, including many visitors from other lands, Dimitri Fampas played in the vast auditorium, music by Milan, Narvaez, A. Scarlatti, Bach, Handel, Sor, Vil la-Lobos, Albeniz and A. Barrios as well as several of his own compositions and arrangements of Greek music. His recital was preceded by a lecture on 'The Guitar through the Centuries' read by Miss Doxa Cabalouris. There were excellent reports of this important occasion in the Greek newspapers "Piraika" and "Elliniki Ora" praising equally the Touring Club for its initiative and Dimitri Fampas for his artistic guitar playing. THE GUITAR IN CONTEMPORARY MUSIC

By Joan Prior (Britain)

HE guitar had the distinction of appearing in two of the four works in the recital and discussion presented at Cheltenham Festival of T British Contemporary Music 1961 , by the Society for the Promotion of New Music. On this absorbing evening the works performed are criticised by a contemporary composer (in this case Peter Maxwell Davies) and then thrown open to discussion. William Bardwell had set six poems by C. A. Trypanis for Tenor, oboe, mandolin and classic guitar under the title "The Tragic Mask". Unfortunately the guitar received very little opportunity in this interesting combination of instruments, and sounded rather metallic into the bargain. Many instru­ mentalists must feel disappointed in the parts allotted to their chosen instrument in contemporary music: but guitarists are still apt to be misunder­ stood by the musical and general public at the best of times, and feel doubly sorry if the sound produced is not convincing. R. Smith Brindle's contribution was "Five Sketches for Violin and Guitar" composed in 1957. The guitarist, John Magarshack, did not appear to do full justice to the opportunities in this work, and again sounded metallic. I felt, though, that the guitar balanced well with the violin, and one could really hear it·properly. The style of playing was somewhat mixed, which I think spoils it as a suite- ranging from Spanish drumming with a contemporary impetuosity, through very nice strange "cosmic" sounds, to mock Dowland which was a disappointing ending. Afterwards, in his remarks, Peter Maxwell Davies commented that Reginald Smith Brindle has valid inspiration but the image is not presented with clarity and brightness. The guitarist, asked his opinion, said that he considered this to be one of the best modern guitar works. It is to be hoped that Mr. Smith Brindle will continue to compose foc the guitar, for he does understand the instrument, and it is most necessary to enlarge our contemporary repertoire. We must get used to the fact that in general, much new music seems less well integrated that the classical idiom, but it does fling out the boundaries of imagination for those who are willing to receive it. 14 G UITAR NEWS SEPT.- O c T., [96 I BRITISH MUSIC FESTIVAL CONTESTS HIRTY-SEVEN competitors entered for the th~ee classes in the guitar solo competitions at the Watford and District Music Festival on T May 6th. The winner of the '12 years and under' class was Eric Silbermann. John Cadman won both the 'Open' class and the contest for '16 years and under'. The contest for Guitar Duo was won by John Wheatley and Jeffrey Frankel (two guitars). There were five entries in this contest. The adjudicator was Watson Forbes, F.R.A.M. At the Cheltenham Music Competitive Festival on May 13th, the Open Contest for Guitar Sol o was won by Nicholas Moes and the Amateur Contest by John Cadman. There were twenty-seven entries for the two classes. The adjudicator was Michael Head, F.R.A.M. J. S. BACH AND SOME REMARKS ON INTERPRETATION By Costa Proakis (Italy) PART THREE (continued) COMMON error committed by many performers in playing Bach, how­ ever, is that they take their allegro movements too fast and their adagio A too slow. The innumerable comments and remarks by the authors of early time, as well as the mechanism, the " technique" and the short duration of sounds of old instruments, all serve to indicate that the range of speed (from slow to fast) in early mus,ic was more restricted than is the case today. Bach's speed can be said ,to be S)Omprised approximately between it,he limits of our 1 c modern andante and our 'allegro energico. On tihe other -hand, ear·ly indica­ tions of tempo should not be taken for g,rain,ted, for, as has already been pointed ou,t, the terminology used varied in meaning •a,t different ,times and in different countries. ~ Generally speaking, ,the tempo of a Fugue s.hould n,ever be too fast. A dense ,texture requires a rntheir slow speed, so tthat all iits details may be easily captured. A cadence (close) in Baoh's mus.ic, whetJheir in the middle o,r a,t the end of a piece, is never subject to a "rallentando". His cadence is q,ui,te differ,ent f.rom a modern cadence: i,t ,has a solid and decisive struoture a,nd s,hould .no,t be weakened o,r distorted by speed c,hanges. In tJhe majoriity of cases, perfoirme,rs have a natural tendency to speed up tempo when playi:ng crescendo and to slow down when playing diminuendo. This tendency is due mainly to a difficuLty o,f a menita.J character, i.e. o,f pe,rfo,nming ,two, different aotions at t he same ,time. It is true thait o ur mi,nds are capable o,f dealing with several actions at the same time, but in such combi:ned actions, mental control is only wa:nted for one of them, the others being performed au,tomatioa1ly . When tihese two dynamic indicaitions a,re given, ca,re should be taken to oontiro.J ohe progressive modificatio:n of volume wiithout altering ohe speed o.f ,the passage, until suoh conitr<:>•I oec<;>mes a habit, SEPT.- OCT., 1961 GUITAR NEWS 15 The excellent interpretations o.f Andres Segovia, are due mainly to the "plastic" continuity of his tempo. In his playing from the very beginning of the piece, w1hateve,r the indications may be, ,tthe tempo develops unin,ter­ ruptedly wi,thout any breaks or thesiitations. Cain ,the ins,tirument have some influence on Tempo? However absurd such a question must appear a,t fin.t glance, bhe irn,trnment is certainly cap­ able of exercising some influence on tempo. T1he deg,ree of speed resulting from its meahanical precision is ,too evident ,to be dealt wi.th here. As r,egards ,the ,tone colour of the instrument, it ~hould be :realized ithait quality is intimatel1y associated with the man,neir in which ,uhe sounds of the ins,tru­ ment fill time and space. Lt is well kno,wn 1bhat rich deep sounds occupying longer spaces of time call for slow speeds, wh.ile short brillian,t soiu,nds occupying-by t,he na,tuire o.f ,thei,r own vibrations- sho!1ter spaces of time call for ,higher speeds so as ,to bridge ohe gaps between notes. It is for this . reason ,that the 1higher zones of ohe fingerboard aire more suitable fm brilliant and rapid ,passages, and the lower zones foir smoot1h aind slow passages. Similairly, a guitarist wioh a poor thin touch, tends ,to play a liittle fasteir than a guitarist with a ,rich smooth ilouch, ,ohe formeir being tempted unconsciously to increase his speed in an endeavour to biridge the gaps between sounds. 11he present author ·has q,ui,te o,fiten noticed that ,performers playing on cheap guitars, which usually ,have a poor tone, are also ,tempted for the above reason to increase oheirr speed, especially in slow, adagio movements.

CLASSICAL GUITARS of FINE TONE and QUALITY Rectified Nylon Strings for the Guitar Handmade throughout • Improved Tonal Quality by • Obtainable in Graduated Tensions to individual MAKER & selection CHAMBERLAIN TEACHER Details from : BABOLAT-MAILLOT-WITT 1 Waterloo St., 93 RUE ANDRE BOLLIER Leicester LYON, 7me., FRANCE Est. 1921 16 GUITAR NEWS SEPT.- OCT., 1961

JULIAN BREAM ULIAN BREAM'S forthcoming engagements include the Edinburgh Festival, three weeks in Russia, two months in U.S.A., then to Holland, J Switzerland, Germany, Poland, etc. He was recently the 'castaway' in the B.B.C. 'Desert Island Discs' programme. Of the eight gramophone records which he chose to take for his imaginary exile the only classic guitar music was Tarrega's 'Recuerdos de la Alhambra' played by Segovia. In the interview with Roy Plomley he revealed that he has always wanted to compose. He chose for his 'luxury object' a book of 16th and 17th century English poems.

SEGOVIA AT BATH FESTIVAL T the Guildhall, Bath, on June 4th, Segovia gave an afternoon recital which once again revealed his wonderful artistry. A His programme included Gaillardes (Sanz), Rondo and Allegro (Sor), Sonata (Castelnuovo-Tedesco), Prelude, Sarabande and Gigue (Bach), Menuet (Schubert), Canzonetta (Mendelssohn), 'For Segovia'- six short pieces (Tansiman), Torre Bermeja and Leyenda (Albeniz). As Segovia was just about to commence belt noises from the nearby Abbey delayed the recital for about five minutes.

S.C.G. NEW YORK CONCERT HE 97th Concert of the Society of the Classic Guitar presented Richard Blankenship, solo guitarist, in his New York debut, at the Greenwich T House Music School Auditorium on May 19th. He played the first half of the programme which was followed by solo guitarists Jeff Swerdlow, Ernest Bracco and Samuel Brown. In the final offering Messrs. . Bracco and Brown were joined by Louis Misciagna in the Guitar Trio Op. 2 by Gragnani. Mr. Blankenship, whose major study is guitar in the Music Department at American University in Washington, D.C., played the following programme: Six Italian Lute Pieces (arr. Shearer), Galilei; Melancholy Gailliard and Allemande, Dowland; Etudes 14 and 12, Sor; Prelude, Sarabande, Gigue (arr. Shearer), J. S. Bach; Preludes, Nos. 1 and 2, Villa-Lobos; Burgalese, Torroba; Tarantella, Castelnuovo-Tedesco.

GUITAR IN A CHURCH HE historic Church of Standish in Gloucestershire- 600 years old­ needed funds for urgent repair work, so a concert of chamber music T was arranged on May 5th at the Church. The guitar, played by Patrick Gamble, was heard in Handel's Sonata for Violin, Guitar and 'Cello, and also in the second movement of Boccherini's Quintet for Guitar and Strings. S EPT.- 0CT., 1961 G UITAR N EWS 17

j '

l HE UL TIM Al E IN NYLON GU IT AR Sl RINGS

For the th ird time. I write about th e ·· AUGUSTINE ·· strings. now not tv recommend them. since their qualities are already well proven and established and it would be useless for me to try to seed new incentives in the minds of th e purchasers ~ - but in order to have the satisfaction of confirming the antipropagandistic Spanish proverb, '' Fine cloth inside th e chest is sold. · · Despite the rather discreet publicity that Mr. Augustine has issued in favor of his strings, they are well known, appreciated and sought for by the most intelligent guitarists of th e world who strongly prefer them over an;· imitation, whether loyal or disloyal. This is the victory of mastery over ineptitude and truth over fraud.

Our highest praise comes from the fact that other manufacturers constantly and unsuccessfully attempt to imitate our striIJ.gs, camouflaging each new try with announcements of new, miraculous processes. Nevertheless, those artists who perform under the scrutiny of the public, and require strings of the highest tonal quality and dependability, insist on having ALBERT AUGUSTINE nylon guitar strings.

Ask for them at your local shop or write ALBERT AUGUSTINE, Ltd. 248 CENTRAL PARK WEST, NEW YORK 24, N. Y. 18 GUITAR NEWS SEPT.- OCT. , 1961 A "SECOND'' GUITAR By G. M. Kingman (U.S.A.) OST guitarists have one guitar which represents the very best instru­ ment they can afford . In many case~ it may be an irreplaceable M instrument of delicate beauty and exquisite tone. As proud as one may be of such a guitar there is a certain risk involved in carrying it back and forth to lessons and impromptu gatherings. The idea of making a guitar which would serve as a "second" guitar came to me from the announcement in "Guitar News" of the booklet by Eric Ridge, "The Birth of a Guitar". The pictures show the front and back of the guitar which result~d. Although I am a rank amateur at wood­ working, the guitar is quite playable and is entirely satisfactory for the intended purpose.

Photo: James E. Ragsdale The original intent was to make a flamenco guitar. The back and sides are of curly maple instead of the traditional cyprus pine which I was unable to find. The top is of close grained Swiss pine and the neck is cut from a solid piece of mahogany. The fingerboard, bridge, golpeador, binding and head facing are of ebony. The mosaic was purchased assembled on a piece of cardboard, it being only necessary to cut the groove in the top and glue it in place. SEPT.- O CT., 196 1 G UITAR NEWS 19

I followed the Eric Ridge drawing for all dimensions except the head design and the heel of the neck. These are areas where a little originality seems to be permitted. The order of assembly used was exactly as specified by Mr. Ridge; however, I used an outside mould for forming the sides and a ll gluing operations up to fitting the neck. Being an engineer by profession, I could visualise the various stresses and tensions in the instrument and could not bring myself to make the top and some of the internal bracing as thin as suggested. The tone and strength of voice suffers because of this. My next project will be to remove the back and thin the top and bracing from within. Synthetic glue was us,ed for all joints except for the back which was put on with animal glue so that it may be removed for internal repairs. lt is a great pleasure to play an instrument made by one's own hands as so poetically expressed in the opening chapter of Mr. Ridge's booklet. It is not nearly as difficult to construct a satisfactory instrument as it may seem.

JOHN WILLIAMS ON B.B.C. RADIO URING July, John Williams was heard with the Quartet Pro Musica in a broadcast of Boccherini's Guitar Quintet in G. A few days later D he played the fo ll owing solos in a 'Music Tapestry' programme : Scherzino Mexicana (Ponce), Saltarell o (Galil ei) and Asturias (Albeniz).

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GUITAR PUBLICATIONS By JOHN GAVALL

PLAY THE GUITAR This self-tutor is a short practical guide for the beginner who wishes to study all aspects of playing the Spanish guitar. It includes full instructions on melody playing, chordal accompaniment and all types of sounding strokes. 7s. 6d.

FOLK TUNES AND CLASSICS FOR SOLO GUITAR This book provides the beginner with a graded repertoire of solos from easy single-note traditional tunes to two and three part music by classical composers. Each piece is accompanied by advice on the way it is to be played. 7s. 6d.

GUITAR DUETS - HANDEL Six pieces by G. F. Handel arranged for two guitars. Mostly single-line parts, easy in standard. 5s. Od .

GUITAR DUETS - BACH Six pieces by J. S. Bach arranged for two guitars. Containing music more florid in style, they demand a sli ghtly more advanced technique than the Handel duets. 5s. Od.

Inspection copies sent on request MILLS MUSIC LTD. 20 DENMARK STREET, LONDON, W.C.2 S EPT.- O CT. , 196 1 G UITAR N EWS 21

IHE GUITAR REVIEW is a magnificent example of the perfection and beauty which such a publication can achieve if those who direct it and bring it into being are inspired not by the crass desire for commercial gain but by more generous and disinterested aims. The artists, musicians, and writers who share the Labor and sacrifices required to bring out each new issue of THE GUITAR R EVIEW are united by a single consideration: their love for the guitar. Working together and giving unstintingly of their time, they have succeeded in creating a publication both scholarly and beautiful, which is the admiration of the entire musical world. It is one thing, however, to pursue commercial success for its own sake and quite another to meet the fundamental requirements of an enterprise of this scope. If THE GUITAR R EVIEW is to survive it needs more subscribers , more substantial advertising, donations. I urge the readers and fri ends of this publication to try to obtain for it the support which it requires and to give it whatever help they them­ selves can offer. I am sure that no one will ref use to heed my appeal, particularly if he prides himself on his love of culture, art, and, above all the guitar.

Prices : Issues 19-24 25-30 Si x consecuti ve issues ...... $6.00 $8.00 Three consecuti ve iss ues . . . 3.50 4.50 Single Copies ...... 1.50 1.75

THE GUITAR REVIEW - 409 EAST 50TH ST., NEW YORK 22, N.Y. 22 GUITAR NEW SEPT.- O c T., 1961

Carl Jacobson and family at home

Photo : Mildred Bowyer

EARL JAC OBSON NDER the heading Viking H.eritage keeps Earl Jacobson striving for Guitar eminence, Classics Recognition Louise Griffin in the Northern U Californian newspaper The Union describes in a five-column article the brave struggle of Earl Jacobson of Grass Valley, Nevada County to spread the knowledge and enjoyment of classic gui.tar music. Born in U.S.A. of Norwegian stock, Earl Jacobson surmounted the handicap of a broken leg and resultant osteomyelitis at the age of 12 to become a musician. He went to sea with the U.S. Merchant Marine during the war years- and took his guitar with him to entertain his shipmates and the people of the Philippine islands when his ship docked there. Now at the age of 36, married to an unders.tanding wife and with two sons, he practises at least two hours a day, teaches, gives recitals and broadcasts. CONCERT AT SWINDON FANTASIA R ONALD THEXTON took part Nylon guitar strings are again obtainable in a concert at the Arts Centre, in various tensions and gauges Swindon on May 1st, playing Write to:- Pavane No. 1 (Milan), Suite in D MANUCORD (R. de Visee) Study No. 3 MONTIGNAC-SU R-VEZERE (Carcassi), Sarabande (Bach) and DORDOGNE Prelude No. 3 (Villa-Lobos). The FRANCE concert was organised by Swindon l?ublir. Libraries Music Club. S EPT.- 0CT., 1961 GUITAR N EWS 23 SIERRA CLASSIC GUITAR SOCIETY NEW classic guitar society was formed in Nevada City, California, on April 26th, under the direction of Earl Jacobson, recitalist and teacher A of classic guitar in Nevada County, an area on the Western slope of the Sierra Nevada Mountains. "Sierra Nevada" is a Spanish name meaning saw-toothed mountains, covered with snow. The new Society has been officially christened "Sierra Class.ic Guitar Society". It wil l meet every two months in the home of one of the members, and each meeting will feature a concert by one of the group, study of a particular piece of music, or some aspect of playing classic guitar. Members of the unit range in age from 14 to 80 years. The 14 year old is Mr. Jacobson's son George, also an ardent s,tudent of the classic guitar. There are approximately ten members. One is Mrs. Ed. (Kathy) Miller, a former British subject, now living in Nevada City. The first meeting was held in the home of member Henry V. Roese, also of Nevada City. Fifteen year old Mike O'Connor, one of Mr. Jacobson's students, was the concert artist of the evening. His programme was as fo_llows :- Prelude No. 7 (Chopin), Waltz in A (P. Roch), Prelude and Minuet (R. de Visee) and Little Piece for Lute (V. Galilei). During the evening Mr. Jacobson offered a short instruction period, and led a group discussion on guitar fingering.

New Edition GUITAR MUSIC by ANDRES SEGOVIA CO.125 Ballet (Gluck) $ .75 CO.126 Courante (Bach) $1.00 CO.127 Diatonic MaJor & Minor Scales $1.50 CO.128 Estudio-Vals (Dedicated to Sophocles Papas) $1.00 CO.129 Melody- (Grieg) $1.00 CO.130 Romanza (Schumann) $ .75 CO.131 Three Pieces (Purcell) $1.00 CO.132 Waltz (original in A flat-Brahms) $1.00

EASY FLAMENCO VARIATIONS ~ SOPHOCLES PAPAS Malaguena, Farruca, Fandango, Solea, Farruca Facil 50 cents each. W,ite for our complete Catalog. COLUMBIA MUSIC CO. ~~------!>-!Dept. G. 1816 M. Street, N.W., Washington 6, D.C., USA 24 GUITAR NEWS SEPT.- OcT. , 1961 GUITAR MUSIC Verlag Doblinger-Vienna The manuscript of Terzetto for three male voices and guitar by Franz Schubert was found by Prof. Karl Scheit in the Vienna State Library and edited by him to make it more easily readable, though a photostat copy of Schubert's actual manuscript is included with the edited version. The vocal parts are for two tenors and a bass; the words are in German, of course. This is a notable addition to the works by classical composers which include the guitar. Novello & Co. Ltd., London Music for wood-wind instruments with guitar deserves to be heard much more frequently, and could be developed considerably by modern composers. The ideal tonal blend is probably that of oboe and guitar, though both flute and treble recorder are possible. The flute, however, is almost too powerful for a single guitar. Purcell, Handel, Telemann and other composers wrote Sonatas for the treble recorder for which the guitar provides an artistically satisfying accompaniment. Handel's Sonata in F major has been arranged by Edmund Wensiecki with an ad. lib. part for viola da Gamba (or 'cello). Handel himself suggested that the recorder part could be also played on flute, oboe or violin. Georg Philipp Telemann ( 1681-1767) was a prolific composer (40 operas, 600 overtures, etc., etc.) whose Sonata in F for Recorder and Guitar has also been edited by Wensiecki. This same Sonata in F and also Telemann's Sonata in C major have been edited by Siegfried Behrend; both Sonatas are from "Der getreue Musikmeister". Sonata in A minor (op. 22) by L. de Call has been edited by Edmund Wensiecki. Columbia Music Co., Washington D.C. Oscar Chilesotti (1848-1916) was an Italian lawyer, writer and musicologist who transcribed a vast amount of ancient music from its original tablature into modern notation. Two Lute Pieces--Chilesotti- have been arranged for guitar solo by Sophocles Papas. Six Lute Pieces of the Renaissance (based on Chilesotti transcrip­ tions) have been arranged for guitar solo by Alan Neidle. With the exception of a Saltarello by V. Galilei and 'Bianco Fiore' by Cesare Negri, the composers are unknown. Other arrangements by Sophocles Papas are Tarrega's Lagrima and Adelita and 'Bach for the Beginner'- four items by Bach made easy to play without mutilation. Columbia Music Co. also publishes Estudio Vais by Segovia, also a setting of 'Green­ sleeves' for voice and guitar by Papas. Oxford University Press, London "A Classical Album for Guitar Solo", arranged by John Gavall, consists of thirteen 'not-too-difficult' pieces by 17th and 18th century composers arranged in order of difficulty. This is all music 'in two parts' and could actually be played on two guitars. The metronome indications will be very helpful to the student. Six items are by J. S. Bach and others by Handel, Mozart, Vivaldi, Weichenberger, Bergen and Ginter. Harmonia's Kleine Speelmuziek-Uitgave An important advance in the development of instrumental music was made when the vihuelist Luis de Narvaez wrote in 1538 his 'diferencias'- variations on a theme. Dick Visser has arranged the 22 Variations on the romance Conde Claros for guitar solo. Editions Max Eschig, Paris Emilio Pujol has transcribed for guitar solo music by two Italian guitarists of the 17th century. Gio. Battista Granata (Gigue) and Conte Ludovico Roncalli (Sarabande and Gigue from Caprici Armonici). Symphonia Verlag AG, Basel Three more Albums of Easy Music for Guitar arranged by Jose de Azpiazu are now available- Albums V and VI each contain ten interesting pieces by different 16th to 18th century composers. Album VII consists of ten pieces by V. Galilei (1533- 1591), father of the famous astronomer Galileo Galilei, This is delightful music, worthy of the recital programme, SEPT.-OcT., 1961 GUITAR NEWS 25

An interesting composition by Jose de Azpiazu, Chaconne, is actually a synthesis of the different formulas and scales for daily exercise-an ingenious series of related studies. Another composition by this prolific author is "Hommage a Bela Bartok". He has also made an arrangement for guitar solo of Telemann's Sonata in A minor. Ediciones Musicales Madrid Album No. 29 consists of five works for guitar solo by F. Moreno Torroba with fingering by Nicolas Alfonso. They are Humorada, Marcha del Cojo, Danza Prima, Rondo Festiva and Nocturno No. 2. Moreno Torroba is 70 years old this year. Barnegat Music Corp., New York Moreno Torroba's 'Concierto de Castilla' for guitar and orchestra, is available in two forms- Guitar only (1235) and score for guitar with piano reduction. It has been recorded by Renata Tarrag6 on Hispavox and Columbia Records. Ricordi Guitar music from the Ricordi firms covers a very wide field from Bach to 'folk'. Here are a few of the many interesting items. Estudios (Francisco Tarrega) edited by Jsaias Savio (Sao Paulo) who has also transcribed five pieces by J. S. Bach (Grandes Classicos para Violonistas)-'Violonista' is Portuguese for 'guitarist'. Gavota (G. F. Handel) has been transcribed by Maria Luisa Anido (Buenos Aires). Jorge Martinez Zarate, also of Argentina, has compiled an instruction book with studies and works for one or two guitars. His solo, Impromptu No. 2, published separately is an interesting work in arpeggio style and he has arranged for two guitars Cancion (Villoud) and Triste No. l (Aguirre). Three books bearing the name of L. O. Anzaghi (Italy) will prove very useful- 24 Esercizi (24 Daily Exercises), Scales for Guitar, and Album Ricordi with 30 solos for guitar including some operatic (with words), some original, etc. Guitarra Flamenca (Album 1) by Emilio Medina contains five solos and is complementary to his Method .

. • . the GREATEST OF ALL LIVING GUITARISTS SEGOVIA has revised, edited and fingered TWENTY STUDIES FOR THE GUITAR by Fernando Sor These studies have been chosen from the most effective and beautiful ones written by Sor, and contain exercises in arpeggios, chords, repeated notes, legatos, thirds, sixths, melodies in the higher register and in the bass, and stretching exercises. Price 8s. 6d. A 'MUST' FOR ALL SERIOUS GUITAR STUDENTS Published by AUGENER Ltd., 148 CHARING CROSS ROAD, LONDON, W.C,2. 26 G UITAR N EW S EPT.- Ocr ., 196 1

~~~~~~~~~-~~~~~~~~~-0~~~~ ~~~~~~~~ § ~ ~ Complemento del Metodo ! § para § ~ GUIT ARRA FLAMENCO ~ ~ § ~ Emilio Medina · § § Book 1. 5 Compositions: ~ ~ Alegrias por Rosa La Alcazaba ~ ~ Fandanguillos de Huelva ~ ~ Malaguenas Jota Aragonesa ~ § 10s. Od. § ~ G. RICORD! & CO (London) LTD ~ ~ 271 Regent Street London W.1 ~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

BIRMINGHAM, ALABAMA IL DEJESUS came to Birmingham, Alabama, two years ago to play bassoon with the Symphony Orchestra and to direct a High School G band. About a year ago he commenced to play the classic guitar and after building up a small repertoire he played in several concerts and found that people were becoming interested. Then came the 'big day'- March 30th- when he took four carloads of friends and students to Montgomery to hear Segovia give a recital. After the recital Mr. and Mrs. DeJesus had a thirty minutes conversation with Segovia and then held an informal meeting with their friends at a restaurant where it was there and then decided to form the Birmingham Society of the Classic Guitar. The first meeting (May 2nd) was attended by 25 people and the Society has grown steadily ever since. The officers are : President, G. DeJesus; Secretary, Joe Hagarty and Treasurer, John Foshee.

SEVILLE FERIA, 1961 N the opposite page are two scenes from the 1961 Seville Feria. The lower picture shows three _Flamenco guitarists. playing in_ a caseta by 0 night. They are (left to nght) Rafael de Sevilla, Antoruo de Osuna and an unknown young aficionado. SEPT.- 0 CT., 196 1 G UITAR N EWS 27

Photos; Mich(le/ F. Elliott 28 GUITAR N EWS SEPT.- OcT. , 1961

Oxford Music for guitar

WILLIAM WALTON Anon. in Love STX SONGS FOR TENOR IOs. 6d. AND GUITAR

The words for this cycle have been taken from anonymous 16th and 17th century lyrics. The guitar part has been edited by Julian Bream. ' Anon. in Love will be heard every­ where with delight'. THE TIMES of London

JOHN GAVALL (arr.) A Classical Album for Guitar Solo 6s. The thirteen pieces in this album are graded from elementary to intermediate. Detailed fingerings are indicated throughout. The album includes works by J. S. Bach, Bergen, Ginter, Handel, Mozart, Vivaldi and Weichenberger. Copies of either publication will be gladly sent for inspection on request

OXFORD UNIVERSJT_Y PRESS MUSIC D E PARTM E NT 44 CONDUIT STREET LONDON , W.l. SEPT.- OcT., 1961 GUITAR N EWS 29

WILLIAM CLAUSON, SINGER-GUITARIST N October 1st, William Clauson will pay a return visit to London for a recital at the Royal Festival Hall, where he first appeared with O great success about a year ago. During his visit to England he will also give sixteen recitals' in various towns in the West Country. William Clauson is a singer of ballads and folk songs. He is American, born in Ohio of Swedish parents, but his art is quite international for he has collected songs in many lands and sings in at least thirteen languages. His pleasing lyric tenor voice and expert guitar playing are the result of long and serious study with eminent instructors. He arranges his own accompaniments and like the old minstrels, has no set programme, but introduces from the platform whichever item from his extensive repertoire he feels would suit 'the moment and the mood'. So the audience may hear a Scandinavian folk-song, a German Carol or an item from Spain or Latin America- or even a Buddhist chant sung in authentic Chinese. For a song of a bygone age he may exchange his guitar for a lute. He arrives in London after an extensive tour of Australia and New Zealand, but his permanent home is in California, U.S.A. 30 G UITAR NEWS SErr.- Ocr., 1961 MEMBERS' ANNOUNCEMENTS Members' Announcements are intended for the use of MEMBERS only. Guitars advertised must be second-hand and the actual property of the advertiser. Prepaid announcements of up to 50 words (maximum) one insertion 5/-, One Dollar U.S.A. Series of 6 for the price of 5, 25/-, Four Dollars U.S.A. No trade advertisements such as strings, new guitars or music can be accepted as Members' Announcements. (Please send for our Displayed Advertisement rates.)

RICARDO SANCHIS 'Castilla' Spanish Guitar. Excellent condition. £30 or near offer. Telephone LEWES 3908. ADELE KRAMER, Professor at the Guildhall School of Music and Drama, London, gives lessons in Classical Guitar for beginners and up to Concert Standard. 24 College Crescent, Swiss Cottage, London, N.W.3. (Tel: PRimrose 5366). RALPH FREUNDLICH, M.A., Juilliard graduate, Phi Beta Kappa. Applying the tonic sol-fa method in the initial study of movable scales, intervals and chords, practical knowledge of complete fingerboard is developed in Basic Musicianship Course for Guitarists; individuals, small workshop groups. New York City, 471 West End Avenue, TR 3- 6594. BLANCHE MUNRO, A.G.S.M., Professor of Guitar at the London College of Music and Guildhall School of Music, accepts pupils, including beginners, at 35 Corring­ ham Road, London. N.W.11. Enquiries SPEEDWELL 7740. CHESNAKOV. Elements of music and harmony in the study of the Classical Guitar. Theoretical and practical training in modern technique as a basis for development of artistic playing and for elimination of fa ults, self acquired or installed by wrong teaching. Progressive, selected studies. 48a Cathcart Road, London, S.W.10. (FLA. 4354). "GU IT AR NEWS ., back issues. Only iss ues Nos. 53 , 54, 56, 57, 58, 59 and 60 available, price J / 4 a copy, plus postage. J. C.G.A .. 47 Clarence Street, Cheltenham, Glos., England. PRAGUE CONSERVATORY AN ART PUBLICATION THE Conservatory of Prague SUPERBLY printed art publi­ celebrates its 150th Anniver­ A cation of the Associazione sary this year. It is the oldest lndipendenti Anselmo Bucci (Milan, Conservatory of Music in Central Italy) contains not only pictures by Europe. A Souvenir book of photo­ Italian artists., but poems and graphs, sho,wing Professors and articles-including one about the students in their day-to-day activ­ guitarists Barbieri and Cambieri ities, has been publis,hed to mark who played music by Galilei, the occasion. The classic guitar is Vivaldi, Bach and Grieg on two shown in two pictures-Stepan guitars. Urban, Professor of Guitar, listening The article is by the artist, writer to two of his pupils, and a quartet and guitar 'aficionado' E. Remo consisting of three wind instruments Roveri who is one of the editors of and a guitar. this beautiful publication. R eaders owning rare guitars are invited to collaborate with Vladimir Bobri, Editor "Guitar R eview", who is in course of preparing a future issue dealing with rare guitars. Write direct to Mr. Bobri for details: address on page 21. SE PT.- 0 CT .• 196 1 G U ITAR N EWS 31

TELEPHONE EDGBASTON 0787 NYLON STRINGS "FISOMA" These strings are the result of many years of patient research by the makers, with 175 years of experience as string makers to the World's Artists. ' FISOMA' strings are used and recommended by Luise Walker. We can supply 3 distinct types which are specially designed for different tonal standards. Some instruments will produce best results by using a mixed set of strings. E 1st Nylon 2/- B 2nd 2/3 G 3~ ~ 9 Alloy covered Bronze covered Pure silver covered D 4th 2 / 9 5/- 6/- A 5th 3/ 3 5 / 6 7 / 6 E 6th 3/6 7 / 6 9/- G 3rd Nylon, covered with Tape-section nylon 4 / JO Set with Alloy lower strings 16 / 6 Set with Bronze lower strings 25 /- Set with Silver lower strings 29 / 6 Any set with covered G 3rd will be 2 / I extra to above. The Bronze and Pure Silver lower strings are finely burnished and very highly polished. (Post free for sets only.) Trade enquiries invited British Isles.

" AUGUSTINE" NYLON E 1st Nylon ... 1/9 D 4th covered silver colour 3/7 gold 3/9 B 2nd 2/2 A 5th 3/11 .. 4/ 1 G 3rd .. 2/3 E 6th .. .. ,, 4/3 ., 4/5 Per set silver colour . . . 18 / - Per set gold colour 18 / 8 (Post free for sets only.)

GUITAR MAKING All parts and materials for the professional and amateur maker. Please send for lists, post free . 32 G UITAR N EWS SEPT.- Ocr., 1961 IN THIS ISSUE Page Our Cover Picture ...... 3 Alirio Diaz ...... 3 Segovia's Australian Tour ...... 3 Internati o nal Contests Results ...... 4 Straws ...... Tim Verey 7 How We Should Start the Study of the Guitar. C ha pter IX ... Miguel Abl6niz 8 The Roya l College of Music ...... II University of Recife, Brazil ...... 11 Successes in Phoenix, Arizona ...... I l Presti-Lagoya Duo ...... 11 At the Theatre of Epida urus ...... 12 The Guita r in Contemporary Music ...... Joan Prior 13 British Music Festival Contests ...... 14 J. S. Bach a nd Interpreta tion ...... Costa Proakis 14 Julian Bream ...... 16 Segovia at Bath Festiva l ...... 16 S.C.G . New York Concert 16 Guitar in a Church ...... 16 A .. Second" Guitar ...... G. M. Kingman 18 John Wi ll iams o n BBC R adio ...... 19 Earl Jaco bson ...... 22 Concert at Swindon ...... 22 Sierra C lassic Guitar Society ...... 23 Guitar Music ...... 24 Birmingham, Alabama 26 Seville Feria, 196 l ...... 26 William C lauson, Singer-Guitarist 29 Members· Announcements 30 Prague Conservatory ...... 30 An Art Publica ti o n 30 THE INTERNATIONAL CLASSIC GUITAR ASSOCIATION (A non profit-making Organisation) President : P. J. Gamble, B.A. Hon. Treasurer: Mrs. Kay Appleby Auditors : Eric J. Dance P. J. Gamble, B.A. Committee Members: Miss Maude Hamilton, Miss Joan Prior, Eric V. Ridge. Hon. Organiser: Wilfrid M. Appleby, 47 Clarence Street, Cheltenham (Glos.), England, to whom subscriptions should be sent. FOUNDATION Member - 21/ - a year (USA $3.00) SUPPORTING Member 14 / - a year (USA $2.00) ORDINARY Member 7/ - a year (USA $1.00) SUBSCRIBER to "Guitar News" - 7 / - a year (USA $1.00) All members receive " Guitar News "- 6 issues a year. U.S.A. payments are best made in Dollar Bills or INTERNATIONAL Money Orders which should be made payable to Wilfrid M . Appleby. Bank drafts and checks require the addition of 25 cents for bank charges. "GUITAR NEWS" Six issues per year Copyright reserved. Hon. Editor : Wilfrid M. Appleby. Business Editor: Kay Appleby. The Editors do n ot '1 ecessarily agree with the opi.,ions expressed l,y C0'1/.ri butors.

G'.oucester Printers Ltd., Blackfriars Press. Ladybellega1e Stree1. Gloucester.