GUITAR NEWS The Official Organ of the INTERNATIONAL CLASSIC GUITAR ASSOCIATION
No. 59 Single cop,y price 1/4 (U.S.A. 20c.) M AY/ J UNE, 196 1
Photo : Natasha Bellow IDA PRESTI, ALEXANDRE LAGOYA, ALEXANDER BELLOW 2 GUITAR NEWS MAY- J U NE, 1961
G. RICORDI & co. Publishers - Milano Bru:telles - Buenos Aires - London - LOrrach - Mexico - New York - Paris - Sao Paulo - Sydney - 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). 129880 J. S. BACH, Sarabande-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 Twel ve Pieces (Purcell, Bach, Mozart, Chopin, de Visee, Gruber, etc.).
TWO GUITARS 129350 J. S. BACH, Prelude No. I (48 Preludes and Fugues). 130055 J. S. BACH, Prelude No. 1 ("Six Little Preludes"). 12935 l A. VIVALDI, Aria del vagante ("Juditha triumphans").
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G. RICORD! & CO. Ufficio Edi zioni e Propaganda, Milano-Via Berchet, 2. ITALY. MAY- J UNE, 1961 G UITAR N EW S 3
INTERNATIONAL SUMMER ACADEMY, NICE H E guitar will be included again at the "Academie Internationale d'Ete, 1961", at Nice, France. Ida Presti and Alexandre Lagoya will T be the instructors, and the course will last from 6th to 30th July. Languages : French, Italian, Greek, English, Spanish and Egyptian. Particulars may be obtained from the Secretariat, 89 bis, Avenue Sainte Marie, Saint Mande (Seine), France, until June 15th. After June 15th enquiries should be addressed to The Academy, 24 Boulevard de Cimiez, Nice (Alpes-Maritimes), France. Experts from many lands give instruction at this International Summer Academy on various instruments and branches of music during the whole of July and the first half of August. PRESr~LAGOYA DUO IN U.S.A. HE triumphant success of the first U.S.A. tour of the Presti-Lagoya Duo is reflected in the stack of press-reports, programmes and letters T received. Considering the comparative shortness of the tour the impact of this guitar-duo has been terrific! It has made necessary a new attitude towards guitar music- an extension of appreciation to cover a greater range of tone-colour, dynamics, rhythmic complexity and the more subtle aspects of guitar music at its best. Ann Faber, in the Seattle Post-lntelligencer, points out that the publicity line "Two guitars that play as one" does less than justice to the Duo, for Presti and Lagoya 'multiply the pleasures of a single guitar'. New York Times expressed it thus: " ... the precision and unanimity of their playing was quite astounding at times, and two guitars can naturally provide more color and greater richness of tone than one." Throughout the reports the superlatives are liberally used " Phenomenal ! " " Astonishing!" "Dynamic!" etc. In New York Her.aid Tribune Francis D. Perkins remarks :-" ... an impressive feature of the performance was its complete external unity and its equally complete mutual expressive understanding. They play with an entire transparency of medium, a range of color that was marked by fine subtlety and also by unusual expansiveness. Their dynamic shading held similar characteristics. With fluency, their tone avoided dryness; contrast such as that of a long melody under swi ft and light ornamentation was only one of the various effects which were set forth along with sensitive under standing of the atmosphere of the music." The programme of the duo-recital at New York Town Hall on January 22nd consisted of four classic items and five modern works. It opened with a Suite in four movements by Marella, an Italian guitarist who came to England in 1760 and published this tuneful Suite for two 5-stringed guitars in 1762. His style is reminiscent of Handel. Then followed Lagoya's transcription of four pieces by Bach which one 4 GUITAR N EW S MAY- J UNE, 1961 critic described as 'compelli ngly beautiful, and prob::1bly the high spot of the evening'. Paginini's Sonata for two guitars and Sor's Divertissement No. l ("Encourngement") concluded the first part of the progrnmme. The modern music which followed was all written for the guitar duo and dedic::1ted to Presti-Lagoya, in fact the title of the first item 'Presti lagoyana' by P. Wissmer left no doubt about that. Elegie (D. Lesur), Canzona and Allegro trepilante (A. Joli vet), Toccata (Pierre Petit) and Tonadilla, in three movements (J. Rodrigo) gave the duo opportunities to display their virtuosity and musical mastery of all styles of composition. Encore items included music by M. de Falla, Granados, etc. Many guitarists attended the recitals in the various cities and here are a few quotations from letters. New York-"Our guitarists were speechless. I have never before heard guitarists quite like them. Andres Segovia attended and applauded vigorously." Los Angeles-"These two are certainl y the finest guitar duo in the world. I simply cannot imagine any pair being better." Then there was the humorist who wrote "After hearing this wonder ful Duo I have decided to learn to play two guitars!" The next visit of the Duo to U.S.A. will be an ever greater success as they have established a great reputation.
CANFORD SUMMER SCHOOL OF MUSIC Wimborne, Dorset. Director of Music : Noel Hale, F.R.A.M . AUGUST 6th- 13th. GUITAR COURSE Directed by John Gavall
This course is intended for guitarists who already have some grounding in technique and experience of sight read ing, and who wish to study music in two, three and four parts, as ensembles and as solos. There will be much opportunity for playing in small ensembles.
Write for details to THE ORGANISER, 20 Denmark Street, London , W .C. 2 Mw- JUNE, 1961 G UITAR N EWS 5 FRENCH RADIO GUITAR CONTESTS, 1961 HIRTY three compositions have been entered for this year's com position section of the Guitar Contest organised by Radiodiffusion T Television Francaise. It is stated that they are of exceptionally high standard. The Adjudicating Jury have selected two oi' these works, and these will be played by Alirio Diaz on June 9th. When the Jury have decided which of the two is first and which second the names of the com posers will be announced and prizes awarded. In the Playing Section eight guitarists have been selected- one each from Holland, Austria and Italy and five from France. There will be two prizes. These eight contestants will play (in private) before the Jury on June 8th and before the public on June 9th- three obli gatory pieces and one of their own choice. It is hoped to plan similar contests for 1962 and already many enquiries have been received- from Belgium, Holland, England, Denmark, Austria, Hungary, Italy, Portugal, Spain, Sweden, Argentina, Mexico and U.S.A. Enquiries may be sent to Mons. Robert J. Vid1l, R.T.F.- 107 rue de Grenelle, Paris 7e, France, but official sanction for the contests will not be made until October, 1961.
CHELTENHAM MUSIC FESTIVAL GUITAR CONTESTS N Saturday, May 13th, the two contests for guitarists will be held at the Town Hall. There is a small charge for admission. The 0 Open Contest (Class 107) for which there are already ten entries, will take place at 1.30 p.m. (test piece and own choice). The Amateur Contest (107a) will commence at 3.15 p.m., when about 16 competitors will play a test piece and a solo of their own choice. The Adjudicator will be Michael Head, F.R.A.M. Cheltenham Classic Guitar Circle has again arranged for a room to be at the disposal of competitors from 12 noon to 1.15 p.m. and again after the amateur contest. The room is at the St. John's Ambulance Brigade Head quarters, 12 Royal Crescent (a few minutes from Town Hall).
SUMMER COURSE APPLICATIONS are invited, from a limited number of students, for a one week's course, commencing August 7th, on the technique of the CLASSIC GUITAR, given by Michael Watson and Gordon Saunders. The intention is to assist those players-both amateurs and teachers-who are without the help of informed instruction, and to provide a systematic approach to the study material described in the syllabus which, with questionnaire and other infor- mation will be sent to applicants. SPANISH GUITAR CENTRE (Western Area), 2 Elton Road, Bishopston, Bristol, 7. Tel. Bristol 47256 6 GUITAR NEWS MAY- JUNE, 1961
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CHIGIANA MUSICAL ACADEMY ASTER classes for professional musicians and advanced students are held each summer at the Chigi Saracini Palace, Siena, Italy. The M number of students to each class is limited, entrance examinations being held at the opening of the course. The dates of the Classic Guitar Class under Andres Segovia are 15th July- 14th August; under Alirio Diaz, 17th August- 15th September. Particulars from The Secretary, Accademia Chigiana, Siena, Italy. During the course the following will be studied :- (1) Exercises of Aguado, Sor, Giulian~, Tarrega, Pujol and Segovia. (2) Transcriptions for guitar of music by Milan, Bermudo, Valderrabano, Mudarra, Galilei, Mouton, Gaulthier, Dowland, Sanz, etc. (3) Classic works for guitar by Sor, Giuliani and Paganini. (4) Contemporary guitar music: M. de Falla, Torroba, Turina, Rodrigo (concerto), Pedrell, Ponce, Castelnuovo-Tedesco, Tansman, Villa-Lobos and Roussel. (5) Ensemble music : Boccherini (Quintetto), Schubert (Quartetto).
SIENA IN NEW YORK HERE was "Siena in New York" from February 12th to March 8th. To be specific, a replica of the "Academia Chigiana" for the guitar T has just taken place in the studio-gallery of artist Gregory D' Alessio, who is also the very popular Secretary of The Society of the Classic Guitar of New York. The course was far too short for lack of time of Alirio Diaz, the eminent guitarist and teacher who is the assistant to Maestro Segovia at his famous summer-course in Siena. Here Senor Diaz was assisted by another great of the guitar, Gustavo MAY- J UN E, 1961 GUITAR NEWS 7 Lopez, who interpreted and lectured for the former in English, a language Diaz is on his way to mastering. About 14 ardent students of the guitar, encompass,ing all ages (10 to 40 and over) gathered twice weekly for a three-hour session, eager to gather all the knowledge this highly gifted pair could relay to them; ranging from the earliest history of the guitar, its literature of music, evaluation of the respective compositions throughout the centuries and- last but not least- the technique that Alirio Diaz acquired to such an admirable extent from the Maestro himself- from Andres Segovia. Alirio Diaz intends to repeat this course in other cities of the U.S.A. and also in the future so that it may become a permanent institution here as it is in Siena. HELEN CouLE LURIE.
SIENA IN AUSTRALIA FULL-PAGE article with pictures, in the Australian "Women's Weekly" of January 25th, 1961, tells of a Classic Guitar Summer A School on Rottnest Island, eleven miles off the coast of Western Australia. It was Sadie Bishop's idea to attempt to recapture the atmosphere of the Segovia courses in the Italian town of Siena which she had attended for two successive years. The Summer School was held in Cottage "F" on the island, built by convicts more than 120 years ago, and the Vice-Regal summer residence from 1848 to 1864. Among those taking part was Mrs. Lorna Prendiville, a well-known artist of Perth, W.A., who founded the Western Australian Classical Guitar Society in 1959 to " promote the playing and teaching of the nylon-strung classic guitar in the manner of the great masters, Segovia and Tarrega."
SIL VER TROPHY IN BRAZIL HE Villa-Lobos Trophy Competition organised by the Sao Paulo Municipal Authorities attracted 18 entrants- 15 pianists, 1 violinist, T 1 harpist and 1 guitarist. The guitarist, Maria Livia Sao Marcos chose for her test piece Castelnuovo-Tedesco's Concerto in D for guitar and orchestra- the orchestra being the Sao Paulo Symphony Orchestra. She was laureated and awarded the Silver Trophy, thus bringing honour to herself and to the guitar. Maria Livia, now nineteen years old, is no stranger to readers of "Guitar News". Her portraits appeared on the front cover of No. 32 showing her at the age of 13 playing her first public recital and (inset) at the age of 6 when she 'brought the house down' by playing guitar solos before a large audience. Her triumph in the Villa-Lobos Trophy Competition caused quite a stir in the music circles of Sao Paulo, and the music critics wrote some very complimentary things about her, such as : "Maria Livia Sao Marcos is the revelation of the year". She is the daughter of Professor Manoel Sao Marcos, guitarist, teacher and composer, who together with Professor Isaias Savio merits a share in the congratulations on the success of their brilliant pupil. 8 --~;;R·;~:1~i}-yt Jost YACOPI SKF R ," . ~ I, t Formerly of Barcelona . ,, t J{OW RIV ADA VIA 1188 t ~~=-- ' BUENOS AIRES t NYLON STRINGS FOR THE ARGENTINA t CLASSICAL GUITAR t t World's finest strings. Used by f accepts orders for custom-made leading artists, H and m ade for utmost precision. Availftble in sil ... er plated or pure ~ i1v~r CONCERT GUITARS wire .
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CO~IPLE'I'E CATALOGUE from UNIVERSAL EDITION (Alfred A. Kalmus Ltd.) 2/3 Fareham Street London W 1 M~Y - J UNE, 1961 GUITAK N EWS 9 GEORGE J. MARKS By A. Valdes Blain Sr. (U.S.A .) y friend, George J. Marks, is not a lucky man. I do not mean by this remark that he is not a happy person, because he actuaJly is. M What I mean is that what he would like to do most, above everything else, is to preach the gospel of the classic guitar, the instrument of his choice, the world over. Fate dictated, instead, that he should follow a scientific career in the roles of an engineer and of a mathematician. These accomplishments alone might well serve to satisfy the spiritual requirement of most individuals, but not of one whose artistic temperament is attuned to the class.ic guitar.
George J. Marks' fate is not unique, however, for the greatest majority of persons, from time immemorial, have been subjected to the same lot. How unfortunate it is that a way cannot be found to allow each and every person to search for and, upon finding it, proceed to develop that specific affinity which will finally do the most good to all concerned! This is why a hobby is so revealing to an observer, and why, in the case of George J. Marks, it may serve as a gauge for measuring how great a loss he has been to the concert guitar world. (Overleaf) 10 GUITAR NEWS M ,\Y- JUNE, 1961
I do not exactly remember the date when I first met him. After his attending the joint recital by Albert and Rolando Valdes Blain, my sons, at the then Carnegie Chamber Music Hall in New York, he came to enquire about guitar instruction. This took place long before World War II, a_nd Mr. Marks became one of the early guitar students under Albert, my eldest son. When both my sons left home to serve in the Armed Forces, George J. Marks continued guitar studies with Rey de la Torre, a renowned student of the late Miguel Llobet, whose fame as a concert artist had already spread far and wide. Again, I am not sure when I met him next, but I do know that he was among the few who joined the New York Society of the Classic Guitar at its re-organization in 1946. George J. Marks' profession took him from New York to Cincinnati, Ohio in 1955. Besides his regular occupation there, he was a faculty member of the Mathematics Department at the University of Cincinnati. He also became a charter member and Vice-President of the Cincinnati Society of the Classic Guitar, and its firnt honorary officer. Furthermore, some of his fondest wishes came true when he proposed and orried out two of the most successful guitar concerts offered in Cincinnati and also gave private guitar instruction in that city. Thus, to call George J. Marks just an enthusiast in the realm of the guitar is to belittle the merit of a man whose aesthetic nature makes him dream of establishing guitar museums and the like. I am sure that Cincinnati, like New York, will miss him a great deal. Since his removal to Orlando, Florida, George J. Marks works as a missile engineer and has become a charter member of the newly formed Classic Guitar Society of Florida. He can be counted upon to furnish the necessary drive and know-how to make the classic guitar known and loved there.
SEGOVIA IN ENGLAND EDINBURGH FESTIVAL SEGO VIA will be appearing at the JULIAN BREAM will take part Royal Festival Hall, London on in this year's Edinburgh Festival May 30th playing the newly-written (August-September). On September Tansman work. 3rd he will give an afternoon recital at the Freemasons' Hall playing On June 4th he will give a recital works by Bach, Villa-Lobos, at the Bath Festival. Albeniz, Rodrigo, etc.
GUITAR COURSE AT CYPRUS RADIO DARMSTADT COMMENCING on December T HE music courses organised by 26th Cyprus Bro:idcasting Cor the Institute for New Music in poration presented Costa Proakis Darmstadt, Germany during April included one for guitar students. in a series of four broadcasts on This was presided over by Prof. ''The Classic Guitar and its study". Karl Scheit of Vienna. The broadcasts were in Greek. MAY--J UNE, 196 1 GUITAR N ~w s 11 HOW WE SHOULD START THE STUDY OF THE GUITAR By Miguel Abloniz (Italy) Chapter VIII-THE RIGHT HAND RPEGGIARE, arpeggiando, arpeggiato, arpeggio (from the Italian word 'arpa', i.e. harp) mean to play in succession notes that possibly A should be kept vibrating together. An arpeggio is either written in notes (usually of a rather short duration) following each other, or vertically as a chord, preceded by a serpentine line meaning to play the notes in succession, starting from its lowest note; in lute and flamenco music. the line used is often arrow-headed to specify the ascending or descending performance. The left hand work in preparing a chord or an arpeggio should possibly be the same; that is, the notes forming a chord or an arpeggio should be fixed (pressed) by a simultaneous use of the fingers. Although, theoretically, two or more of the notes belonging to an arpeggio can be produced on the same string, composers who know guitar technique, preferably dispose the arpeggio notes so as to make it possible to play each one of them on a different string (and more or less on not too distant frets) for two reasons : (a) because thus the notes can be maintained in simultaneous vibration, creating the 'legato' and 'pedal-like' effect, and (b) because, by facilitating the left hand work, it allows us to play arpeggios in fast 'tempo'. On the pianoforte, arpeggios are usually played while the pedal main taining the sounds is kept down, so that even when the fingers have left the keys the sounds are not interrupted. The almost infinite number of ways that notes forming arpeggios may be struck in succession are subdivided into the following groups,: (a) ascending notes; (b) descending; (c) ascending and descending; (d) descending and ascending; (e) mixed. Right hand action: as we already know, we may either play apoyando (i.e. in supported stroke), or in free stroke or in the two ways in combination, that is, in certain music only some of the notes are played apoyando. In the great majority of cases, arpeggios are played in free stroke, which allows a fast, light and uniform action. Nevertheless, some arpeggios (played in moderate tempo) contain notes that are preferably done apoyando. For example : (1) arpeggios with notes produced from a higher to a lower string (high and low in the musical sense), when all the notes may be played apoyando; (2) often the note produced on the higher string (preceded or followed by notes on lower strings) may constitute a 'melody note' which for this reason is played in supported stroke so that the melody is better delineated. For those who may not understand very well the term 'melody note', this means that if we wanted to sing the theme or motive of that particular piece (by leaving out all the notes that constitute the 'harmony' or in simpler terms the 'accompaniment') the note we just said that we can play apoyando should be sung. 12 G U ITAR N EWS MAY- J UN E, 1961 Mainly for the reason that we may play arpeggios, containing also apoyando notes (or passages of arpeggios interchanged with scale-like passages or any other type of musical phrase needing the supported stroke), we should be very careful in not spoiling (changing) what we have called the 'standard right hand position', even while we apply the 'free stroke'. We have seen many badly trained guitarists dropping their right hand (the wrist falling outwards), when they play arpeggios and bringing it up again in the correct position (if they remember!) when they use the supported stroke; when these two actions are interchanged in short intervals of time, it is something ugly and painful to watch. Unless we wish to make a particular apoyando exercise, the ascending arpeggios done on neighbouring strings that go from a lower to a higher one are played in free stroke, not to stop with each new note the vibrations of the previously struck string. It should also be remembered that the wrist must be kept as high as possible even in arpeggio playing. Particular care should also be taken so that the outer part of the hand, the wrist and the forearm are on the same straight surface; some guitarists send their wrist at a great distance from the sound table, while others approach it to it ve,ry much. The arpeggios constituting almost a 'right hand matter', may as well be practised on open strings. As with all other musical forms, the practice of ,the arpeggios should start slowly and vigorously, progressively becoming faster and lighter. The question of when - in what speed- the apoyando becomes very difficult and almost impossible, is a matter of training and of course of personal ability. However, it is evident that in the free stroke the fingers are ready to strike again in a shorter time than in apoyando, that js why, usually, when a considerable speed is wished, the free stroke is, used through out, without exception, even in arpeggios that may contain notes that could be played apoyando. An example : although Migual Llobet has recorded the Stqdy No. 22, op. 38 by Napoleon Coste, playing it apoyando in a very fast tempo (the effect obtained being really interesting especially because with each note struck on the first s,tring, the sound of the previously struck second string stops), I have heard it by many well known guitarists who play it in the same tempo, but use the free stroke (naturally, in this way, the second string- as well as the first- keeps vibrating until it is struck again). TREMOLO : by this term, in modern guitar technique we mean the rapid repetition of the same note (usually a 'melody note'). One of the main right hand fingering rules, that of "not playing in succession with the same finger", was, obviously, applied even in tremolo. Amongst the many possibilities offered by the fingers p.i .m.a. (thumb, index, medius, ring finger, respectively) to play in ~uccession, the following one has predominated : p.a.m.i., ias the one that certainly allows the development of a very fast tremolo. Usually the thumb is used for the bass note, while the a.m.i. fingers strike the melody note, in free stroke. In some cases (es,pecially in music of the flamenco type), the thumb plays the melodic part (on lower strings) while the a.m.i. fingers keep playing on a higher string a sort of an M ,w - JUNE, 1961 GUITAR NEWS I 3 accompaniment (a note that may be produced on an open string) constituting, in harmony, a 'pedal' on the dominant or on the tonic of the key. How the tremolo should be practised : one may at first play slowly and vigorously, many times on the same string (to be repeated on all six strings) p.a.m.i.p.a.m.i . ..., by trying to obtain the same sound by all the fingers and the thumb. The rhythm should be perfectly square, all the notes lasting the same. After that, one may start accentuating one of the notes, in the following way : ( I) p.a.m.i.p.a.m.i. (2) a.m.i.p.a.m.i.p. (3) m.i.p.a.m.i.p.a (4) i.p.a.m.i.p.a.m. All the previous and following exercises can be practised on open strings as well as on chords. Combinations on two s,trings are easily invented : use the thumb on any string (except the first) while playing a.m.i. on any higher string. Great care should be taken in not bringing all the hand at a higher place the moment that the thumb strikes. The hand, or better said the fingers, should be kept near and opposite the string on which they play. This is equally valid for arpeggios. While we play arpeggios and tremolo we get a good control by watching the wrist, which should be still. If desired, at the beginning, in slow tempo, even the tremolo may be practised in apoyando; but this should not be done in its final stage, especially because it would create the inconvenience of avoiding it every time the next lower string produces a note struck by the thumb, which should be kept vibrating like all other 'thumb notes'. A final advice : although tremolo should be part of the right hand training, it is better to avoid playing for an audience a programme containing many items in tremolo (one should be more than enough). The repetition of the melody note, inevitably, reminds one of the mandolin . . . Prefer to perform just music, as much as possible free from ins,trumental ties, I mean : music that we can listen to, unaware of the medium that produces it. (To be continued.)
The Classics of the Guitar MARIA LUISA ANIDO The volume of 64 pages, with coloured cover, contains : biography; 60 rare and original pho,tographs; reproductions of documents; letters and autographs of M . Llobet and other masters; Tarrega's guitar and other information of great interest. Notes, translation and text in Italian by E. R. Roveri. Photo,graphy by F. Redaelli. For orders (advance payment only) write to: EDIZIONI E. R. ROVERI, Via Piatti 3, Milano, Italy.
Price, including postage, $2.50 (U.S.A.). 18/- sterling. 1.500 Italian lire. 14 G U ITAR NEWS M AY- J UNE, 196 1
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'Y7'(.::7)!c::::?:l!v")(.::7)(.::7)(.::;::::::-")(.::7)c.?')!v')(.::7)(.::7)(,:::7)(.9)(.::7)t..;::;:7)(.::7)t..;::;:7)(.:?)~!.::::7)0:..::?llv")(v")c&')f.v")(.::7)t..;::;:7)!.::::?')!..::?)'<:3 § § I EMILIO MEDINA ! § § § § § METHOD FOR THE ~ § ~ ~ FLAMEN CO GU IT AR ~ § § § with an English translation of the text § § § ~ 28s. 6d. ~ § § ~ G. RICORD I & CO (London) LTD j § 271 Regent Street London W. 1 § § § ~~~(.::7)(,:::7)~~~~~~ ~~~~~~~~~(.::7)~~~(v")~~~~~~~ MAY - J UNE. 1961 GUITAR NEWS NARCISO YEPES WITH JAPANESE ORCHESTRA
NARCISO YEPES Photo: S. Ogura H E Spanish guitarist, Narciso Yepes, has given reci tals in many lands. In Se ptember and October 1960 he gave 20 rvihuela music of Diego Pisador and Enriquez de Valderrabano. Then followed Guajira and Study in mordents (Pujol), Vidala Santiaguena (Gilardi-Crespo)~ Seven ~reole Studies (Broqua), Tango Milonga (Firpo-Casuscelli) and Milonga (H. de Nito-Zemp). 16 GUITAR N EW S M ,\Y- J UNE, 1961 J. S. BACH AND SOME REMARKS ON INTERPRETATION by Costa Proakis (Italy) PART THREE (continued) Thomas Mace (op. cit.) makes a similar remark on tempo: "When we come to be Masters, so that we can command all manner of Time, at our Pleasures; we then take Liberty ... to break Time; sometimes Faster and sometimes Slower, as we perceive the nature of the thing Requires, which often adds much Grace, and Luster, to the Performance". The above remarks on freedom of Tempo are not meant to be applied to the music of Bach. It seems, however, that these apparent discrepancies were rather more in the nature of difference between ages, nationalities and p:uticularly styles, for, as it was pointed out above, instrumental music was at its beginning a sheer transcription of vocal works. The tendencies of the late XVII and XVIII centuries were in the direction of greater strictness in tempo and rhythm and the solid structure of the Neapolitan School and the rigid form of the classic fugue also repudiated such liberties. The adherents of free tempo, Frescobaldi, Froberger, etc., belonged to the early B:uoque period with its emotioml tendencies. Bach, was closer to Couperin and Mufjat. The essence of Bach's music follows strict musical form- canon, fugue, etc.- and experience has shown that strict form calls for a steady tempo to inter-link its symmetric structure. Tn Bach's music too, of course changes of tempo may occur within as short a piece as a pre lude, but such changes mark new sections, and they are sudden not gradual in character, as for example in the Preludes of the I and HI Suites for the Lute, in which the initial tempo changes to presto on the 16th and 27th bars respectively. Time signatures in early music are very often used to denote bar rhythm as well as tempo. To enumerate the divergent and often contradictory time signatures of early music, particularly those used from the XIV up to the XVI centuries, would confuse rather than enlighten the reader. For purposes of a clear understanding of the subject, we shall restrict ourselves to a few examples that hold good for most of the music of the time : 3 / l = adagio, 3 / 2 = faster, 3 / 4 = moderato, 6 / 4 = allegro, 6/ 8 = presto. In most cases the relation of ··c" to ·· EVGENIA RODITI VGENIA RODITI is ,the first young lady gui,tarist from Piraeus, t;he port of At.hens. She ihas s,tudied under Prof. Dimitri Pampas for E several yea,rs a,nd a,p.peared in a number of concerts at the Municipal Theatre of Pirae-us and a,t Pa:rnassos Hall, Athens. Her first full-length recital was given on May l 7t•h a,t Parnassos Hall when s,he played a ,two hours programme whic,h included t,he following works : Pavana and Fantasia (Milan), Couran,te, Bour-ree and Double (Bach), Minue,tto and Rondo (Sor), Capricho Arabe and Suefio (Tarrega), Melodia (Moreno Torroba), Danza Espanol No. 5 (Granados)) Etude in B mino,r (Pujol), Prel.udes Nos. 1 and 2 (Villa-Lobos) and a composi,tion by D. Pampas. Reports from the Greek press ,praised her sensitive musicality and her talented virtuosity. The music cri.tic B. Arcadinos wrote: " We have rarely enjoyed suoh a perfect inte,rpreta,tion of Baoh. Ln general her rendering of all .t,he works in ,tihe P.rogramme was really enviable." MANUEL LOPEZ RAMOS HE Argentine guitarist, Manuel Lopez Ramos, was presented by th e Society of the Classic Guitar, New York, at their 95th concert 0:1 T February 10th at Judson Recital Hall. He has already given recitals in Brazil, Cuba, Mexico, Uruguay and Spain. On February 27th he gave a very successful recital at the Ambrosianeum Hall in Milan, Italy. Miguel Abl6niz who heard him there writes "Lopez Ramos is certainly an artist, and his interpretations a~e full of feeling. With experience he will soon be among the finest present day concert guitarists." His tour continues with recitals in Greece, Switzerland, Germany, France, England, etc. 18 GUITAR N EWS M ,\Y- J UN E, 196 1 JULIAN BYZANTINE CLASSICAL THE first broadcast of a young London guitari st was heard in the B.B.C. Music Club programme GUITARS on March 2nd, when Julia n Byzan tine, sixteen years old, played of Prelude No. L by H . Villa-Lobos. He showed considerable promise. FINE TONE and QUALITY GUITAR AFTERNOON Handmade throughout LORIS 0. CHOBANIAN opened the p r o g r a m m e at the by Louisiana State University Theatre on February 8th with a talk on the MAKER & classic guitar. He then accom CHAMBERLAIN TEACHER panied Janelle Duco te in Bachianas Brazileiras No. 5 by Villa-Lobos 1 Waterloo St., a nd in hi s own arrangement of an Armenian song. Leicester Finall y he played a group of Est. 1921 guitar solos by Fortea, Sor, Moz zani, etc. CLASSICAL GUITAR CIRCLE, N.Y. HE Classical Guitar Circle, New York, had its I 0th annive rsary on December 4th when the 42nd concert was given by members. Its T most recent concert took place at New York Coll ege of Music on March 12th, when the following programme was given : Lew Head - - Variations on "Guardame Las Vacas" L. de Narvaez Estudia No. 6 - Sor Steve Fearlman - - M usett and Bouree - J. S. Bach Joseph Leeming - Sara ban de - J. S. Bach Prelude No. 4 - Villa-Lobos Alice Artzt - Sonata - Turina Theodo r Berlin - - Se Lo M ' Accor go - 16th cent. Men uett - A. Sca rl a tti Natasha Bell ow - Ben M'An Perdut - B. de Ventadour Cant Pa r La Flor - - B. de Ventadour La Can~o Del C ladre M. Ll obet Etude No. 12 - Villa-Lobos Sy lvia Elbaz - Prelude - J. S. Bach Prelude No. I - Villa-Lo bos Michael Va luri - El Delirio - A. Cano Mary E. Miner - Courant, Allemande a nd Elegie A. Bell ow Thomas Anthony - Five Diversions - A. Bellow Willia m Ma tthews Homenaje " Le Tombeau de Debussy'' M. de Fall a Fuge - M. Ponce MAY- JuNE, 1961 GUITAR NEWS 19 CONCENTRATION Photo: S. Ogura GUITARS IN A JAPANESE SCHOOL R . S. OGURA, who took this interesting photograph is a member of the Committee of the Department of Education of the Japanese M Government. In this capacity he was invited on February 17th to see the open teaching of music in which guitars are used. The school is the Kitano Elementary School in the suburbs of Tokyo. Music by J. S. Bach was played with recorders, organ and guitar. Mr. Ogura reports : "It was pretty good!" LISA ZOI HONOURED ISA ZOI'S recitals in December included one in the historic city of Missolonghi, her birthplace. The recital was under the auspices of L the Mayor who made her an honorary member of the important "Aetolic Society of Missolonghi". On January 19th, Lisa Zoi gave a recital in the Parnassos Hall, Athens, half of her programme consisting entirely of compositions by Dimitri Fampas. She also played works by Sanz, Weiss, Sor and H . Albert (Sonata). TI:ie Greek Broadcasting Corporation has invited Lisa Zoi to give a series of guitar broadcasts and these have already commenced. 20 G UITAR N EWS MAY--J UN E, 196 1 ~~~~~~~~~~~~~~~~~~~~0~~~~~~~~~~~~ ! JOSE DE AZPIAZU I ~ Easy Music for Guitar ~ ~ Bk. 1 10 Pieces by different composers 4s. Od. § § Bk. 2 10 Pieces by different composers 4s. Od. ~ ~ Bk. 3 10 Pieces by different composers 5s. Od. § § Bk. 4 10 Pieces by different composers 4s. Od. ~ § Bk. 5 10 Pieces by different composers 4s. 6d. § Ii Bk. 6 10 Pieces by different composers 4s. 6d. ~ ~ Bk. 7 10 Pieces by V. Galilei (1533-91) 5s. 6d. § § Bk. 8 10 Pieces by Old Spanish § § Composers 7s. Od. ~ § § ~ G. RICORD! & CO (London) LTD § ~ 271 Regent Street London W.1 § ~ § ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ GUITAR CONTEST IN TORONTO N February 21st the Classic Guitar Competition of the Kiwanis Music Festival took place. There were fifteen contestants and the O Adjudicator was Mr. Hans Kohlund. This was the first time that the classic guitar had been included in this Festival and many of the Kiwanis officials were interested and came to li sten. In addition to parents of the participating children many members of the Toronto Guitar Society were present to form quite a sizeable audience. The level of playing was unusually high and real technical proficiency and musical awareness were displayed by the competitors. The Contest was divided into four sections: Age 12 and under: Andantino by Giuliani. Age 16 and under : Prelude in D minor by Bach, arr. Segovia. Age 19 and under : Prelude No. l in E minor by Villa-Lobos. Open Class- no age limit. Own choice. The age 12 and under class was won by Alison Sawyer who displayed an exceptionally fine musical tone; Bonnie Partridge was second, Adele Harron third. The second age group, playing the Bach Prelude, achieved the highest honours, the winner being Amparin Vincente (a left-handed guitarist) who MAY- JUNE, 1961 GUITAR N EWS 21 gained 90 points. Amparin was also awarded an unsolicited scholarship of Fifty Dollars donated by the Kiwanis Music Festival Association. Second in this group was Annick Kassner with 88 points, and third Ronald Barrat with 82 points. The 19 and under class had to cope with a very ambitious piece of music requiring a great deal of technical skill. First place was won by Peter Acker, second Michael Rodden and third Gary Kozak. In the open class there was only one competitor William Knol, who chose Pavane No. I by Milan as his selection. No first prize w:is given, Mr. Knol being awarded second place. One of the highlights of the competition was Mr. Kohlund's comments and criticisms of each group. In his unmistakably kind and humorous way he gave the young musicians a very enlightening lesson in musicianship and in the art of performing in public. To everyone concerned it was a very worth while experience. RECITALS IN BARCELONA HE Barcelona . Guitar Society 'Pena Guitarristica Tarrega' presented Jose Lazaro Villena of Valencia in his first recital at Barcelona on T November 12th. His programme included his own transcriptions of Madrigal (F. Landino 1325-1397), and Cancion Inglesa (15th century), Patricio Galindo's transcriptions of Hornepype (Hughe Aston), Sonata (D. Scarlatti) and Partita No. I- six movements (Bach). After the interval the recital continued with music by Sor, Paganini, Tarrega, Galindo, Maria de Almenar, Manual Garcia and Albeniz (Granada and Cadiz). Born in 1941 , Jose Lazaro Villena has studied guitar under Patricio Galindo. He has given a recital at the Society "Amigos de la Guitarra" of Valencia, and won first prize in a competition organised by Radio Nacional of Spain. Gunnar Lif. who commenced the study of the guitar with Madame Svea Hammarberg-Kritschewsky in his native Sweden before going to Spain to study under Prof. Edu·ardo Sainz de la Maza, was the recitalist at the 'Pena Guitarristica Tarrega' concert on February 25th. He played works by Sor, Rameau and R. de Visee (Suite in D minor), Llobet, Bach, Villa-Lobos, Granados and Albeniz. In memory of Leon Farre Dur6 ( 1867- 1932) who did great work for the guitar, a Competition for guitarists will be held on May 2nd. The test pieces will be 'Sueiio' (or Recuerdos de la Alhambra) and Estudio en la (Tarrega) and one 'own choice' piece. CORK CLASSICAL GUITAR CIRCLE N Thursday, April 13th, in Cork, Ireland, a Classical Guitar Circle officially came into being with James O'Brien, President, and Keith 0 R. Cross, Honorary Secretary. 22 G UITAR N EWS M,1v - JUNE, 1961 NEW YORK CONCERT ALPH FREUNDLICH, in the dual role of guitarist and flutist, appeared as assisting artist to Elly Stone, soprano, in New York City, at the R Cooper Union Great Hall, February 3rd, 1961 , before a highly enthusiastic audience which was of considerable size despite a very heavy snow. The classic guitar held its own in two classical songs, 'Plaisir d' Amour' by Martini (with a second guitar part written by Mr. Freundlich to comple ment Miss Stone's guitar role), and 'Mignon's Lied' by Schubert (Mr. F. playing his own guitar transcription as accompaniment). Original flute obligatos were heard in three other songs. In addition to the classic repertoire, the programme included theatre and folk music. Also assisting, as pianists, were Joyce Susskind and Harold Beebe. CHELTENHAM CLASSIC GUITAR CIRCLE HE March meeting opened with the debut of Robert Martin who though only 8 years old showed great promise. John Rust played T Soleares (Fortea) and Minuet (Sor). Eric Miller contributed Pavane (Milan), Gavotte (Bach), Dialogando (Fortea) and Two Minuets (Handel). Ronald Thexton gave a selection of Austrian 1,ute pieces transcribed for guitar by Karl Scheit; he also played a Sarabande by Bach. Trios by Kuffner were played by Elizabeth Bowers, Joan Prior and P. J. Gamble. Mr. Gamble then played Air (Frescobaldi- Segovia), Prelude (Bach), Study No. 7 (Carcassi) and Theme and Variations (Mozart- Sor). Wilfrid M. Appleby played Canzonetta (Mendelssohn- Tarrega) and 'Modry Kvet' from the Suite 'List ze Spane!' (Stepan Urban). Finally Eric Miller sang and played his own arrangement of Edward Lear's song "The Owl and the Pussy Cat". RECITAL IN PRAGUE HE Music Salon of the Public Library of Prague, Czechoslovakia, was packed to capacity for the Guitar recital on January 21st by Milan T Zelenka. Four rows of seats were hastily brought and placed on the platform in a last minute effort to avoid disappointing the throng consisting largely of young people. The recital opened with a Suite by Handel- Aria, Marcia, Toccata and Sonatina- followed by a Concert Fantasie by the Czech composer-guitarist Franisek Max Knize (1784- 1840), and Giuliani's Sonata in C major, op. 15. After an interval the programme continued with Fandanguillo (Turina), Prelude (Villa-Lobos), Suite Castellana (Moreno Torroba), Capriccio diabolico (Castelnuovo-Tedesco), Dama Espanol No. 5 (Granados) and finally a Suite, 'Leaves from Spain' (List ze Spanel) by Stepan Urban. This Suite, which was awc1rdcd a prize in 1954 by the Italian Guitar Association, received a tremendous ovation, both performer and composer being recalled for enthusiastic applause. It is in three movements, the second 'Modry Kvet' (Blue Flower) being especially pleasing though less Spanish in style than the other movements. MAY· - J UNE, 1961 G UITAR N EWS 23 MILAN ZELENKA Milan Zelenka was born in Prague twenty-two years ago and studied under Prof. Stepan Urban at the Conservatory of that city. He plays with deep feeling and precise style, and is one of the youngest and most gifted guitarists in Czechoslovakia, having gained Gold Medals at Festivals in Vienna and Moscow. VICTORIA KIN~SLEY PRESTI-LAGOYA DUO ON ' [ EARNING songs from the TOUR -' people' was the title of a AFTER their U.S.A. tour the broadcast in BBC Woman's Hour Presti-Lagoya Duo has been on April 17th, when Victoria booked for concerts m Japan, Kingsley, with her guitar, sang Australia and India. some of the songs she learnt in Mexico. JULIAN BREAM IN RUSSIA JOSE Y ACOPI IN EUROPE j UUAN BREAM is expected to OSE YACOPI, the well-known be going to Russia for a fort J guitar maker of Buenos Aires, night, from October 23rd to Argentina, will be in Europe from November 6th . He will be taking April and will not be returning to part in a " British Festival" with Argentina until August. several other British artists. 24 GUITAR N EWS MAY- JUNE, 1961 FOR THE GRAMOPHONE The Art of Julian Bream. Frescobaldi: Aria delta ''La Frescobalda" : Mateo Albeniz: Sonata, arr. Emilio Pujol; D. Scarlatti: Sonata in E minor, arr. Bream, Sonata in E minor, arr. Segovia; Cimarosa: Sonata in C-sharp minor, Sonata in A, arr. Bream; Lennox Berkeley: Sonatina, Opus 51: Rodrigo: En los Trigales; Ravel: Pavane pour une Infante defunte, arr. Bream; Roussel: Segovia, Opus 29. RCA Victor LM 2448 (LSC 2448 stereo). With each new recording, and with each new recital, certainty grows that Bream will not turn out a slipshod or careless performance. In this first RCA Victor recording he plays at least as well as ever. Musically rather a mixed lot, although neatly divided into one side of old and one of fairly recent compositions, there is nothing here either very outstanding or negligible. The Mateo Albeniz Sonata verges on the commonplace; but the Ravel Pavane appears to be music dear to Bream's heart; he plays it so. The sound the RCA Victor engineers have given him is clear and smooth- perhaps too smooth, for it lacks the crispness cf the Westminster recordings. A second Bream record has just been released by RCA Victor containing the Malcolm Arnold Guitar Concerto, with the composer conducting, and the Giuliani Concerto for Guitar and Strings, with the Melos Instrumental Ensemble. RCA Victor LM 2487. Manuel Gayol : Guitar Masterpieces. Carulli: Overture; de Visee: Bouree in D minor, Sarabande in A major, Minuets in D minor and D major; Sor: Minuet in A major, Etude in B minor; Giuliani: Eludes in E minor, A minor, G. major; Legnani : Caprices in E minor, 8-flat minor: Molino: Preludes in B-flat major, D minor. Rondo in D major; Shand: Prelude et Jmpromptu; Coste: Etude in A major. Kapp 9052 (also stereo). This is the first recording by a guitarist who has made himself unique in several ways : as a master of subtle dynamic and tonal shadings, as an interpreter especially of such nineteenth-century composers as are represented here, and as a discoverer of little-known and unfamiliar compositions originally written for the guitar. First of all, of course, he is a real musician as well as a popular performer, and when he plays the music he knows best, he has few peers. One could wish for more range and variety of styles in his programmes, more depth in the music. Sometimes, indeed, he attempts to extract more than is in the music, as here when he plays Legnani as if he were Beethoven. CLINTON SIMPSON. Other New Records London CM 927. Narciso Yepes playing Concerto for Guitar and Orchestra (Vivaldi), Concerto Levantino for Guitar and Orchestra (Palau) and (guitar solo) the Bach Chaconne. HiFi Record R 812. Alirio Diaz- 'Guitarra Venezuela'. Boston Records B 213. Ernest Calabria (guitar) with Fredy Ostrovsky (violin) in Six Sonatas by Paganini. Ricordi (Brazil) LP-SRE-2. Maria Livia Sao Marcos with the Quarteto Municipal de Sao Paulo in Boccherini's Quintet in C major: also guitar solos- Theme and Variations op. 25 (Sor), Agogo (Savio) and lmprovisos Nos. 9 and JO (Nogueira). MAY - J U N E, 1961 G UITAR N EWS 25 GUITAR MUSIC OMANZE for guitar solo (UE 13068) by Paganini, edited by Karl Scheit, is now available from Universal Edition of London, Vienna and Zurich. It is an R excellent item for the recital repertoire. Four interesting transcriptions by Jose de Azpiazu have been published (separately) by Alfonse Leduc & Cie, Paris: Albeniz's Tango Espanol is well-known, not only as a solo for the piano for which it was originally written, but also in arrangement for the guitar- for which it mi1? hl have been written, so well does it sound on six strings. Not so well-known is Albeniz's 'L'Automne', a very playable solo in quieter mood Le Petit Negre (The Little Negro) by Claude Debussy is something new for the guitar, though two or three ot'ier pieces by Debussy have been transcribed. Rather more difficult for the guitarist is the Azpiazu arrangement of Ravel's 'Piece en Forme de Hahanera'. These compositions are all aesthetically suited to the guitar and will add variety to our programmes. Here are two first-rate items for guitar with other instruments, both edited by Karl Scheit and published by Verlag Doblinger of Vienna and Munich: Joseph Haydn's Quartet! D-dur (Hoboken 111 :8) for guitar, violin, viola and cello. Locatell's Sonata D-dur for Flute (or violin or oboe) and guitar. Robert Broier is responsible for the guitar-continuo. Recently published in Poland by Polskie Wydawnietwo Muzyczne are three volumes of sOJigs collected and arranged with guitar accompaniments by Josef Powrozniak. The words are in Polish and each volume contains 40 to 50 songs. The first two books contain Polish songs and the third book includes several items by Schubert, Tosti, E. de Curtis, Brahms, Tchaikovsky, etc. The Polish singer guitarist is well catered for in these interesting volumes. " Playing Together" is the title of a little book of ten simple duets for guitar arrange,' by Henk van Sc:1agen who also arranged Four Inventions by J. S. Bach for two guitars. Both books are published by Harmonia-Uitgave. Hilversum, Holland. Three items of music by Tarrega have been revised by Isaias Savio and published (separately) by Ricordi Americana, Buenos Aires, Argentina. They are Estudio sobre un Fragmento (from Mendflssohn's 'Fingal's Cave'), Study on tI,e Sonati.ie by Delfin Al ard and La Mariposa. Seven volumes of Technical Studies for the guitar have been prepared by Dick Visser and published by Edition Heuwekemeijer, Amsterdam, Holland. They cover chromatic si.:aies, arpegg10s, intervals, ZARH MYRON BICKFORD (1886-1961) We anno unce with re1?ret the passing of Zahr M yron Bickford al Holly wood 011 March 22nd. He composed the first Guilar Concerto published in U.S.A. and of/en plai,ed the /? Uitar for films. frequenlly 'ghosting' for actors who pretended to pluck silent rubber strings. Sincere sy mpathy will he felt for his widow, Vahdah Olco/1 Bickford. 26 G U ITAR N EWS MAY- J UNE, 1961 V ALOES-BLAIN BROTHERS LBERT and Rolando Valdes-Blain combined in a recital of duets and solos at New York Town Hall on March 10th. Each brother A gave a group of solos and there were duets in both parts of the programme. Albert's solos were Suite in D minor (R. de Visee), Minuet and Rondo (Ferandiere), Barcarole and Canzonetta (Mendelssohn) and Torre Bermeja (Albeniz). Rolando played Partita in A minor (Logy), Prelude, Minuetto and Bourree (Bach), Sonata (Cimarosa), Nocturno (Torroba) and Campanas Del Alba (Sainz de la Maza). The duets were Nocturne (Carulli), Punteado Suite (John Martin), Suite for Two Guitars (Kaufman) and Intermezzo (Granados). Eric Salzman of New York Times wrote : " ... they worked well as a team and produced some pleasant musical results." FATHER AND SON RECITAL of music for violin and guitar was given by Morris Roberts (violin) and his son Martin Roberts (guitar) at the Circle Concert A Room, Manchester on April 6th. The programme included Sonata No. 3 by Paganini, Sonata op. 8, No. 2 by Gragnani, Sonata in D by Scheidler, etc. On March 23rd, Martin Roberts broadcast guitar solos in a BBC North Regional programme shared with Hans Soffer, pianist. He has just completed five years guitar study with Mrs. J. R. Maitland, A.R.M.C.M. He has broadcast guitar solos several times and has passed a Television audition. Among other concert engagements is one for the Pavilion Theatre, Filey, Yorkshire, during Whitsuntide. RECITAL IN LEXINGTON, U.S.A. N The Lexington Herald we read of the first classic guitar recital in Lexington, a Kentucky community whose inhabitants number about I 100,000. It took place on March 26th at the Carriage House and was given by Basil Gural of Louisville. The programme consisted of a Bach Prelude, and Six Short Pieces from the 17th century Suite (R. de Yisee), Minuet in D and Grand Solo (Sor), 3 Studies (Carcassi) and other works by Tarrega, Malats and I. Albeniz (Leyenda). The report mentions that the recital showed Mr. Gural to be an able artist in that he performs with fine technique and expression; and an ardent amateur, in that he does not make his principal living from the guitar. He plays and tea~hes the instrument for the love of it and is an active missionary in the promonon of the classic guitar as a serious hobby. He has inspired a circle of enthusiasts in Louisville and has at least two eager fans in Lexington : Messrs. William Newman and Hughes Normont. MAY- J UNE, 1961 GUITAR N EWS 27 MILO LACY CALIFORNIAN GUITARIST 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 by SOPHOCLES PAPAS Malag~ena, Farruca, Fandango, Solea, Farruca Facil 50 cents each. Write for our complete Catalog. COLUMBIA MUSIC CO. Dept. G. 1816 M. Street, N. W ., Washington 6, D.C., USA 28 GUITAR N EWS THE FIDDLE OR THE ANGEL? By Loris 0. Chobanian (Iraq and U.S.A .) HAD just arrived in Baton Rouge at Louisiana State University to start work towards a degree in music composition. For a while I had to I stay in a student dormitory. The fact that I had my guitar with me soon gathered many friends for me. Soon a big crowd of students would pile in my room while I was practising and sit on the floor, the bed, and every where. I did not mind because they made no sound at all. Things went on like this for a while until one day I decided to take out my violin and "play" a few tunes. That day I had no audience. Next morning, walking through the corridor of the dormitory, 1 saw one of the boys and saluted him with the usual "Hullo Sol!" To my surprise there was no response. Everyone I met that day was not friendly . When practice hour came and I was about to start playing the violin again, I heard a little tap on my door. I opened the door; there was nobody outside. Instead I saw a piece of parer stuck on my door which read : We love your guitar It sounds so oleasant Hearing you from far Why change your nature And cause us torture Playing that fiddle With screeching rattle Please stop the squeak And let the a ngel speak. D oubtful friends. I went in , closed the door, put away the violin, took out the guitar, sat down and started playing. A few moments passed. Then the door opened gently and in they came on tip-toe, silent and smiling, sat down on the floor, the bed and everywhere ... STOP PRESS "THE GUITAR REVIEW " No. 25 H E 25th issue of '" The Guitar R eview" arrived after we had gone to press. Andres Segovia's reminiscences are resumed after a Jong T interval, and in this instalment of " The Guitar and Myself" the Maestro relates a delightful story of an escapade of his youthful days in Madrid. Martha Nelson contributes an important article on the Canarios, with music by Sanz, Praetorious, Mouton and the Canario from Fantasia para un Gentil hombre by Joaquin Rodrigo. John Duarte has some fun with Three Blind Mice, and in another article sums up the variants of the guitar in the following sentence : " In the field of serious music, however, the plectrum played instruments have no significant part to play and are, by their very nature, inferior to the classic instrument." Reviews of music and discs- and some interesting advertisements combine to make this magazine a must for all serious guitarists. MAY- JUNE, 1961 GUITAR NEWS 29 JUST PUBLISHED UMi,q[ N25 SUBSCRIPTION No. 25-30 CONTENTS: 8.00 Articles An Important Discovery Jack Duar,te 3 CONSECUTIVE The Guitar and Myself Andres Segovia ISSUES Canarios Martha N elso111 4.50 Variants of the Classic Guitar, SINGLE COPIES An Evaluation Jack Duar.te The Guitar on Discs Carl Miller 1.75 Published Music for the Guitar Caal Miller ORDER DIRECTLY Music FROM Variations on The Three Blind Mice The Guitar Review op. 24 John W. Duarte 409 East 50th St. Canario Joaquin Rodrigo New York 22, N.Y. Cover Design Vladimir Bobri ':,?)"""'"""'"""'"""'"""'"""'"""'"""'"""'"""'"""'"""'C<"'>"§ ~ ALLISON COMPLETE STOCK i of Tone Woods ~ CLASSIC ~ SPRUCE ~ GUITARS ~ ~ hand made- fine quality rosewood §§ EBONY § - excellent tone-fan - bracing- ~ necks laminated with ebony-hand § ROSEWOOD § engraved machi ne heads- butter- §§ § fly shaped thumb pieces-ebony Ready inlaid Rings, Purfling (\ fittings . § and Tools § $17S .00- $2S0.00 ~ Semi-finish Necks § -- § ~ ALLISON GUITARS ~ Send stamps for Free List § 2346 CLOVER LANE, § H. L. WILD ~ NORTHFIELD, ILLINOIS, § Guitar Dept. § U.S.A, ~ 510 EAST 11 STREET Phone Hl -llcrest 6-6039 § § New York City. 9, N.Y., U.S.A. ~""""""""""""""°'""""""""""""'"""'"""'"""'"""~ 30 GUITAR NEWS MAY- JUN E, 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 announcement.; 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. RALPH FREUNDLICH, M.A., Juilliard gra:luate, 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, 47 I West End Avenue, TR 3- 6594. FOR SALE- New York Martin Guitar CIRCA 1885, completely restored by Martin Co., Excellent Tone, Price 400 Dollars. G. M. Kingman, 1775 San Leandro Lane, Santa Barbara, California, U .S.A. CLASSIC GUITAR TUITION. Private lessons, and new Correspondence Course, with photograph5, charts and modern text. Lorna Gray Guitar Studio, 40 Gordon Square, London, W .C. I. Tc;l. Eus. 6465. Write for details. EST.ESO GUITAR for sale- Price £100, 1929 Model- Good Condition. Miss Jan S. Fordham, 3 Cheltenham Terrace, London, S.W.3. BLANCHE MUNRO, A.G.S.M ., Professor of Guitar at the London College of Music and Watford School of Music receives pupils, including beginners, at 35 Corringham . Road, London, N.W.11. Enquiries SPEEDWELL 7740. PETERSEN Master 'C' Guitar, perfect 1960 model costing £105, will accept £85 o.n.o. Mr. G . Dobinson, 71 Parkway, Dorking, Surrey. C HESNAKOV. 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 faults, self acquired or installed by wrong teaching. Progressive, selected studies. 48a Cathcart Road, London, S.W. I 0. (FLA. 4354). STEVE NEWBERRY, Classic Guitar Instruction, Columbus Circle Studios, N. Y.C. 'Phone Lu 8-6934 for appointment. 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: PRlmrose 5366). STEPHEN COURTLEIGH, 10868½ Bloomfield Street, North Hollywood, California, Classic Guitar instruction based on the methods and studies of Aguado, Sor and Carcassi. " GUITAR NEWS " back issues. Only issues Nos. 53 , 54, 55 , 56 , 57 and 58 available, price I / 4 a copy, plus postage. I.C.G.A. , 47, Clarence Street, Cheltenham, Glos., England. CONCERTO AT NORWALK, CONCERT AT LISBON CONNECTICUT ALBERTO PONCE, a student EY DE LA TORRE was the of Emilio Pujol's guitar course R guitarist in a performance of at the National Conservatory of Rodrigo's Concierto de Aranjuez Portugal, took part in a concert at at the 110th Concert of the Norwalk the Conservatory playing guitar in Symphony Orchestra on February Concerto (Vivaldi) and Quartetto 20th at the Norwalk High School (Haydn) and also giving guitar solos Auditorium. The conductor was bv Granados, Crespo, Torroba, Quinto Maganini. Villa-Lobos and Pujol. MAY- J UN E, 1961 G UITAR N EWS 31 ~~ RESTORATIONS & VALUATIONS SYDNEt"EVANS .7;,:, /110/i'.,'fffj,_;-:::.;::~ .... ~ !SA. HAGLEY ROAD, FIVE WAYS BIRMINGHAM· 16 TELEPHONE EDGBASTON 0 7 87 N"\7LON STRINGS "FISOMA" These strings are the result of many years of patient research by the makers, with l 75 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 3rd 2/9 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 4/10 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 / 1 extra to above. The Bronze and Pure Silver lower strings are fin ely 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 fre e. 32 G UITAR N EWS M AY--J UN E, 196 1 IN THIS ISSUE Pa1:e International Summer Academy, Nice ...... 3 Presti-Lagoya Duo in U.S.A...... 3 French Radio Guitar Contests, 196 1 ...... 5 Cheltenham Music Festival Guitar Contests ...... 5 Chigiana Musical Academy ...... 6 Siena in New York ...... 6 Siena in Australia ...... 7 Si lver Trophy in Brazil ...... 7 George J. Marks ...... A. Valdes Blain Sr. 9 How we should start the Study of the Guitar. Chapter VIII- The Right Hand Miguel A bl611iz 11 Narciso Yepes with Japanese Orchestra ...... 15 J. S. Bach and Interpretation- Part Three (contd.) ...... Costa Proakis 16 Segovia in New York Recital ...... 17 Evgenia Roditi ...... 17 Manuel Lopez Ramos ...... 17 Classical Guitar Circle, N.Y...... 18 Guitars in a Japanese School ...... 19 Guitar Contest in Toronto ...... 20 Recitals in Barcelona ...... 21 New York Concert ...... 22 Cheltenham Classic Guitar Circle ...... 22 Recital in Prague ...... 22 For the Gramophone ...... 24 Guitar Music ...... 25 Valdes Bl ai n Brothers ...... 26 Father and Son ...... 26 Recital in Lex in gton, U.S.A...... 26 The Fiddle or The Angel? ...... Loris 0. C hobania11 28 "The Guitar Review" No. 25 ...... 28 Members' Announcements ...... 30 THE INTERNATIONAL CLASSIC GUITAR ASSOCIATION (A non profit-making Organisation) President : L. T . Bridell, M.A. Hon. Treasurer : Mrs. Kay Appleby Auditors: Eric J. Dance P. J. Gamble, B.A. S. Ager 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 INTER NATIONAL 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 not n ecessarily agree with the opi11io11s expressed by contributors. Oloucester Printers Ltd .. Black friars Press. Ladybcl lcaatc Street. Olo11cc11cr .