THE CLASSIC GUITAR JOURNAL Published by the PHlLHARMONIC SOCIETY OF GUITARISTS, l St. Dunstan's Road, London, W.6 • No. 37 JANUARY 1957 2/-

EDITORIAL Presti. We know what is good, in the most precise terms, we have standards and they are very high- playing such as that of Segovia, Presti, Everybody likes to play guitar solos (or at least to try) and most of and Alirio Diaz is our touchstone. So clear is our vision that we do us have accumulated those little heaps of music that we like to think not want anything but the best on our professional platforms; not only we can play. The most striking feature of the guitar solo repertoire as is the second-best an affront to our critical intelligence, but it is a such is its sheer bulk-and though few if any of us will ever even see, downright disservice to the guitar and can do nothing to enhance its Jet alone come to terms with a great deal of it, it grows almost daily standing with other serious musicians. through the normal activity of publishers and guitar journals all over These thoughts have been with us for some time now, but recently the world. On the other hand the publication of music in which the guitar they were reinforced by the visit to London of a professional continental takes part in ensembles (and we include guitar duets under this heading) guitarist who came, armed with a small brochure filled with eulogistic hardly matches the growing interest in such activity. Many players are reviews from an assorted press, in search of recitals. He played for us, finding the advantages of mutual music-making-a wider range of music, and revealed himself as a neat, precise, competent little player; he had, a more moderate demand on individual technique, the valuable discipline however, no trace of the artistry and command that are prerequisites of working together, and the simple pleasure of companionship in a in any musician (guitarist or no) who wishes to be professionally active ' common artistic activity no matter how modest. The existing and in this country-and particularly in London. We will not support this accessible repertoire in this field is severely limited even if we turn a kind of thing; we have enough colourless players of our own. Even blind eye to quality. For these reasons we have decided on a firm policy more recently_~enata Tarrago played the Rodrigo "Concierto de Aranjuez" in our - msic supplement : Except on rare occasions we are not going to in both broao..:ast and televised performances, diplaying a small volume, add to the already enormous pile of solo music, but we shall publish a poor tone, and an impressive variety of mistakes in spite of the somewhat guitar ,\uets of good quality-and later other types of ensemble music slow tempi at which most of the work was taken ; no amount of affected such as trios consisting of two guitars and viola. This then is to be our mannerisms could possibly compensate for this. The B.B.C., who can musical policy, and it is directly in line with the trend of our monthly often take refuge behind a plea of ignorance, are wide open to censure meetings at the York Hall. We hope that our readers will make the in this case; Julian Bream, who can swallow Miss Tarrago whole both , most of what we publ ish, and wi ll join together in exploring this new musically and technically, has broadcast this work, and has played it t - world of music; many have already done so. both in the Festival Hall, and at Promenade Concerts. Julian, who is Many years ago England was described by a now infamous critic as a generous and democratic young man, will probably not feel insulted­ being a "Land without music"; this stigm a has been thoroughly erased but he should. in the world of music at large, but we wonder whether the lesson has We are not prejudiced against anyone personally, but when musical been properly assimilated in guitar circles. Amateurs are probably better standards and the position of the guitar in the musical mainstream come aware of the true position than are the professionals in other countries; into question, then we have several strong and healthy prejudices. To they read whatever publications they can get, and they are in many cases our overseas friends we would say-come and see us by all means, and in correspondence or personal contact. We would like to make it very play for us privately or at our meetings, we will make you welcome. If, clear to professional guitarists of other lands who would come here to however, you wish to take the professional concert platform, first think give concerts, that we have rather high standards both of performance carefully. You will have our powerful support if you measure up to the and of judgement. Our own Julian Bream and John Williams are artistic and technical standard represented by Diaz, Presti, Segovia, and guitarists of very high calibre, and informed and sensitive musicians; Bream ; if not, then you must expect our stringent criticism. The guitar there is also a very substantial body of playing ability and critical faculty, has for too long wallowed in a slough of low standards and artistic especially in London. Not only London but most provincial cities are hypocrisy and ignorance; we shall do all we can to change this. fa miliar with the art of Andres Segovia and, in some cases, that of Ida J. W. DUARTE

Concertante Quartet at a recent P.S.G. Meeting- John Williams playing.

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of the index finger• , the concentration of RECORD REVIEWS HALF BARRE " barre pressure" on two strings only, gives Popular Guitar Favourites Cancion added power, more freedom and economy of Popular Catalana (Llober); Johnny Guitar TECHNIQUE* movement-not only in controlling the chord (Young) ; Fantasia Americana (Cano) ; Tanguillo in question but for whatever foll ows. Keeping (Abloniz); Danza Araba (Trad. arr. Cano); Jeux by L. A. Williams the wrist back contributes to these same Jnterdits (Yepes); Los Piconeros (Mostazo) ; Certain aspects of modern guitar technique advantages. As a general rule keep the th um b Caprichio Arabe (Tarrega). have been exaggerated. The pupil is advised­ behind the first finger. Use the full barre only MANUEL DIAZ CANO keep the elbow in , keep the wrist well forward, when necessary as in Fig. 6 (correct), and Durium DLU 96024. 33 r.p.m. 10". etc. Taking this advice too conscientiously even here the wrist must not be too arched Diaz Cano is clearly defined in this recording often leads to the result illustrated in Fig. I and pushed forward as in Fig. 5 (incorrect). both musically and technically ; he is a fair and Fig . 3. The escape from this humourous The first finger in Fig. I should be covering player of the coffee bar order, but no higher entanglement is illustrated in Fig. 2 and Fig. 4. 5th and 4th strings only (perhaps touching claim could be seriously entertained. The The left-hand wrist should never be thrust the 6th but not operating on it) as correctly Danza Arabe epitomises his strength and his forward and arched excessively, yet we find illustrated in Fig . 2. The wrist and hand weaknesses- he is fleet-fingered, especially in some players doing this even on the half-barre position of Fig. 1 (not forgetting the arm pseudo-flamenco trickery, but he clearly owes as in Fig. 3 ! The sign "½C" in guitar music position is also incorrect) belong to the this in large part to a very low action; for does not mean simply a flat finger covering technique of the full /;;,:rre. Si mi larly, the this he pays the price of thin, poor tone, and the first three strings of the guitar; in its first finger in Fig. 3 is incorrect; it should be a lack of true volume. The entire absence of widest sense it means the holding down of covering I st and 2nd strings only (o r 1s t, finger-on-string noise suggests a recording any group of three or two strings (occasionally 2nd, and 3rd if the hand and wrist were microphone situated near the guitar body, four) with the index finger i.e. 6,5,4; 5,4,3; correct). As it is, the !·, 1nd position, arched f collecting the sound more or less at source. 4,3,2 ; 3,2, I ; or 6,5; 5,4; 4,3; 3,2; 2,1. Jn wrist, and perfectly straight first finger Despite the aid of a low action, Diaz Cano is Fig. 2 the barre is on two strings only. Such obviously belong to full barre techn ique, in many respects a rough and uncultured a half-barre requires the first finger to be in consequently Fig. 3 (for the purpose of playing player; Los Piconeros (a drab piece) has some a very special position or attitude (and the the musical example given below it) is ludicrous. badly executed rasguedos and dreadful chord hand and wrist also) that is quite different As to whether the first fi nger , 11ould touch or tremolos, and the chromatic scale in the from that of the full barre. The correct half­ rest on the 6th string in Fig. "-, or touch the Caprichio Arabe is heavy-handed and, at first, barre is shown in Fig. 2 and Fig. 4. Fig. I 3rd string in Fig . 4, is a matter to be decided unco-ordinated. and Fig. 3 are always incorrect. by the feeling of the individual, the anatomy For most of the time the playing is mechanical j ln Fig. 2 and Fig. 4 the correct hand of his hand, and also by what pre ::edes or and colourless- this reaches its zenith in position, the bending back of the second joint follows in the music. Jeux Interdits, which suggests ominously that automation has come to the guitar- and tonal variation is virtually non-existent. Because *Jn keeping with our policy of constructive from the last century are LLseless for the of this dreary backcloth, the sporadic appli­ musical criticism and the publishing of articles development and unde rstandi ng of modern cations of "expression" are all the more on specific aspects of guitar technique, we technique. No single published tutor on the noticeable and unacceptable; these are shall avoid the familiar, stereotyped, and English market, old or new, has th< slightest synthetic splashes of "colour" compounded cliche-ridden. No-one would regard this as value, and the " scale system" in one 'modern of superficial sentimentality, a vigorous a serious and useful assessment: "Last night, method" can only be regarded as cri,111nal in vibrato, and a few portamenti. The less said down Tottenham Court Road, Mr. Green, that it would lead the unsuspecting b-:ginner about Johnny Guitar (purest Cafe au lait) and the well-known bus driver, piloted the No. 27 up an entirely false track. In those parts of the Fantasia Americana (impure Villa-Lobos) bus from Euston to East Sheen with his the world where there is no-one with clear the better. A good record for students who usual dexterity." Neither is it illuminating to vision we cannot object to the blind leading require help in their establishment of a scale be informed: "How to keep your index the blind, but it is the duty of publishing houses of values. finger straight on the grand barre" or "the and those with clear sight to see that en­ square root of the angle of the second finger's Spanish Guitar Classics Pavanas (Sanz) ; lightened and informed texts supported by first joint is in inverse ratio to that of the authorities (not hard to fin d or consult e. g. Minuet (Sor); Two Mazurkas (Tarrega) ; elbow." Articles on the theme of the "Be­ Romantico and El Abejorro (Pujol) ; Serenata Pujol, Segovia, Diaz, Presti) are made available ginner and the Guitar" are also superfluous. for the use of the competent teacher. Espanola (Malats) ; Spanish Dance No. 5 The beginner should go to a teacher; if this (Granados); Asturias (Albeniz). A scientific scale system for both hands, is not possible then he should obtain an as well as a host of vital points in right-hand ANTONIO FRANCISCO SERRA authentic method such as that of Pujol. Felsted SDL 86044. 33 r.p.m. 10". technique (well-known to leading concert In establishing a modern and scientific players) are still shrouded in mystery ,.rnd We have not heard Serra before, but we school for the guitar there is much ground to will be pleased to do so again. He is a strong, without roots in any published method. be covered; at the moment however, all sorts Some of this ground we hope to cover in this clean player with an assured technique and of teachers and "methods" are peddled that sound musicianship. The choice of music is series, and it is with this kind of thinking that are no more than a rationalisation of ignorance I asked Mr. Williams to furnish this article. somewhat unadventurous and this is a pity and eccentricity, The older methods resurrected firstly because it does little to enlarge our EDITOR horizon, and secondly because it invites comparison with existing recordings of the of Elizabeth the First that is unparalleled in Phillips, Antony Holbome, Daniel Farrant, same works by others; fortunately Serra the centuries that separate the reigns. As we Robert Johnson, John Adson, Alfo nso emerges quite well on this second count. go back over the centuries in search of our There is a good measure of tonal variation Ferrabosco ll (English born), and William music so we find that the schools of thought Brade. The orchestra is of similar size to but this is minimised in its effect by the sheer regarding its interpretation multiply. Broadly physical strength of his attack; as good as those maintained at the courts of Queen speaking there are those who seek to re­ Elizabeth the First, and King James the First, this is one cannot help the passing thought produce as closely as possible the conditions that this is in a totally different and earth­ but the viols (which, fo r all their soft charm, extant when the music was written (materially are now primarily for the antiq uarians) have bound world from that of the tonal magic of conceivable, spiritually inconceivable), those Segovia. given way to modern vi olins with their clarity who feel it preferable to make the fullest use and vital ity of sound. All the string players The Pavanas of Sanz deserves a recording ; of modern resources (at its best in the use of it is a fine and noble piece, but the seemingly in the record use "specially-m ade bows the modern classic guitar in lieu of the lute copied from the finest surviving specimens of interminable repeats in this recording breed a family) , and those who seek the best of both little irritation. The most enterprising inclusion the seventeenth and early eighteenth centuries. worlds. Into this last category falls Mr. No other bows can reproduce the clarity of is that of the pieces by Pujol, and the second of Thurston Dart, a distinguished authority and these, the bumble-bee, can be recommended articulation and phrasing and the sweetness of exponent in the field of Tudor music who sound that characterises the music of this ; to any player of good ability who would like has shaped this recording. ' a light show-piece for his repertoire- it is not age". Be this as .it may, the quality of the The very good sleeve notes describe the recording (good, but not superlative) and a as difficult as it sounds. Good, new players, substance of the record so well that we cannot well-recorded, are always welcome in this certain lack of unanimity in the pl aying in do better than quote from them: "The present many items, make it difficult to reap the small field of music ; for this reason we com­ disc contains music for all the principal dances mend this warmly to your record shelf. benefit of this measure. The wh ole collection mentioned by Shakespeare and requ ired in of delightful and hitherto unrecorded music is Dances of Shakespeare's Time per~ormances of his plays (measure, pavan, played with a spiritedness and purpose that is THE BOYD NEEL STRING ORCHESTRA gall1 ~rd, alrnan, coranto) as well as examples a welcome relief from the studied, desiccated, directed from the harpsichord by Thurston music entry ofand masque music suitable for and half-dead performances so often given to Dart. use in them". The music is drawn wholly such music by arty-crafty or historica lly L'Oiseau-Lyre OL 50127. 33 r.p.m. 12". from first-class editions of the works of "accurate" revivalist ensembles. Truly music Jn this the reign of Elizabeth the Second, composers (all Englishmen) of Shakespeare's for dancing, and a record for buying. there is an interest in the music of the time own time- Dowland, Thomas Simpson, Peter STYLUS Fig. I. {incorrect} Fig. 2./correcl) ~C fil

Fig. 3 . {incorrec 1) Fig. 4.{correcl) '1C m

Fig . 5.(incorrect) Cm Fig . 6.(correcl) Cm the string is of the shortest duration possible. METHODS OF This type of attack, allied to a left hand PRESIDENTIAL holding the note stopped for its full duration, MESSAGE PRACTICE allows the guitar to develop its full resonance and produces the maximum of musical sound. The practice of reproducing messages of by Deric Kennard There are times when staccato sounds are goodwill in a Journal such as t his belongs to (Concluded) effective but these should always be produced a byegone age, and our space is much too EVENNESS as an effect and not because of a defect in limited to permit us such a lu xury Critics In order to obtain evenness of attack in technique. of our No. 36 which, as a N ew York friend scale and arpeggio passages it is paradoxical INTERPRETATION put it " rose like a P hoenix from the ashes", that unevenness must be resorted to in practice. Students should hear as much music of all have been very few- and wholly const ructive This is so as to give practice in accentuation sorts as possible ; preferably Chamber Music in their comments-and most readers have to each right hand finger in turn. Play scales as the smaller scale of such combinations given us a world-wide welcome. The p ubli­ therefore in different groupings and rather in makes it easier to relate the musical presenta­ cation of a Journal such a s th is is fo unded or, threes than in even counts. Be careful to tion to what can be obtained on the guitar. the work of a few busy men, and mud", ns vary the order of the alternate right hand To work up a piece for public performance, we would like to adhere closely to 01-r fingering so that the accentuated note at the or even to polish it up for private satisfaction, "quarterly" schedule we can express no 100,,' beginning of each groups falls to different it is essential at an early stage to stand back than our pious hope o •· success. Pun t,, fingers. Make the accentuation of the first and view it as a whole. When the piece has guitar periodicals not iss u.,d for fina ncial ..:· t note in each group very marked. been worked through and fingered, and its are extremely rare. - Scales should also be played in dotted technical problems understood, the time has The recent attentions of our Inland Reve· rhythms with heavy accentuation on the dotted come to put down the guitar and "play" the authorities have promp.ed the thought t notes. Here again the order of the right hand piece through in one's mind, being careful to perhaps we should make our position Qt! fingering must be varied. The short notes "play" it strictly in time; to decide the speed clear. Throughout its 27 yea rs of e •ten should be made very short as this gives at which it should go and, if there is a metro­ the P.S.G. has been a 11011-profit-1,11kin; practice in speed of reaction and synchronisa­ nome note the metronome speed. Now decide organisation, devoted to the furtherin. o! tion. The order- long, short, long, short­ the dynamics of the piece, its culminating interest in the guitar and its music with , ,( must be changed to- short, long, short, long­ points and its tranquil stretches, and mark in further aim of helping to ~ccure its "',d(:r so that the dotted notes do not always fall on the pianos and fortes ; and also the phrasing. acceptance in the mainstream of ser'.01· the same degrees of the scale. The scale can This last is particularly necessary in anything musical activity. None of our Officers r be later, so to 5peak, reassembled by playing of a polyphonic nature. It is not possible to members receive any fin ancial retun ,or their a ll the notes fast and evenly and the practice put the interest of a piece of music across to work, and any profits that may ac.:rue fro n given each finger in accentuation allows the an audience unless its interesting points are our continued successful orgar sation will be scale to sound smooth. fully understood by the player himself. Note ploughed back into the ociet} g. to imprO\ e Arpeggios should be treated in the same therefore the cadences, the imitative phrases the Journal, or to back our , ,onsorship of way as regards dotted rhythms. Different in the bass and the inner voices, and where recitals by first-class guitamt. both from 1 notes should be picked out for accentuation each phrase whether in bass or treble begins home and abroad. The strc,1g· • of our by altering the grouping of the arpeggio, e.g .. and ends; in fact, make sure you fully under­ organisation and support is now g , •, r that in a four note rising arpeggio on the 6th, 3rd, stand all the devices the composer has used at any time in the history of the Su ,, ,', our 2nd and J st, open strings, the arpeggio can to maintain interest. position within the British Isles ,, ot1e of be played fir5t in the above order accentuating Clearly the shorter pieces are those on which immeasurable superiority, and our {i·1ancia l the 6th string. Next start the arpeggio with to get experience. The convincing organisation standing must inevitably progress f, ) n tlla the 3rd string so that the grouping is 3rd, 2nd, of a long work such as a sonata calls for of present solvency to one of sufficien , ,1,eng l st, 6th and in this case the 3rd is accentuated. quite a lot of musical knowledge and experience, to enable us to pursue our object w "th The same is done for the 2nd and the Jst particularly as the guitar has a comparatively great effect. strings. This gives accentuation to each finger restricted range in vo lume of tone. B. A. PEk ITT in turn ; most players will find that extra Do not think the fiddly little effects which time must be given to the ring finger. come all too easily to the guitar can replace In the same way unevennes in chords can a broad and properly thought out balance of GUITAR DUET:., be cured by accentuating each note of the light and shade. Ponticelli, harmonics and chord in tum and making it stand out from Pizzicati, and other alarming changes of tone, New Album of the others. tend to cut up the flow of the music. Accentu­ SPANISH and SOUTH PREPARING NOTES ation of individual notes must relate to the AMERICAN FOLK SON ' These notes must include a warning against flow of the phrase in which they occur if they Arranged fo r two guitars "preparation" of a note by feeling for it with are to carry conviction. The proper application the right hand finger or, in fact, any touching of pianos and fortes and sensitive phrasing is by Len Williams of a string in vibration before the act of the backbone of the music on any instrument Price 10/6d. ($1.50) striking the next note. Any such "preparation" and all other effects should be used sparingly. stops the string's sound and produces an Once the interpretation has been decided PAV ANE (A) GUITAR Dill involuntary staccato. The right hand finger on, the piece should be learned along with by Johann Rosenmilller should be poised above the string and should the interpretation and the player should have Price 4/- ($0.60) not touch it until it strikes it with one swift the courage of his convictions and present the carry-through motion so that its contact with piece invariably in the same way. PAV ANE (B) GUITAR DUE'"! by Johann Rosenmi.iller Price 4/- ($0.60) PRELUDE and COURANTE Scltott''s by Antonio Vivaldi GUITAR ARCHIVES GUITAR D UET EDITION ANDRES SEGOVIA Price 5/- ($0.75) I. ALBENIZ Tango 3s. Oct. TRIOS M. CASTNELNUOVO- Sonata 4s. Oct . Arr. for two guitars and viola TEDESCO Suite Op. 133 5s. 6d . by Len Williams C. PEDRELL Lamento 2s. 6d. RONDEAU, MENUET and M. PONCE Tres Canciones TAMBOURIN Populares Mexicanas 2s. 6d. Sonata Clasica J. Ph. Rameau l0/ 6d. ($ 1.50) (Homage a Sor) 4s. 0d. Yalse 3s. 0d. SONATA I A MINOR F. TORROBA Moreno octurno 2s. 6d. Giovanni Legrenzi J. TURJNA Fandanguillo 2s. 6d. l0/ 6d. ($1.50) Sonatina 4s. 0d. (All orders post free) SCHOTT AND co. LTD., SPANISH GUITAR CENTRE 84 Great Marlborough Street, London, W.1. 36 Cranbourn Street, London, W.C.2 and listener. These remarks apply equally to item in a programme of this size and at a CONCERT REVIEWS the Chaconne, that monumental crown to the concert of this importance. As it is we can Preceded by their considerable reputation Second Partita for unaccompanied violin by say only that apart from a few human errors Renata and Graciano Tarrago gave their Bach, with its miraculous chain of thirty-one (that can usually be erased by replaying in maiden concert at the Conway Hall on 22 May. variations (including the central restatement the recording studio) we heard Segovia play a The first half of the programme was given to of the theme), with which the first part of the selection from his recorded repertoire with guitar solos from Renata Tarrago-formerly programme closed. In this item it was ap­ all the consummate magic of which we know known to us only in a subsidiary capacity on parent that although Julian has a perfect him to be capable. The evening's enchantment record.' Broadly speaking her technique is understanding of the musical shaping of the ended with five encores, to which the above above average, but her tone is thin and hard work, his technique still lacks a sufficient remarks apply also, and a clamorous ovation and her fin ger movements are excessive (to command of power (as distinct from forced from a capacity audience that was persuaded say nothing of an almost embarrassing se­ volume), especially in rapid single-note pas­ only with difficulty to go home. lection of affected mannerisms); interpreta­ sages-that which leads to the final statement R.S. ti vely she is erratic. Her programme opened of the theme was, by virtue of this (and a Nearly 250 people, many now actively with Bach and here there was immediate sudden tendency to hurry), not quite equal to engaged in guitar playing, had their first offence; the Gavotte and Musette made so its impressive task. It should nevertheless be chance to hear John Will.iams when he gave familiar Segovia were given in a vastly inferior said that of the handful of living guitarists a recital at the Museum Lecture Theatre in arrangement (a tone lower than Segovia's) who can face the Chaconne on a public Bristol on 15 March. In his programme which was not improved by several crudely platform, few indeed could have given a of music by Kuhnau, De Visee, Handel, Bach, misconstrued harmonies. Items such as the better account of it. Weiss, Ponce (the "Folies" Variations and Catalan song " El testament d'Amelia" require, Two pieces of early Mozart (K.22) were a Fugue), Albeniz, Crespo, Granados, Lauro, and fo r their inclusion in a recital, a touch of welcome replacement for the usual and often Villa-Lobos, John was at his best; the unusual " magic" ; there was none. The "Cradle vapid Sor, and they were beautifully played. strength of his playing, coupled with very Song" of Graciano Tarrago was pleasantly Our lack of enthusiasm for the Recitative and good acoustics, made even stopped harmonics romantic but unremarkable. Vil/a-Lobos was Arietta by John Lambert (first London per­ easily audible throughout the hall. There are represented by his by-now-notorious Prelude formance) was reflected also in the audience still some traces in his playing of youth-a in E minor, and here the interpretation pro­ response. From the character of the music penchant towards brilliance and the sl.ightest ceeded strictly in accordance with the technical it is difficult to see how the titles were arrived of impatience with slow movements; these exigencies of the moment. Miss Tarrago's at; the whole work is unsuited to the guitar signs are disappearing so rapidly with his tremolo was not truly equal to the Tarrega and throughout its unbeautiful course it musical maturation that this may well be our " Recilerdos", but though the performance contains 1.ittle that could be construed as last opportunity to make this comment. On was somewhat dull, the popularity of this melody (when the title is borne in mind). the whole there is no flaw that the next few over-played piece is such that the applause It is largely a thing of angular and awkward years of development will not eradicate. could have been (and was) construed as an phrases, and nervous ties. After this, three A reception was arranged at the Spanish invitation to an encore. Musically slight well-worn studies by Villa-Lobos were wel­ Guitar Centre (Western Area) after the though it was, the "Rafaga" of Turina was come; these are rapidly assuming a " Rach­ concert. This was the first guitar recital in the soloist's best item, gi ving as it did some maninov's Prelude" status in the guitar Bristol since that of Segovia in November scope for forcefulness. Miss Tarrago has a repertoire. For sheer freshness and perfection 1952, and the enthralled attention of this strong attack, especially in single-note pas­ of playing, a Valse by Roussel was an object audience showed clearly that a gap of 3½ sages (though it is not matched by her real lesson to those concert guitarists who still years is too great. ol ume), but she cannot be ranked as a invite us to hear the nth performances of M.W. ; Jloist of real class. tired war-horses in the bulk of their pro­ The second half of the programme was gramme time. Such a piece is , by now, mt re interesting, consisting of duets. Two Granada by Albeniz; it received a rather pieces by Handel were given with brilliant uninspired performance suggestive of its SUBSCRIPTIONS TO THE effect, but with some peculiarly conceived inclusion on box-office grounds. The pro­ dynamics; Vivaldi had a small representation gramme reached a most effective end with JOURNAL and was well enough served. A three-move­ the little-heard Guajira of Pujol. The work is On page 8 of this issue a Subscription ment Sonata by Gottlieb Scheidler was well­ wonderfully written and makes one realise Coupon will be found for the convenience of played, but its triviality could not be camou­ what a fine player Pujol must have been in those discriminating readers who would like fl aged. The duettists were at their best with his prime; Julian's playing included passages to receive our succeeding issues. The currency Albeniz and De Falla, and at last we were of the most beautiful pizzicato playing we rate of subscription is quoted on this coupon able to sit back without any kind of irritation, have ever heard- the quality of sound was in both Sterling and American Dollars. but we to enjoy both music and performance. In rich and round and had none of the dead­ give here for readers in other countries who summary we found the duets very well ar­ wood character so often imparted by other cannot or prefer not to use International ranged, but the playing varied from very good players we have heard. Vil/a-Lobos and Money Orders, an indication of currency in the Spanish music, through mechanical, to Tarrega provided the oh-so-familiar encores. equivalents in other monies; these are accept­ erratic. Our impression was that Graciano We have made criticisms, because Julian's able to us either as cheques to be drawn on a Tarrago, who bore himself with great dignity playing is of such an order that it automatically bank, or, where legal, in a form of actual and presence, is much the better musician of exposes him to criticism at the highest level currency notes: (with no excuses and extenuations), but they the two, but his technique is often strained in France- 500 francs. the effort to follow his daughter's volatility. should be seen against the background of very R.S. great improvement over the past year. His Belgium- 61 francs. On Thursday, September 27, at the Wigmore greatest need now is for a higher action, and Holland- 5 florins. Hall , Julian Bream went far towards effacing the strengthening of his playing action in both Germany- 6 D-marks. the criticisms made in our last issue. Gone hands ; only then will his dynamic range Spain- 54 pesetas. prove equal to his great musicianship and his was the feeble English-made guitar in favour ltaly- 775 lira. of a new instrument by the young Hauser, digital agility. On this occasion the audience­ gone was the vicious vibrato, and gone were which filled the hall to the brim-enjoyed Austria- 32 Schillings. the " chocolate box top" patches of intepre­ itself enormously; it acknowledged the fact Sweden- 7 Kronor. tation. in the usual way. Norway- 10 Kronen. Most soloists begin their concerts with R.S. Finland--420 marks. technically undemanding pieces that serve to S. Africa- 10 shillings S/ A. settle the mind and loosen the fingers, but Andres Segovia gave a recital at the Festival Julian opened with a Prelude and Fugue by Hall on Tuesday, 9 October, and left the Australia- 12 shillings A. Bach that owed nothing to this usage. The critics with practically nothing to say. New Zealand- JO shillings N/Z. technique was sure, the delineation was All that can be said of the mastery and artistry Bahamas & Bermuda- 10 shillings B. crystal clear, but even a more colourful of Segovia has been said many times ; here West lndies- 2.50 dollars. performance could not have disguised the was one more proof of its justification. We fact that this was not Bach at his most have one small complaint however, and that Japan- 400 yen. I For mail or is of the highly familiar appearance or the Turkey- 3.25 pounds T. f cable transfers interesting. There followed the wonderful only. Siciliano and Fugue from the First Sonata programme. Apart from one constituent of for unaccompanied violin by Bach translated, the Pequena Suite by De Visee (which did as usual, into A minor and, by virtue of their not seem to belong to the others) every item isolation from the whole work, reversed in was an old friend- indeed, Segovia has SPANISH GUITAR TUITION: Segovia playing order. The pastoral quality of the recorded all but one of them during the past method. Individual or small group lessons. Siciliano was perfectly realised, but a rather eight years. The Maestro surely has in his Theory and Harmony. Maurice Eastwell, larger dynamic and tonal range is needed if possession innumerable works, old and new­ 43 Ormond Close, Gt. Ormond St., W.C. I. the fugue is to attain the fullness of its stature; many yet unheard- and we feel that it is not CHA 2677. its very length is a challenge to both performer unreasonable to expect at least one unfamiliar Sadie Bishop, solos­ substantial. Roncalli is the least-known- the MEETINGS OF THE Sarabande (Corelli) Italian writers of the period are, in general, SOCIETY Minuet (Sor) less famed than their French and Spanish Mexican Folk Song (Ponce) contemporaries, and his work is somewhat The P.S.G. now meets at 8.00 p.m. on the Duets by Sadie Bishop and Jack Duarte­ uneven in quality. The drabness of his Corrente second Monday of every month, in the York Le Rossignol (Jane Pickering's Lute Book) is in odd contrast to the Passacaglia with its Hall (Caxton Hall, near St. James' Park Tube), Corrente (Pesenti) chromatic harmonies and its overall strength. to enjoy a varied programme of guitar music Gavotte (Purcell) We need never, in transcribing mus i::: of this by members and, at times, visiting artists. C. Nupen, solo- period, be overly scri:pulous in our act of During the Spring a number of guitar con­ Adelita (Tarrega) preservation, and in this Suite some of the certantes were presented, played by Len or Trios: Len Williams, Deric Kennard, small crudities in the original writing could John Williams with string trios, but a decision Jack Duarte­ well have been smoothed out. was taken to defer further work in this field Trio Sonatas (Handel, Couperin, Telemann) This is the stuff of guitar musical history, until a really satisfactory string trio could be October and should be embraced by all guitarists not brought into regular rehearsal. Out of this Duets by Sadie Bishop and Jack Duarte­ bent solely in self-gratifi,;ation. there grew the concept of the guitar trio in Gavotte (Purcell) J. W. D. which two guitars replaced the string trio in Andante and Allegro (Alessandro Scarlatti) the concertante form, and innumerable hours Carmen Gonzalez, solos­ Traditional Spanish am) South American of intensive work on the part of Len Williams Tremolo Study (Tarrega) Songs. Arranged fo: two guitars by provided a substantial library of music for Asturias (Albeniz) Len Williams. Publfrhed by Spanish the trio; such has been the popularity of this Rafaga (Turina) feature of the meetings that it will be retained Duets by Len and John Williams­ Guitar Centre. even when the guitar- strings ensemble returns. Prelude (Bach) Occasional light reli ;f from our more To the best of our knowledge this work has Allegro (Handel) serious music-making is a t\ood thing, but it no parallel in worldwide guitar activity, and Elizabethan Song (Johnson) is hard to find such rela·.:ition in terms of it is doing a great deal to foster an appreciation Alman (Dowland) music that is not shoddy and low-grade. As of good music amongst player5. The meetings John Williams, solos- the number of guitarists increases so too does are introduced by Jack Duarte, who effectively Andante and Allegro from Sonatina in A the playing of duets ; the st pply of worth­ mixes informal compering with educational (Torroba) while duet music lags fa r behind the demand, and technical talks that add greatly to the Capriccio Diabolico (CasteLnuovo-Tedesco) and the need for such an album as this is so interest of the evenings. The following pro­ Songs with guitar self-accompaniment, obvious that it is incredi ble that it sh ould not grammes were given at the recent meetings by Nancy Wilson. have been satisfied before nov, 1 he duet~ and they show in themselves the standard of Trios: Len Williams, John Williams, have been tried in the fire of platform per­ music played and, happily, very well received Jack Duarte­ formance and it is because the . have been so by a growing membership: Trio Sonata (Williams, based on themes of well received at the meetings 0·1 the P.S.G. in Telemann) London that Williams has decided to publish July Concerto for lute and strings (Kohaut, trans­ them. Duets by John Williams and Jack Duarte­ cribed and arranged for guitar trio) The music covers a wide range uf ·nood­ Minuet ("Clock Symphony") (Haydn) from the frankly sentimental to the strongly Courante and Allegro (Handel) D. B. rhythmic- and all of it is tuneful With Le Rossignol (Jane Pickering's Lute Book) material of this type there is alw; . 5 the Chanson (Jack Duarte) temptation to write a lead part and , very Duets by Sadie Bishop and Jack Duarte­ NEW MUSIC subsidiary accompaniment for the .;econd Plaine Song for two Jutes (Robinson) Suite in D (Francis Corbetta): Suite in guitar, but Williams has created true d ,ets in Corrente (Pesenti) A (Robert de Visee): Suite in A the full sense with plenty of work and interest Andante and Allegro (Alessandro Scarlatti) for both guitars. From the players' p0mt of Virginia Greenshields (soprano) minor (Ludovico Roncalli). Tran­ view this is a good publication sinc1. it is acc. by John Williams­ scribed from the tablature by full y fingered and also since it is comparatively Romerico (Juan de Ja Encina) Deric Kennard. Published by Schott easy to play; that ease comes from skilful Viens Aurore (Anon.) & Co. Ltd. arranging and closely-reasoned fingering. Get Cradle Song (Jack Duarte) The precursors of the guitar were well these, call in a friend , and--enjoy yoursel ves. John Williams, solos- B. P. Vivo ed Energico (Castelnuovo-Tedesco) served in the matter of repertoire, and this Nocturne and Toccata (Jack Duarte)- treasury of fine music is steadily being made Pavane (A) and Pavane (B) (Johann available to guitarists. Whilst the revival and Rosenmi.iller). Arranged for two first performance public use of these instruments has little except Virginia Greenshields with John Williams­ a small esoteric charm and an antiquarian guitars by Len Williams. Published Bist du bei mir (Bach/Segovia) interest to recommend it, there is every good by Spanish Guitar Centre. Asturiana and Nana (De Falla/Duarte) reason for bringing their music into the Johann Rosenmuller (16.9-1684) was, from Sadie Bishop, solos­ repertoire of the modern concert guitar-which 1640 till 1655, an assistant master of the Three pieces (Aguado) has a greatly superior tonal and dynamic Thomasschule in Leipzig where he acquired Three preludes (Ponce) range. Just less than a century after the his musical craft from the Cantor Tobias Two studies (Carcassi) English lutenists had exercised their fecundity, Michael. There followed a brief period of Trios: John Williams, Sadie Bishop, players of the guitarra and the vihuela in exile in Venice ending in his recall to Germany Jack Duarte­ France and Spain were equall y prolific; much where, in Hamburg, he fi nished his days. His Sarabande (Couperin/Duarte) of their music has been magnificently realised work was so highly regarded by J. S. Bach Trio Sonata (Veracini/Williams) for the classic guitar by Emilio Pujol, and the (who was Cantor at the Thomasschule from Trio Sonata (Domenico Scarlatti/Williams) above works are a welcome addition by our 1723 till hi s death in 1750) that he borrowed, August own Deric Kennard, an informed scholar in in accordance with the general practice of the Don Vergara, solos­ matters both musical and technical. times, some of Rosenmuller's music for use Prelude No. 7 (Ponce) These Suites are not difficult to play and in one of his own cantatas. The two Pavanes Minuet (Mozart/Segovia) only feeble players will fail to find them arranged by Williams are drawn from Rosen­ Dance No. 5 (Granados) rewarding. The main strain upon technique muller's first published wo rk (1645)-a col­ Duets by Len Williams and Robert Wilson­ is imposed by the various trills, shakes, and lection of dance movements for the organ. Spanish and Latin American Folk Songs other ornaments, but these do not occur too The music has magnificent dignity and flow, (arr. Williams) frequently; many can in any case be omitted and the harmony is more interesting than most Desmond Dupre, solos­ without serious damage to the structure. This early dance music. Many so-called duet Minuet and Courante (Bach) does not, of course, mean that they are arrangements of music for a keyboard instru­ Study (Coste) superfluous; it is only a way in which the ment are little more than allocations of the Two pieces (Pedrell) wind may be tempered to the shorn lamb. right-hand writing to the first guitar and that Michael Stannard, solos­ Jn the interesting and informative notes for the left hand to the second guitar; this Minuet (Bach) written by Kennard and printed inside the is mere hackwork. When music is transcribed Prelude (Kuhnau) cover of the music, it is stated that " . . . shakes from one instrument to another it is a first Two Pavanes (Milan) and mordents are both marked ww. Whether essential that it should be shaped so as to Trios: Len Williams, Desmond Dupre, they are above or below the note is generally take advantage of the special capabilities of Jack Duarte­ clear from the left hand fingering." There is the instrument concerned, and this requires Trio Sonatas (Couperin, Legrenzi, Rameau, in fact very little left-hand fingering indicated both skill and discrimination. In the present Handel, Telemann) on the music, and in many cases the direction instances the exercise of both these faculties September of the ornamentation is quite ambiguous. has led to two of the fullest-sounding and Duets by Len Williams and Robert Wilson­ Musically there is little to choose amongst most interesting duets in publication ; they Spanish and Latin American Folk Songs the three works, but De Visee is the most should be studied carefully by everyone who f-!els inclined to arrange for two guitars­ holds the classic guitar fort with Sor, Ponce, Numerous guitar concerts are reviewed, there are innumerable lessons to be learned and the like; around this peaceful island of including those by Narciso Yepes, Elena from this score. The arrangements are not music swirls, on other nights, the flood of Padovani, Bruno Tonazzi, Siegfried Behrend, for beginners but are well within the reach of more plebeian entertainment- flamenco, and and of course Andres Segovia (in Rapallo, players who have a normal grounding in a skiffie group. A fair commentary on these Rome, Biella, Como, Padova, and Treviso). basic technique and some acquaintance with times. The major event of the year was, of course, the earlier guitar classics. All players are France-- the Siena Academy. strongly recommended to make use of the We have received, since our last issue, three Japan- comprehensive fingering given on the music; numbers of the Paris Guitar Academy's The March-April issue of "Armonia" is they are very unlikely to improve on it. "Guitare". In their No. 6 there is, inter alia, devoted to an account and appreciation of the J. W.D. an account by Juan Riera of an adjustable life-work of Emilio Pujol. There is a brief tripod invented and advocated by Aguado; autobiography in Spanish, and, in addition to its purpose was to increase the volume of the other material, a most valuable (though not WORLD NEWS guitar (which was rested on the tripod) by quite complete) list of the published works of Austria- improving its resonance. Torres and Segovia Pujol ; this alone is a magnificent reminder of "Sechs Saiten", published by the Austrian have since achieved this without a tripod, and his importance in the history of the instrument. Guitar Society, carries in its January number we presume that most of the surviving ones Segovia is the main subject of the May- June (No. 2/18), a trenchant article by Luise have been adapted to support theodolites, issue, and it includes an article by the maestro Walker on "The Guitar a nd the Modems". cameras, or machine guns. Jssue No. 7 reports, on " Twenty Studies by Ferdinand Sor", an Her comments on the limited musical horizons with numerous photographs, "La Nuit de la account of the available long-playing records of the average amateur guitarist, and his need Guitare"; this seems to be a Parisian equivalent by Segovia, and numerous photographs. Our for widening them, are heartily endorsed by of our own Guitar Festival in London, and, last issue is fully described, but since we ourselves; unlike his pia nistic or violinistic like it, seems to require only that the instrument would not even know what the character for counterparts, the guitarist cannot acquire a shall have six strings of some kind. The same "hari-kari" looks like, we have no idea what broad musical education without listening issue carries a eulogistic review of a concert they said of it. frequently and respectfully to other instru­ given by Alirio Diaz at the Ecole Normale There are easier ways of getting world ments. The same issue has also an interesting in March. We look forward to having a news than through the columns of "Armonia", follow-up to the article by Hans Ulrich similar review to write when, as he soon must, but concerning Japan itself there is no al­ Staeps on the application of modern compo­ Diaz comes to London. Our own Journal ternative. The translations we have had made sitio a l techniques to the guitar; it is in the receives a cordial welcome in No. 8, and suggest that there is rather more attention form of a question-and-answer forum. The Riera contributes an article on Luis Milan. paid to flamenco, and to guitar and mandoline following issue (3 / 19 April) is predominantly A notable and remarkable omission from the duets, than we here would like to see. Much newsy, and amongst those whose activities pages of " Guitare" is the activity of France's of the music concerned is, too, utterly trivial. are recorded are Renata and Graciano greatest guitarist, Ida Presti, and her husband In compensation we have programmes of Tarrago. and duet-partner Alexandre Lagoya. We recitals by Yasuo Abe (whose visit to Siena England- wonder why. in 1955 is freely advertised in the programme) John Williams, who began full-time study Holland- and a Miss K. Kunifuji; the music played by at the Royal College of M usic this Autumn, Throughout his world-wide travels, Segovia these artists reads very well, though the has given a few small-scale recitals in London ; uses his influence to persuade the established appearance of the "Lu11a" Guitar Club in one of these (for the Australian Musical academies of music to adopt the guitar in (complete with conductor) playing, inter alia, Association, at Australia House) he shared their curricula; the last few years have seen a Stephen Foster Medley, at the Kunifuji the programme with the brilliant young much in the way of fruition. The final issue recital, raises much less enthusiasm. pianist Sonya Hanke. They had met before, in 1955 of "Constantyn Huygens" gives Scandinavia- at the 1955 Chigi Academy in Siena, where details of the Dutch State Examination in In Finland the Helsinki Guitar Society they were both students. Music which, in 1955, for the first time continues its efforts to establish the instrument T he Tarragos, father and daughter, whose embraced the guitar. Few British players in national musical life, and members gave a London concert is reported elsewhere in this that we know would find themselves ready public concert on 5 April, the music being issue, were preceded by the broadcast in the equipped to face it. There is in the same issue well-chosen. lt seems inconsistent with the Hom~ Service, of a recording of guitar and a long article by Ries de Hilster, on the Society's aims and activities that the only vihuela music by early Spanish composers " Guitar in England". lt ranges, in its thirteen guitars illustrated (in adverts) in the programme (Sanz, Mudarra, and Navarez). The playing pages, from historical beginnings, to accounts are metal-tailpieced; there is even a plectrum was competent if rather dry, but the most of present activity and personalities, and is a guitar together with a testimonial from Olga notable feature was the clear demonstration of most painstaking work. It is gratifying to Coelho! A review of the concert in "Uusi the superiority of the guitar. find that our overseas friends are so interested Suomi" shows the necessity for fostering the Julian Bream continues busily on his in us- and so generous in their evaluations; present and the future in the classic guitar professional way, and one cannot help thinking in some instances distance has lent an en­ field . The reviewer said that "A concert ... was how a brilliant young musician can create a chantment that we, in the heart of things, closely connected with an important feature demand for his services; ten years ago, much do not feel! in our musical life, i.e. the revival of home of the work now filling Julian's diary did not The annual Guitar Congress was held on music-making (we agree, CGJ) and the so­ exist- if onl y because there was no-one 13 May, in Hilversum, and this year the guest called 'renaissance of the old music' " . If our capable of doing it. Be it sufficient to list a artists were Presti and Lagoya; they played tame mediaevalists were left to themselves the few of Julian's more notable engagements duets of music by Dowland, Bach, Sor, Presti, "ancient music" label would attach itself this year (and to wish that he would use a Lesur, Dessagnes, Pouline, Albeniz, and firmly to the guitar- to its ultimate detriment. decent guitar with a less lute-like action): Granados. Reports were enthusiastic, to say Sweden is probably the most guitar­ Two concerts at the Festival Hall; a concert the least, and we do not suppose that they saturated country in the whole world, and (25 July) at the Royal Albert Hall in which were less than accurate. Other concerts in sales in relation to population are fantastic. he shared the solo honours with Ida Haendel Holland have been given, this year, by Julian On the other hand the general level has a (violin) whilst Sir Malcolm Sargent conducted Bream (very well received) and the Japanese low-grade look a bout it. Most of the guitars the B.B.C. Symphony Orchestra; two con­ guitarist Yasumasa Obara. The latter was sold are of the cheap-to-hiUbilly kind, and the certs together with Peter Pears (tenor) and, assisted by Pieter van der Staak, who was whole approach is (on the "classic" guitar regrettably, his lute; three weeks in Vienna amongst the students at the Siena Academy front) rather folky and trivial. Annika (not his only Continental venture this year) in 1955. Bjorklund is an ardent campaigner and an recording; guitar part in first performance of Italy opponent of "jazz madness" ; unfortunately the television opera "Manana" by Arthur On 20 May, the Jta lian Guitar Association her own works as evidenced by a tutor we Benjamin; and several solo broadcasts. We held what in the U.S.A. would be called a have seen and a pamphlet advertising a course were truly sorry to hear that Julian contributed Convention. The proceedings, which began (of gramophone records) in " melodious guitar his share towards the yea r's road accidents; with the transaction of some of the Associa­ playing" are the essence of bathos-and no it cost him a badly damaged car and several tion's business, included a solo contest (the foundation for any attitude of superiority days in hospital, but happily there was no first), the announcement of the results of the artistically speaking. serious damage to Julian, and 9 July saw him guitar composition contest (the second), and Spain- back in circulation. a concert by Mario Gangi- who presented a The Socieded Guitarristica Madrile11a spon­ Owing to last-minute indisposition, John varied programme, free from the usual chrono­ sored a recital in Prado by Alirio Diaz on Williams was unable to take part in the third logical scruples (first three items were b,( 6 May. The programme opened with the annual Guitar Festival (promoted by the Purcell, Almeida, and Fortea). The winners established contrapuntal bias and closed with F.I.G.) on 10 April, but his place was taken of the composition contest's various categories the romantics (Granados, Albeniz, Torroba at a few hours' notice by Sadie Bishop, who brought an international flavour to the event; et al.); the only new-looking works were by saved the day- and enhanced her own popu­ amongst them was Stefan Urban (Professor of Lauro and Barrios, both South American (like larity index. Sadie is now established, on the Guitar at Prague Conservatoire), the Diaz himself) and these were rather light in Wednesday evenings, at the new and fashion­ others hailing from the U.S.A., Mexico, and character. able " Bread Basket" (a coffee house), and Australi a. The final concert of the I 955- 6 season of ) - I

Pena Guitarristica was given on 2 June by SPANISH GUITAR Cesar Leon Meneses. This player, whose CENTRE programme covered a wide range, was born CLASS OR PRIVATE TUITION in Quito (Ecuador) where he studied music at the National Conservatoire; his later studies in authentic Spanish method were at the Madrid Conservatoire (under Sainz de la Maza amongst others) and at Siena (where all the best players go sooner Sole or later). agents for An article in the magazine "El Alcazar" Harald Petersen Juan Santos Edgar Monch draws a somewhat Hispanic picture of the Jose Perez world position in regard to the guitar. Spain representing finest range of gen is, of course, a fountain from which guitar uine concert guitars in U.K. culture springs- the world is being made High quality imported Nylon aware of the musical potential of the guitar Strings: 12/- per set. by the efforts of Segovia, Yepes, and Sainz de la Maza. These last three are described as the greatest guitarists of our time (anyone Illustrated Booklet sent on request like to join us in questioning the list ?), though SPANISH GUITAR CENTRE there are fine players in other countries (Diaz, Presti, Walker, and Anido). We suppose (Under personal direction of Len Williams) there are still people who really believe that England is a "land without music". Egad! 36 Cranbourn Street, W.C.2 COY. 0754 United States- (London) The New York S.C.G. had a busy 1955-6 Season propagating guitar music by numerous public concerts (including their 74th concert, at the Carnegie Hall); members of the Society give these concerts and the music is usually SPANISH Imported Guitar Records very good and wide-ranging- from time to time there are, however, items that would do GUITAR of CLASSICAL and things to a purist's eyebrows e.g. " The Ballad FOLK MUSIC of Mack the Knife" from the "Threepenny MUSIC Opera". Sprats to catch mackerel? We all know the desperate shortage of competent available from guitar teachers (not "teachers") and our Players of the classical WILLIAM LENNARD CONCERTS Ltd. American friends also suffer from the same Spanish guitar should 157 otting Hill Gate, L ondon, W.11 trouble. With the object of helping the good send for a copy of the Telephone: PARK 7366 teachers l!_ nd putting spokes in the wheels of new Clifford Essex lists the incompetent the S.C.G . is publishing a selective list of teachers (in the U .S.A. of of music available, in­ course) and is reinforcing the measure by cluding hundreds of printing a series of articles by leading guitar proven works. Copies If you read French authorities, in their bi-monthly Bulletin; these will be sent to any you should subscribe to articles deal with the requirements in a good guitar teacher, and those who have so far player on request. GUITARE appeared in print include Emilio Pujol, a nd Jack Duarte (our Editor). The last issue of CLIFFORD ESSEX MUSIC Co., Ltd. Containing technical articles and news o f "Guitar Review", exquisitely produced as 8 New Compton Street, London, W.C.2 guitar activities in France. always, is devoted excl usively to flamenco ; Published eight times a year this is rather off our track but we can see the value of its contents to those who are interested by in this highly-coloured music- the articles LEARN ALL ABOUT L' Academie de Guitare de Paris, bear the stamp of authority, not the least that 42 Rue Descartes, PARIS 5. by our own countryman, Michael Fisher. We understand that No. 20 is also to be devoted FLAMENCO 200 Francs per issue. to the same subject. The S.C.G.'s West-Coast counterpart, the The GUITAR REVIEW American Guitar Society, is equally active in Nos. 19-20 the concert-giving field, and awfully broad­ Entirely devoted minded. A mere list of concert to Flamenco. Articles, SUBSCRIPTION COUPON programmes drawings, photographs, music, Gypsy recently received evidences the gulf that exists I enclose between lore. 8s. 6d. ($ 1. 25 U.S.A.) to cover c ost the policy of this Society and those and postage of four issues of the Cla of most of the world's most important guitar Price $1.50 each ssic Subscriptions accepted: Guitar Joumal including/excluding ( delete as organisations : Original compositions for and appropriate) current issue, No. 37. Copies of with guitar (7th); Music of Nature (2nd); Nos. 19-24 incl. $5.00 (USA & Canada $6.00) No. 36 are still obtainable; if required, please AU-Mozart (1st and 2nd); Thanksgiving indicate below. Festival of Folksongs. We salute their Send W. industry, but for us it is music first-with your order to & G . Foyle Ltd., NAME ...... quality before quantity. in London or directly to The GUITAR REVIEW ADDRESS ...... 409 East 50th Street DATES OF FORTHCOMING New York 22, N. Y. MEETINGS. Please date my subscription from No. 36 37 38 (mark with ring) The followi ng are the dates of th e Society's meetings up to the end of 1957. All are to be The Classic Guitar Journal, l, St. Dunstan 's be held in the York Hall, (Caxton H all), off SPANISH GUITAR CENTRE Road, LONDON, W.6. Victoria Street at 8.00 p.m. , a nd each date is a Monday night. Monthly membership fee of (Western Area) President: Dr. B. A. Perott. 2/6d . payable at the door, no formalities other Private than the giving of a receipt and class tuition in correct Hon. Secretary: Miss Stella McKenzie. and the recording modern technique by Michael Watson. of your name if you are a new member. Hon. Treasurer: Mrs. Dorothy Duarte. Guitars, Music, Strings etc. supplied. Vice-Presidents : Deric Kennard; 14th January. 11th February. 11th March. L. A. Williams. 8th April. 6th May. 17th June. Details sent on requesr. Hon. Editor of the Journal: J. W. Duarte. 15th July. 12th August. 9th September. 14th October. 11th ovember. 9th December. 2 Elton Road, Members a re cordiall y i nvited to introduce BRISTOL 7 Copyright strictly reserved on all material their fri ends. Telephone: Bristol 47256 contained in this issue. LYRIC PRINTING CO. LTD., 126, CHAR ING CROSS ROAD, W.C.2