far International Ber Wie -t ep aba a aeG Ul TAR BOOKS - MUSIC: RECORDS t, with ton sD ‘hind ther epetony ita the mogen elk He Mat eluded a group ofS {om ho a sto pes aug on age 12th Auce ARTZ Thea Of Practising as Avgude ta developng technical precision by anahsing dtfcutes, ‘edzzng them tothe smpaet fom, and then enectngpatems of finger meverant which i turn can be Gavloped into exersant of ny ‘Segre of smpicy o company ‘THE AGUSTIN BARRIOS LEGACY Volt e495 “Transribe ond fingers det Hom the original recordings of Bros by the worl renamed shorty on Sas, Rober Tucker oh Witers Suironlees Rabon Tucks ep on th love fh ecard of Bais {C88 2605 Te vue sontine pions never before publahed, end hee Sr note, biographies dette ond photograpns fom Robert Tucks cw Uriguo Barioecolecten. The peo Pec, Pept, Canfeisn, Orsi, ‘Tange No'2, Va Op. No 4, Armorine Go hmercss, Ae de arb, Corea LANCE BOSMAN study Of rudimentary standard Rarmory and it eer development Ih onteroraty works. Tredton and madera seales and chores are ‘crcorte trom the bene to imermediae gutars's reper Song ‘Rn Amnology OF Vinusle Music Arcanged For Guitar (Orca Fenn, Mean, Muda, Nareee Pada, Valdetrabane, The onrien oe deine Tog aeperooe ana Fenty to he ge tthe et had, serena bar poston anasto playing The ‘Shuang enters ao supplonent he mpagge 369 foundation fh "ind eehnaun, and promt independence tetwoan he tum and te {ager of he nh hand ‘An Appreciation 595 TANGaMoe ‘Ananology Of Lute Muse For Gultar rss {ST peces by Donland, Os Milan, Jisenkunig, Capitola, Farabosco and CLASSIC GEORGE GERSHYIN ‘Aranged for Classica lta by John W- Duarto ass ‘2 Tooey day, Etracaable you, Fascnatng “yt, How long has this ean going on? Love's hero say, Love mele in, Noe work You can (gt, Semeone to ook ov me, Stkeup the band, Surneerine, The man Tove, They cov nk that owey om [Aranged for Casson Guitar by John W- Duarte cass ‘The ay yeu took ongh, They i inv a, Al the things are yu, Deaty belong, Smoke gettin your sy, Fm ls fancnes, Long ag0 nd far anay, Cort hip own’ dat man, Yestrcays, OF man tue, The fobs [ANTONIO LAURO ‘Sh veresutenPrces For Solo Gute eis Groowe Cancon oe Con, Pevonl, Desendo el Vio Cam, Ney (MARIA LINNEMANN, Solon 2oven maeratteaey and delight soon wih study notes SSUE McCREADIE insta! Guitar Companion cess [Answausble A? eference book for anyone whe has ever ben a oss {er mangntnfornation or the classical user (not forgctingfamence & (Gnamercan’ Cavah mutated wi photographs SOuN ILLS ‘Music From The Student Repertoire Series 1.30 peces by lian Ces, Ponce, Thtegn, Sor, Gulan ang Recording othe above pits Be Series 2.40 pecas by Duarte, Pel, Sor, Poulenc, Givin, Tega are othe a0 50 plays: Brouner, Ponce, Dagon, Haug, Tansman, Walon ord es ay miroHeU. ‘Rnmology Of Fame Flaten 42s Fauna tom payora he gars ag: Nilo Read, Ramin Monova Wichor de ardnna, Mastve Potbo, dover Mtha Paco Revi, Us tios, Oogo dl Gato, Mave! Wore Parcs dt Lona With ‘oxtans amongst Ray a OMEGA GUITAR QUARTET 110 Pays, Grieg: Hoty Sue, Debusay: Four Paves, Hunt: Quart No 2 Tha Sn Dvra ee Sivonc Ouro PACOPERA Foques amancos 598 {o"\oue Wr hutaton end bate wih inredicton to fees sage aan cording above ice. ‘Manaatesbya Robes “Te thon gag of Mess most ipotant compos nd pomey teres pord carpe oe Qua canons rary ating Gmoogeshe and ober meposbie, ale” ude’ “x the. rane ‘ctu ving of many of oe pce whch ware oe roa foraus BY Eeyore A's word! bona te wan sop fhe oral wos fitkono unpubl nod ecunar ct Porers en compotion fr stanLey ‘tar Book ‘hepupi ets han and maybe temoted to Que JOHN TAYLOR Tone Production On The Cisse! Gitar cass Tn ee scnua xp sosraneh he ben ating fr al tee fte Mos ar ls so en Pitan: Regs Soh Bind “The rt aps on Tap siamo ne Sivert ibera: Sonna2 tphen Dodgron Legend For Gtr Sohn W Dvert: gh Mase ‘iver Hunt Gare Bade For tar Reginald Sith Brindle Sorat Veto Recording the ove pecen by Forbes Henderson e550 Herdbackt6.95 1275 an 275 7s ans ‘SEND FOR OUR NEW COMPLETE ILLUSTRATED GUITAR CATALOGUE Postage & Packing Up 05.00 a 4p, Up to £1000 nd 7p, Over £15.00 Post Fre, MUSICAL NEW SERVICES LTD., GUITAR HOUSE, BIMPORT, ‘SHAFTESBURY, DORSET. THE WORLD'S LEADING GUITAR PUBLISHING SPECIALISTS ‘MUSICAL NEW SERVICES LTD’G Britain's No. 1 e Classical Guitar Monthly Internationa. Editor: George Clinton Reviews Editor: John Duarte Acoustics: John Taylor Psychoacoustics: Graham Pick History: Matanya Ophee Music: Lance Bosman Editorial Assistant: Sally Ansell Photo Printing: Alan Sexton Sales & Advertising: Geoff Clinton Contributors Kevin Aram Michael Edmonds Juan Parra (USA) Joho Arran Derek Faux-Bowyer Paco Pena Roberto Aussel lan Gammie Dona Pohrea (Spain) (France) Anthea Gifford Laurie Randolph Carlos Barbosa-Lima Frances Gray (W.Germany) WWSA) Eustagulo Grillo José Ramirer (Spain) Emnesto Bitewi Graz) José L. Romanillos (Spain) Sandra Hambleton Reginald Smith Garlos Bonet! Ere Hill Brindle ls Breakers PeterHolloway John Schneider (USA) (Holland) (Spain) Phillip Thorne Sarah Clarke Darrylleving (USA) Robert E. Tucker Ernesto Cordero Sharon Isbin (USA) (PuertoRico) John James Edson Costa Brazil) Paul Magnussen Mary Criswick Joh Mills (France) Karen Dusgaard Wawrzklewiez (Po Hygh de Camillis Nielson Denmark) Lis Zea Venezuela) Norbert Dams Corozén Ote John Zaradia| (W.Germany) (Mexiee) Published monthly by Musical New Services Ltd., Guitar House, Bimport, Shaftesbury, Dorset, England, Telephone: 0747-3427 Printed by Roger Bowskill (Printing) Ltd., 8a St, Davids Hill, Exeter, Devon ‘Typesetting & Design by Crane/Barnden Ltd, Frog Lane, Iiminster, Somerset Distribution ‘UK newsagents, newsstands, wholesalers: Spotlight Magazine Distribution Ltd., 1, Benwell Rd, London N7 7AX Tel: 01-607 6411. UK & overseas music shops: Musical New Services Ltd., Guitar House, Bimport, Shaftesbury, Dorset, England. Tel: 0747 3427, USA music stores exc: Juan Orozco Corporation, 155 Avenue of the Americas, New York, NY 10013. Tel: (212) 691 8620. Overseas newsstands: Europe: Hatchette Gotch Led. Australia, Canada, New Zealand, South Africa, USA: Gordon & Gotch Ltd. Every care will be taken but the publishers regret that they cannot accept responsibility for any manuscripts submitted to them © 1985 lby Musical New Services Ltd. February Issue Vol. 13. No.8 4, Guitar Talk 7. David Starobin — Interview 13. Alvaro Pierri — Interview 16. Isaias Sévio 19. Ensemble Workshop 22. Competitions 24. Performance Workshop 26. Piece No. 1 — Music Solo 28. Learn Guitar with John Mills 30. The Bilevel Guitar 33. Jazz on the Classic Guitar 35. The Complete Giuliani 40. My love is like a red, red rose — Music Solo 41, Antonio Lauro — His Guitar Works 43. Opinion 46. Concert Reviews 47. Record Reviews 48. Music Reviews 50. Book Reviews 51. Vagabond’s Ragtime — Music Solo Cover photo of David Starobin at the Wigmore Hall by George Clinton, JOSE RAMIREZ ‘De Camara” Concert Guitar Christmas Draw 1985 (Complete form at foot of pase 54 and return tous ‘Musical New Services Lid, itar House, Bimport, Shi Dorset, England. Guitar March 1985 3Essen, West Germany, in Guitar a *Jalk« cee Prize Ramirez Here are some details of the ‘Ramirez guitar, the Prize in the 1985 Grand Christmas Draw sponsored by Guitar. The guitar is a magnificent Ramirez de Camara concert guitar, as played by Segovia and other famous guitarists. We are tunable to publish a photograph of the actual guitar for the simple reason that it hasn't bbeen made yet! However it will be similar to the Ramirez guitar pictured here, but with this difference. The prize guitar will be ‘one off design, bearing many unique touches, such as specially selected Brazilian Rio rosewood — the costly dark and beautiful Dalbergia nigra, the rare wood. about which José Ramirez himself wrote ‘so eloquently last_month. This choice of timber alone increases the 4 Guitar March 1985, ‘Apart from attending several international — master-classes, she completed her studies with the uruguyan master Antonio Pereira Arias and the baroque lutenist, and specialist on early ‘music, Toyohiko Sato at the Royal Conservatory of Den Haag, Netherlands, and graduated with her recital diploma in 1980, Susanne Meter In 1981 Susanne Mebes has been prizewinner in the international “Andrés Segovia Competition” of Spain; in 1983, she won the prestigious Prize of the Coneertgebous, and the Concertgebouw Orchestra, Amsterdam, made her first appearance on Dutch television and has extensively recorded for Dutch, German, French, Italian, Belgian and price of the de Camara model Swiss radio. She also plays in from around £1400 to £1800, various chamber music in fact the instrument’s ensembles. ‘uniqueness will increase its In 1984, apart from concerts value to a figure much, much inher residence, Holland, higher. Therefore readers are Miss Mebes has played solo aavised to ensure their chances. recitals and radio recordings in of owning this super guitar Germany, Brussels, Hungary, from the House of Ramirez, by Geneva and Milan either placing a regular order at their newsagent, or subscribing New Enterprises direct to Guitar. Remember, 12 coupons mean 12 chances for you, for there's one thing certain: by this time next year this beautiful guitar ‘will belong to one of Guitar’s readers — and it could be You. ‘Susanne Mebes for Purcell Room. On 30th March, Susanne Tt does seem that during bad Mebes comes to the Purcell times folk turn for solace to Room. Readers will remember music — during the depression John Duarte’s approving. (the 30’s one) recording artists review of her debut record. (or the record companies) made Susanne Mebes was born in fortunes turning out 78's. It’s heartening therefore, to see that despite today’s financial climate, music is still in the forefront of people's priorities Recently two new names have appeared. Embercourt Publications isa company which aims to publish music and books for the guitarist, starting with some very useful arrangements, for tio, of works by Debussy, Faure, Peter Phillips (the exquisite Chromatic Pavan and Gall to Chromatic Pavan). Watch out for their cedar tree trademark Montacute Publishing Co takes its mame from the beautifil 16th century ‘Montacute House in Somerset (National ‘Trust Property) and its aims are 10 publish inexpensive solos for the guitar’ lighter side. These will be issued in series of six; the first will include two pieces by Stepin Rak, written in the popular vein, Tango and Rumba, and Brazilian pieces arranged by Eustaquio Grilo. ‘The second series will include solos by Sojo, arranged by Luis Zea. Watch out for the Montacute Man. MONTACUTE Dorothy’s debut In September last Dororthy Linell became the frst lutenist to.win the Maisie Lewis Young Anists’ Fund Recital Competition. It being a matter fof note whenever the guitar wins a place or even a mention in events including other instruments it says much for the musical accomplishments (and perhaps the lute) that at the time, although she was immensely proud of being chosen, along with five others fora prize that gave her a debut at London's Purcell Room, she accepted the fact as a recognition of her talents a a musician rather than as a Iutenist. — and thus of no extraordinary merit. Since leaving the Guildhall School in 1982 (where she was the first lute student to gain the GGSM degree) Dorothy has performed and broadcast as lute/guitar accompanist and soloist, and as theorbo continuo player, throughoutEurope and in USA. This season she will give duo recitals with her past teacher Robert Spencer and take part in Live Music Now with soprano Tracey Chadwell, with whom Dorothy was accepted for ‘Avanti: Worfield Charity Concert Trust Agency ‘Scheme for oustanding artists. Dorothy Linell At her debut on 6 March as well as two lute songs with soprano Clara Yip, (who shares the recital), Dorothy will play solos by Dowland, Batchelor; a Vivaldi sonata with keyboard. Readers of Matanya Ophee's comments on the — lute repertoire (Dec. issue) will be intrigued to hear Dorothy perform two modern works written for lute: Mlan Ridout’s pastiche Suite (1970), and a first performance of ‘a work commissioned by herself from Richard Stoker called Dance Movements. When we spoke to Dorothy midway through January, she was a little worried’ that Richard Stoker hhada’t started on her pieces"I hhope I get alittle time to really study it.” she added with some humour. We told her that as Jong as she gets the score in time for the performance we're confident she will make a good jb of it. Dorothy cold us that she agreed wholeheartedly ‘with Matanya Ophee about the supremacy and validity of Bream’s lute playing, but she didn't understand Matanya’s views about the guitar and the fute, As this point wasn’t t00 clear to many of us perhaps Matanya will dor some i's etc. DIARY Friday 1 Brooklyn College Eesemble (Guitar Ensemble) Pleiades Galery, 164 “Mercer St. New York 10012, 8.00pm, Saturday 2 Guitrreria Oreaco Concert 135 Avenve ofthe America, New ‘York 10013, 4.00pm Sunday 3 David Rossel Wigmore Hall 7.30pm Works by Ssint-Luc, Sarai, Barros, Giuliani, Rodigo, Castelnuove-Tedesco, ‘Tuesday 5 Lily Afshar ‘The Spanish Insite, 684 Park Ave, [New York 10021, pm ‘Works by JS, Bach, Ponce, Rodrigo andothers Wednesday 6 Andiés Segovia “Ambatsador Auditorium, Pasadena, USA Ino: (318) 304-6161, Wednesday 6 Frances Grifin & Leo Turner Leeds City Art Gallery 1.00pm ‘Thursday 7 Frances Griffin & Leo Turner Bradford Library 1.00pm ‘Saturday 9 March Paul O’Dete ‘Wisconsin Conservatory of Musi USA Info: 765.9398, (Cookridg St, Lees 8.00pm Saturday 9 Guitareria Oroaco Concert 155 Avenue ofthe America, New York 10013, 4.00pm ‘Sunday 10 Altany Duo Berkshire Guitar Society Info: O734-688124 Sunday 10 Seppo Kallio Wigmore Hal 7 30pm. Works by Sor, JS. Bach, Kucers, Villa-Lobos, Fala Sunday 10 Paul Gregory Leeds Guta Society 7.30pm Info: Leeds 785341 Sunday 10 Paco Peta ‘Queen Elizabeth Hall 7.15 pm ‘Monday 11 esl Gregory ‘York Guitar Society 7.30pm Info: York 53187 Wednesday 13 Wrexham Library Are Centre, 7.30pm Teo: 0978-261932 Thursday 14 Emile Prados Mamenco) (Casa de Espata, 314 Eas 3th St. ‘New York 10016, 7.30pm Saturday 16 Guitatreria Orooce Concert 155 Avenue ofthe Americas New ‘York 10013, 4.00pm Saturday 16 Willm & Elinabeth guitar do) ‘Town Hall, Hythe, Kent 7.30pm, Saturday 16 Chris Kilvington Sawbridgeworth, Hers Info: 0779-722318 Saturday 16 Elefteria Kota St. Judes Church Hall, Peterborough 8.00pm Info! Market Deeping 342851 Saturday 16 arey Mason Baroque gute, CCitarrone) Lute Society, The Art Workers G 6 Queen Sq, London WC Sunday 17 Anthea Gifford Jean Jaques Kantorow (olin) ‘Wigmore Hall 7 30pm ‘Tuesday 19 The Music of Dominic Miller & David Heath Purcell Room 7.30pm Wednesday 20 overt Spencer & Doeorhy Linel (ute uo) ‘Nonsuch Guitar Society Info: 01-982-2995 ‘Thursday 21 Landon Early Music Group ‘Wigmore Hall 7.30pm Friday 22 Michael Cedric Smith Pleiades Gallery, 164 Mercer St, New ark 10012, 8.00p Works by Mudart, Stare, Vile Saturday 23, Gultarreria Orozco Concert 155 Avenue ofthe Amrices, New ‘York 10013, 4.00520 ‘Saturday 23 Gerald Garcia [Mellow Lane School, Heweas Ra off ‘Unbridge Ra) Hayes, Mid. Sunday 24 Nigel North hte) Maggie Cole (arpsichord&lutearpichord) Wigmore Hall 3.30pm ‘Sunday 24 Benjamin Verdery Wigmore Hall 7 30pm Monday 25, Catherine Thom, Lecture Theatre G, University of Surtey, Guilford. 8.00pm Tuesday 26 Jonathan Richards yea School, Colwyn Bay, Ne, Wate, Programme includes British Premiere of Sonata Op. 65 by Rudol von ere, Info: Colwyn Bay 44259 Tuetday 26 Susanne Mees Lunchrime concert, Bishopseare, London Wednesday 27 Miguel Gare &Fesnando Millet (guitar duo) The Anglo Argentine Society, Canning house, 2elgrave Sg London SW 16:30pm Friday 29 Miguel Garay & Fernando Milt (quttr day Christ Church Pond Ht, Conley, Sse, 7.0p0 Friday 29 Benjamin Verdery Adlington Hall, Macclesfield. Friday 29 Anne Richards (harpsichord) Gerald Garcia Quitar) October Gallery 730pm Saturday 30 ‘William & Elizabeth (guitar uo) Friends Meeting House, Lawn “Terrace, Blackteath, London SES, 7.30pm Saturday 30 Sasanne Mebes Purcell Room Saturday 30 ‘Minvel Gara & Fernando Millet (quitar duo) Kibrooke House, ‘Mycenae Road, Blackheath, London SE3.7.10pm ‘Saturday 30 Gultrreria Orozco Concert 155 Avenue ofthe Americas, New ‘York 10013, 4.00910 ‘Sunday 31 ‘Susanne Mebes Knight St, Sawbridgeworth Herts Taf: 0279-722318 ‘Sunday 31 Sergio & Odie Assad ‘Ambassador Auditorium, Pesadena, Usa. af: (618) 304-6161, Monday 1 Aprit Susanne Mebes Brighton Tuesday 2 April Shekeqiaa/Dolan Do Te Spanish Institute 684 Park Ave., New York 10021, 8.00pm. Mac for Me &guitar by S. Bach, Dowiand, ils, Fovlenc, Bartok, Dols. ‘Thursday 4 Apsit Saran Mebes ith Jacopo Sal (Gilinelis) Barbies Hall Friday 6 April Sanne Mebes ‘Taunton Guia S Info: 0278-56337 Friday 5 April Lis Zea New England Conservatory of Msc, 230 Huntington Ave, Boston, MA 02115, USA. Saturday 6 April Guitariera Orozco Co 135 Avenue of the Americas, New ‘York 10013, 4.00pm Saturday 6 Ape Luis Zea ‘New England Conservatory of Music, 290 Huntington Ave, Boston, MA 02115, USA, COMING SOON LEO BROUWER INTERVIEWED BY ERNESTO CORDERO Guitar March 1985 5David Leisner In April David Leisner will be ‘composer-in-residence for a week at the University of Arizona. A song cycle for voice and guitar hasbeen commissioned for that occasion. Although known to Guitar’s readers as a guitarist, his compositions are finding increasing — numbers of appreciative ears. Theodore Presser has recently published his Passacaglia and Toccata, and ‘Billy Boy’ Variations Paris Festival The 3rd International Guitar Festival of Paris will ake place on March 18th. An exciting event in the festivities will be Sharon bin Carnegie Hall Guitar Festival Carnegie Hall's first International Guitar Festival starts 10 May. This is the festival that we mentioned a year ago and bas Sharon Isbin as the Festival co-ordinator. Sharon will, of course, be taking port in it, among other things, she will be playing the Concierto D' Aranjuez. 6 Guitar March 1985 the mew concerto by the Argentinian folklorist Astor Piazzolla, played by Roberto Aussel. ‘The composer has written a part in for himself playing the bandoneon (this small, concertina-like instru- ‘ment is enjoying an increasing popularity). Concerts include performances by Gerrard Abiton and the Amsterdam Trio, Enquiries to: International Festival of the Guitar, CDDS 27, Rue de la Rochefoucauld, Paris 75009, In our last issue, we described Segovia’s favourite starter 2s Melon topped up with Rum. Actually, we're sure we typed the word Port! We can only suggest that our gremlins, aghast, or more likely, jealous of anyone partaking of such an exotic treat, used the occasion to demonstrate their own joie de viore and play one of their mischievous little jokes. We apologise on their behalf to Segovia [As can be seen from some of the names below, the festival reflects today’s wide interest in the guitar in all its forms, and the following are just some of the famous players who will be taking part — Larry Coryell, Egberto Gismonti, ‘The Charlie Byrd Trio, Carlos Barbosa-Lima, Paco Pefa, Paul O'Dette, Jacob Lindberg, The De Falla Guitar Trio, Doc Watson and John Renbourn. SPANISH GUITAR CENTRE 36 Cranbourn Street, London WC2H 7AD 01:240.0764 Business hours 1pm—8pm, Set 10am—5pm We do not adverise often, or very aggressively, bacause having served and taught many hundreds of thousands, of ‘guitarists for over 33 years, we must By now be pretty well Known. However, for those who ate fairly new to the Guitar, here is our postion: We offer an extensive range of classical and flamenco guitars trom £35 upwards. Current stocks include the JOAQUIN GARCIA ‘double’ guitar, JOSE RAMIREZ de Camara, Mariel Contreras, Paulino nabs, Antonio Marin, Manuel Reyes, Gerundino Femandez, Masaru Kohno, and many others both new anc secondhand, Prices are alnays very competitive. Musie and accessories ro stocked and strings may be ordered by Telephone. Valuations and “repairs are. undertaken, Professional individual tuition is avalable st £4 por lesson Come and see us, or snc 5p fr price’ stoce st. WITHIN TWO YEARS OF OPENI THE STUDIO HAS ESTABLISHED ITSELF AS ONE OF THE LEADING SHOPS IN EUROPE. Our wide selection of specially chosed instruments from £20.50 to £3,250 are openly displayed for your inspection Here are some examples: Bernabé, Contreras D-T., Ramirez “Camara”, Alvarez, Vilaplana, C. del Valle, Caceras, Montero-Bouchet, D. Hopf and Vicente Camacho. A VISIT IS A MUST H.P. facilities, Accoss and Visa cards accepted We also offer a Mail Order Service 16 JAMES STREET, LONDON W1 TEL: 01-493-1157 fentone Guitar Tutor for Young Children bby Mary Criswick Ideal for children aged 6 - 12, learning either privately or in class. Plenty of really easy pieces for beginners with small hands. £1.80 Method for the Classic Guitar by Sophocles Papas One of Britain's best selling Guitar tutors covering all aspects of guitar playing. 64 pages. £3.25 FENTONE MUSIC LTD. Fleming Roed, Ealstrees, Corby, Northants NNI7 25N Telephone: Corby (05363) €0981David Starobin.. . ‘The touch ofthe clasical guitar well alesays Be a challenge.” While the rapid turnover of 20th century musical styles has yielded a rich array of innovation, it has also given rise to an air of perplexity. Contemporary music often seems extreme and is difficult to understand, of $0 this is assumed. Against it, classical forms are consistent, they have the pedigree of tradition, they are phrased in tune with nature and instilled with rhyme, Even so, to what extent appreciation of clesical music is gained chrough understanding its inner working is debatable; surely this is acquired generally through listening experience, in developing awareness of its melodic patterns, hharmony, the expectancy of its tension and_ release. Contemporary music has similar motions, but differs in content, The more familiar its makeup becomes, the less alien or disturbing it will sem. Appreciation of itis not arrived at through comprehension — itis far too copious and diverse for that — but in getting more used to it Increasingly today, new music is given more light through slots in the traditional repertory. Such exposure is commendable except that, in these surroundings, it can appear as a curiosity of even harshly incongruous. However given a recital of only contemporary music, each piece takes its place, assessed within @ single contest. This was just such the case with David Starobin’s recent guitar concert. If the audience had reservations towards the music, these were soon dissipated by Starobin's radiating commitment, and through ease of access rendered by the progression from appealing to challenging listening. Not only did this variety grant time for aural adjustment, it showed the range that new music for guitar has covered today Without abandoning classical music, which David admittedly reveres, it is the urgency of contemporary pieces which draws him into their pursuit. They reflect present attitudes, the currents of his urban, New York living, ‘Attracted to new music from the age of twelve itis significant that the most influential figure then was Edgard Varese. A composer associated with the ‘futurist” movement, conscious of the machine age, Varese included sirens and industrial sounds into his radical works of the early Twenties. From these formative impressions, David's vision of contemporary guitar music has extended through performing to record Photos George Clinton production and commissioning new works. The latter now exceed a hundred, mostly from composers unconnected with the guitar. Several of their pieces were premiered at his 1979 Wigmore recital, with others at the concert there last November. The recent programme began with Per Norgard’s Reruns (1976), a number with all the melodic lilt and rhythmic accentuation of bluegrass music. From this lightweight kickoff, different tangents of 20th century guitar music were presented, at times obliquely as in the bristling pieces by the two American composers Elliot Carter and Milton Babbitt. Rounding the concert off on an easy note was an extract from Stephan Sondheim's current show ‘Sunday in the Park with George’. Against the driving guitar accompaniment of Sunday Song Set (1984), baritone Patrick ‘Mason takes the role of an artist casting a satirical look at the slittermania imposed on his rise to fame Duet and ensembles are considered by David as imperative to guitarists, both fora broad musical education and to liberate the instrument fiom its solo enclave. With 15 years experience in contemporary music ensembles, he has undertaken orchestral works of Webern, Lucas Foss and George Crumb, not to mention the music of the six groups of which he is presently a member. The music garnered from these ventures and solo commissions is now concentrated on records under his own label’ which shows the contemporary guitar in a variety of setings. For voice and guitar are arrangements of Shakespearean songs set by Elliot Carter and William Schulman with some excellent recent work by a compatriot ‘composer Barbara Kolb. To the solo works already mentioned carlier is recorded a cross-section of contemporary styles, spanning the arcane to semi-popular. On the lighter side is Lou Harrison's Serenad? (1951), in a folksike idiom with classically styled arpeggiation on a projected melody; Anorker’s Fandango’ (1981) by John Anthony Lennon (no relation) swhose individual impression of Latin music is infused with harmonics in counterpoint, lending a certain poignancy of mood, despite the speedy accentuation. Notable among the group works on this catalogue are those with David and soprano Rosalind Rees who, as a duo, have already toured extensively. On the instrumental ensemble front, many Guitar March 19857modern pieces merit this record collection a valuable source of new material for guitarists. In combinations of instruments ‘quite suited to the guitar’s character, ue, harp, cello, a host of composers are represented from less known to the celebrated names of Henze, Takemitsu and Stravinsky. f'not at present, chen in the near future, the springs of new guitar literature From America and Europe will mark a highlight in its repertory. Criticised for a paucity of substantial ‘compositions in the past, the guitar’s future is assured in this experimental air of advanced techniques, novel acous resources, the embrace of different modern idioms, and through the increasing number of composers attracted t0 it With the enterprise of Starobin and other far-sighted performers, and prompted by encouraging response, the concert is guaranteed prominence in the tide of musics! advances. “T've never been able to understand why people aren't able to respond to music of our own time. To me, it’s the most immediate experience for uss because here you have composers reflecting everything going on around, the vibrancy of life today. In my own case, in New York City, I play the music of| composers that live there, and I really do get the feeling that the rhythms, the energy of the music is emanating from now. I respond to that feel most at home with i. “My inclination towards 20th century music started at an carly age. I came into contact with the writing of, in particular, Varése who had a lasting influence. Although I was attracted t0 his kind of music, T had no means to pursue it on the guitar ‘because my technique was naturally limited then. But by the time T reached school in Baltimore I believed 1 had the technical foundations for contemporary pieces, at which point Tmet Leon Fleischer, the eminent pianist. He drew me into soloing in chamber music which was the beginning of my professional experience as a player of new music. A programme director, who finding a guitarist who could play this and based in the Washington area, gave me lots of new pieces to perform. So at that point I became active asa player of contemporary music.” Since those days, dozens of new works have passed through David's hands, many of them commissions. From the astringent area’ of contemporary guitar music is Carter's Changes? (1983) and Babbitt’s Composition for Guitar (1986) Both these were performed at the Wigmore this year, along, with Fantasy for Guitar (1982) by the British composer Bayan Northcott, The latter with a sense of baroquedlike counterpoint and lyricism, contrasted with the angular and rhythmically fragmented American commissions. But then, with commissions, there are written-in hazards of technical challenges and perhaps even sub-standard results. “Yes as far as that goes, [don’t commission composers unless T know their ‘music well. ‘This I've learned, though I didn't always take this attitude. There have been commissions which have turned out, less than pleasing, and if there was a performance attached, then I was obliged in that too. Most composers I deal with now I really believe in, get to know their work well in advance of a request. The problem then is making the composer aware of the guitar's potential, that he can write for it in his own language, rather than compromise with a piece thats lets say, guitaristic. 1 think that a lot of composers who are less experienced tend to be somewhat swamped by the luxurious possibilities of the instrument, and then write in a sort of idiomatic guitar style that may not reflect their compositional tendency. In all cases T can recall I've worked with composers directly, either at the pre-compositional stage or ftom the firs draft. Carter presented me with a completed sketch, I learned, it played it for him and told him what my reservations were regarding certain compositional and technical aspects. He took ‘what I said into account and then injected his own viewpoint, extensively revising it, So in that case it was perhaps the best ‘way of daing it — letting the composer go off on his own, then playing what he had written at sketch stage. Then if he's open 8 Guitar March 1985 to it he'll look at the piece again and make revisions; but it varies in each case. “For example, the Babbitt piece. When he sent the score I saw certain technical problems, very few but ones that revolved around left-hand jumps, almost impossible to connect. So I called him asked him if perhaps in one or two spots I could make octave transpositions. He absolutely forbade me because the scheme of the piece is completely determined in high organisation, that one can't make octave transpositions without upsetting the composition’s logic. So in that case there was no revision, I had to play it as it was and T learned how to make those jumps. Though not many composers are as predetermined as Babbitt is in compositions, so I feel that with most works, revisions are desirable if they make musical and instrumental sense, This didn’t apply to the Bayan Northcott piece which was written for the guitarist David Harvey. It’s rather an amazing work, reminiscent of the Bach lute suites. I don’t think we have ‘much music as intensely contrapuntal as this is and with a ‘wonderful passaglia in the middle, It falls into a clear classical form, and has themes repeated in a very accessible way; and despite the dense quality of the counterpoint the tunes come across very nicely.”” "Yon can’ vogenerate msc from another period Collaborations with composers not usually associated with the guitar often stimulate players into secking unique sound resources. One such case is with the American William Bland and his Song for David? (1974). An instrumental piece drawn from textural changes rather than thematic developments, it calls for muted harmonics and quarter tones, With equal imagination Bland explored with Starobin in Homage ro Luis Victoria’ (1977) a peculiar ethereal-sounding tremolo to stimulate early vocal polyphony. “Bland is a composer rising in importance. A work of his isa set of six guitar pieces lasting about 45 minutes, a cycle on Spanish subjects. I think this is a major work for the instrument, from which I have recorded a piece. He's also writing a guitar concerto, the first movement taking three years to compose. It is immensely difficult and I don't know whether it can be played. I should mention another American composer, Tod Machover, who has written me two pieces that I consider important. One of these, Deplacement (1979), i for guitar and computer generater tape. That piece is very interesting for it involves the live classical guitar being amplified and then mixed with the computer generator tape. In addition, Machover has also written for me an excellent concerto for guitar and 14 instruments.“e's an interesting time we're living in, although I should, say that I'm very committed to the classical guitar as itis. But now there’s the possibility for digital synthesis, the chance to change its sound. The touch of the classical guitar will slways bbe a challenge to players, let alone its repertoire; but I feel that ‘with amplification in combination with electronics we can still preserve the basic characteristics of the instrument while introducing new mixes. Machover’s pieces is an example of this: it mixes the guitar with tape textures so thoughtfully that, at times you cannot distinguish the guitar from tape. So the tape in this situation, the amplification and the mixing ‘becomes a foil forthe activity of the old classical guitar. I think ‘we're going to hear more ofthis in future.”” ‘Quite another line of development, and one receiving some enthusiasm, is programmatic guitar music. Subjects, events, stories are ‘conveyed musically through tone, timbre and special effects. A composition then has two sides to it: its intrinsic sound substance plus an evocative capacity — of the kind that Rak and Koshkin write. “Yes, and I have definite opinions on this. I've played what I consider programmatic pieces, one of them from the Bland set mentioned earlier, ‘based on Picasso's painting ‘Guernica’. The guitar is amplified with the strings completely slack. For about the first six minutes of the piece there is a slow crescendo of tuning up. With heavy amplification this produces a roar, the strings grating against each other, and the effect is meant as an evocation of the sound of aeroplanes flying over a little town, and about to drop bombs. Well, you know, it works as a programmatic piece, but my own preference is for music that ‘doesn’t carry a programme. I believe that abstract music is the ‘most pure form of musical expression. As effective as many of these descriptive pieces can be, my taste is for absolute music. “Tknow that alot of guitarists have taken the programmatic direction, and I don’t think it’s a bad thing. The more kinds oF ‘music for the instrument, the better off we'll all be. I look at the guitar's evolution in my own time of playing, about 25 years; and in historical terms T must say that we live in the Tichest period of the instrament, a the repertoire accumulates ‘we are approaching 2 peak. Now there must be dozens of players like me who are out there asking for works from ‘composers. I don't think there’s an instrument around today, with the exception of percussion, that’s broadened in scope sas much as the guitar has over the last 20 years.” ‘The music is there, but does it receive due response? For still the same old stuff is pummelled out on the platform, in competitions, exams. Though new injections are being absorbed, their inclusions are tentative, as if in deference to a conservative audience. While the standard repertory offers security, interpretative scope, historical perspectives and the roots of music education, its inward stagnation is inevitable without outward probing and expansion. “I can’t speak for the British audiences, but in the US, well [live in New York and there isa small audience there. can’t fool myself and say that it’s more than that. It is growing and certain composers have broken through to larger audiences. In the US these are not really fusion composers, but they've managed to find listeners who had previously been interested in pop music. I don’t think there's ever going to be a time, as there ever was in the past, where composers as a large body attract a lot of people, The expression is too unfamiliar to the general lay listener to absorb the necessary breadth of experience. I don’t see the aucliences for Mozart operas at contemporary music concerts. Some composers might bridge this, they may educate or give the listeners the choice to extend their listening. A lot of people almost take it for granted that there should be large audiences. ‘Well, we have to earn that; composers have to write music that is vivid, something that will grab listeners. “However, I don’t like the romantic revival today. That doesn’t interest me, for what is past is past, and you cannot regenerate music from another period. It doesn’t seem honest tome, it doesn't seem real. Composers must write their own :music, but if they expect to have audiences they've got to write in a gripping way; and frankly, most are not capable of that. 1 don’t like to belittle composers and composition as a craft because I love the music of our day; but it’s rare to find a composer who reaches a lot of people. Even in my own programmes I've noticed this; T don’t get the reaction that T think these pieces deserve; and that's because this music speaks tome, but obviously it doesn’t to others, atleast at times. I try to play the best pieces but I don’t expect great audiences. If they happen to be there, then great, and I feel I’m reaching. someone. I don’t expect this, though, because I know the ‘music [play is difficult on certain levels.” Perhaps the aversion, or is it complacency, towards today's musical trends is the’ result of concentration initially on principally classical music at the expense of studying the new. Iso, couldn’t the bias at formative stages of tuition be shifted to allow for more comparative assessments? Thus different treatments of music materials would be drawn into direct contact at all levels of instruction, so broadening aural perception and tolerance. “Complacency of guitar audiences, Well that’s probably true. Like all concert audiences they are fond of the familiar, they don’t want to be challenged; and of course this is down to educational shortcomings. In the US, one could go through life without hearing a contemporary piece. You can go through school there, almost through the conservatories and hear litle by contemporary composers Now I don’t know what has prodiiced that. It may be financial aspect tied in with the music business, where training of ‘musicians continues to perpetuate an established repertoire, and there doesn’t seem to be the aggressive thought in music as there is in almost every other artform. At painting school you study the latest techniques while naturally going back to the old masters. But I just don’t know of an art form that is as reactionary as music in terms of training. “We must educate our musicians. T teach at The State University of New York at Purchase where [try to instil these values. I have lots of youngsters involved in contemporary ‘music, and they're just blowing up a storm. I have also insisted on a intensive ensemble programme whereby the students get ut of that closet of solo guitar which generates nothing but poor musicianship, as far 8 I'm concerned.” In performance, Starobin’s involvement with new music is enhanced in the eyes of the audience by his physical gestures The agility demanded is as though propelled by the swift arcs of his right arm and erratic head jerks. If sometimes tonsl pronunciation suffered, this was insignificant to the riveting impact of his playing. Away from the guitar, he is casual, with relaxed articulation, his facial expressions, when not hinting of the mischievous, bear all the impassivity of a waiter atthe local ‘Three Star. External features aside, David's perception of new music has clearly been nurtured not only by contact with it, but also through knowing something of the philosophies and aims ofits composers. “The more known about a composer the easier it isto plum the depths oF his music. Of course we can look at any piece, see what is there and take it for what itis; but if you've got a ‘background to the composer, it’s extremely helpful. I mean, T can’t imagine anyone fully appreciating the late Beethoven uartets with having heard the early and middle ones, and understanding how Beethoven reached that maturity. And the same thing holds true for any piece you deal with. I think that knowledge of the composers thoughts is, if not prerequisite, certainly helpful.” Present waves of innovative guitar techniques and resources excel in new sound textures, extreme melodic expanse and new tonal shades. Then is the guitarist tapping these horizons sufficiently equipped from a foundation of conventional techniques? “My technique was developed through traditional lines. I studied first with Manuel Gayol from about the age of seven, and covered 16th through 20th century music. When I was about 15 I euditioned for Aaron Shearer, who immediately Guitar March 1985 9