Professional Documents
Culture Documents
P C O P ~
Paco Peria is one of the foremost flamenco guitarists in the world. e has
dedicated
dedicated himsel f to conserve pure flamenco music, following in the footsteps of
great guitarists like Ramon Montoya and Sabicas.
Paco Peria appears regularly on British Television and has made several best-selling records for DECCA
and PHILlPS. e has played a season of Flamenco at Ronnie Scott s jaz
jazz
z club, and taken par t in a concert
performance of Falla's a Vida reve with Victoria de los Angeles at the Royal Albert Hall. His shared
recitals with John Williams have been a great success both in England and abroad.
For full
details of this year's
International Flamenco
Guitar Seminar
Write: Centro Flamenco
Flamenc o
Paco Pena
Calle Reloj. No 7
Cordoba, Spain
CL SSIC L GUIT R
SEPTEMBER/OCTOBER 1982 Vol. 1 No. 1
5 Classical Guita
Guitarr News - Colin Cooper
7 Concert Diary - Colin Cooper
W
9 Julian Bream, The Contrib
Contribution
ution - John Duarte
11 Los Romeros - Graham Wade
14 Scal
Scales
es - A Necessary
Necessary Evi
Evil?
l? - Neil Smith
16 Paganini and the Guitar - Harvey Hope
18 Harmony for Guitarists - John W Duarte Julian Bream - page 9
20 Music Supplement - Edited by Neil Smith
31 Analysis of Prelude by J. S. Bach - Oliver Hunt
35 Music Reviews
39 Record Revi
Reviews
ews
42 Concert
Con cert Revie
Reviews
ws
49 Classicall Guitar Teachers
Classica
ADVERTISEMENTS
All advertisements to be addressed to:
J. Bell Classical Guitar,
Saltmeadows Road, Gateshead NE8 3AJ
SUBSCRIPTION RATES
United Kingdo
United Kingdom:
m: £5.50 SUBSCRIPTIO NS
Overseas: All subscriptions to be addressed to:
Surface £5.75 Jean Bell Ashley Mark Publishing Company,
Airmail: USA, Canada, Saltmeadows Road, Gateshead NE8 3AJ
South America, South Africa £11.75
Australia, New Zealand
Published bi-monthly by:
and The ar East £12.75 ASHLEY MARK PUBLISHING COMPANY
Middlee East
Middl £9.50 Saltmeadows Road, Gateshead NE8 3AJ
Printed by:
f not remitting in Sterling, please add equivalent of CAMPBELL GRAPHICS LTD
£2.00 for Bank Handling charges Newcastle upon
upon Tyne NE6 lAS and London EC4
Paganini - page 16
3
EDITORIAL _
This is the first issue of the only magazine in Britain to be If this is a poli
policy
cy that
that appe
appeal
alss to you,
you, read
read on
on - and
devoted entirely to the interests of players of the classic carry on doing it Your suggestions for the improvement of
guitar. The exclusion of guitars of other kinds, except where the magazine will be welcomed and, where practicable,
they are relevant to our main interest, does not mean that acted upon. t remains only to say 'Welcome to our pages
we disapprove of them; it does mean that we are not in the - and helhelp
p up to kekeep
ep them
them wort
worthwh
hwhile,
ile, li
live
ve and clean'.
clean'.
business of providing classic guitarists with half a magazine
MARTIN BEAUMONT
- or, if you put it another
another way,
way, wit
with
h one
one whos
whosee real
real cost is
(Features Editor)
twice the cover-price. What you may expect to find in our
pages is spelled out elsewhere and need not be repeated
here; it's more or less what you might expect and our first
concern will be to maintain a high quality and level of
interest. Though we shall have our own, regular writers our
The review pages will cover records, sheet music and books;
pages are open to anyone with something worthwhile to
among these will be a proportion of outstanding issues from
communicate, whether in the form of articles, news, music
other countries which may be difficult (or even impossible)
or a simple letter to the Editor. This will be your magazine
to buy in Britain. In these latter cases we shall give the
in every good sense of the word.
Just as important is what you will not find in our pages. addresses from which they may be obtained. From time to
time we shall publish reviews of records that are not new
They will be closed to cheap sensationalism, politics
(professional or amateur), personal attacks and feuds, and issues, since all readers will not be familiar with everything
available, and comparative surveys of recordings or printed
all matters that might give employment to the legal profes
editions of particular music. In the case of concerts we plan
sion on either side of a case of libel. Those who, like the old
to cover the majority of those given in London and, in addi
ladies who knitted at the foot of the guillotine in 18th
tion, a selected number of events in the provinces. In short,
century France, revel in such things will have to seek them
we shall try to give maximum coverage of what is on ofTer
elsewhere. Neither will we print bad language with the
excuse that it is 'telling it like it was' or preserving the JOHN DUARTE
'flavour' of the interview. (Reviews Editor)
IVOR MAIRANTS
56 Rathbone Place, London
MUSICENTRE Dept CG
W I P lAB Tell 01-6361481
Te
VISA AMEX
ACCESS Mon.-Fri. 9.30 - 6.00 Sat. 9.30 - 5.30
D.CLUB
SAME D Y MAIL ORDE R SER VICE -
ORDER Nearest Tube Tottenham Court Road
4
These are only the clear facts of Shrewsbury for Cheryl Grice s
the matter; anything else remains an Master Class in June, writes ohn
area of speculation and is likely to Dodd. Works by Bach, Sor, Villa-
continue to be so, no matter how Lobos, Carcassi and Torroba were
tempting it may be for reporters with studied,, and guidance was given in
studied
a taste for sensationalism to enter it . technique,, even to the extent of some
technique
In the end it does not matter pretty basic right hand positioning.
whatever the circumstances, what The proceedings were conducted in a
would almost certainly have been a relaxed and informal atmosphere, as
brilliant career was brutally ter might be expected. Cheryl is to give
minated before it could take flight. another class there next year, and
There the matter should be allowed to early booking is recommended.
rest decently.
Long run
Re Cycles
The series of broadcasts on BBC
At the Harrogate Festival in August Radio 3 The Classical Guitar began
Carlos Bonell gave the first perfor with a programme in June 1973 given
Tsuyoshi Horiuchi with Andres Segovia mance,, with soprano Margaret Field,
mance by Alirio Diaz; its long continuity
of a song cycle by Douglas Young. A was broken after the programme of
Tragic echo setting of verses by James Joyce, the last May, by Monika and Jiirgen Rost
work comprises about twenty songs (East Germany) and it was succeeded
5
Admirers of Vladimir Mikulka, one of The 25th Concours International de Two new competitions have been
the players for whom the epithet Guitare under the direction of Robert announced by the Nonsuch Guitar
Vidal has been announced. Works Society, one for players and one for
required for the selection tests in composers. The winners will be
interpretation are: Sarabande, Gigue chosen at the Nonsuch Guitar
and Double from the 2nd Lute Suite Festival 83 at Ewell Court House,
(Bach); Fandanguillo (Turina); Surrey, on 13 and 14 May 1983.
Impromptus for Guitar (Richard Prizes include an Asturias guitar,
Rodney Bennett). money, a Wigmore Hall recital and,
Full details from 25 Concours for the winning composition, a first
International de Guitare, France public performance by Raymond
Musique, 116 Avenue du President Burley. The adjudicating panel
Kennedy, 75786 Paris-Cedex 16, includes John Mills, Reginald Smith
France. Brindle, John W. Duarte, Raymond
Burley, Michael Doughty,Gareth
Waiters and one or two others. The
Early Guitar seminar terms of both competitions appear to
Vladimir Mikulka imply solo work only, but further
information can be obtained from
'brilliant' is no mere advertiser's hype, Terry Pamplin, Little Critchmere,
will be pleased to know that he is now Manor Crescent, Haselmere, Surrey.
living permanently in Paris. His Please enclose a stamped addressed
i mp ro v ed accessibilityt ak es envelope.
immediate effect in the form of a
Wigmore Hall concert on 3 October,
a bold recital of premieres of works hester Guitar ircle
by East European composers that
promises
year. to be one of the events of
o f the One of the main functions of the
Chester Guitar Circle is to encourage
the members, particularly the younger
ones, to perform to a live audience,
Obituary writes Charles Scott. The members'
evening on 7 July found no shortage
The name of Martha Nelson (b. 1922) of enthusiasts willing to play. From a
first appeared in the Guitar Review wide age range, they included Philip
(published by the Society of the Holt, Dawn Jenks, Ian Powick, Roy
Classic Guitar in New York) No. 21 and Rebecca Crosby (father and
(1957) as 'Brazilian Editor', later as daughter), Adam Crook, Dave Sharp,
'Contributing Editor' and finally as John Pardoe, Brian Hewitt, Tom
Associate Editor' in No. 34 (1971). Harvey Hope Davis, Chris Birtles, Peter Thorne
In reality her devotion to the Society and our own Charles Scott himself,
and to the journal was total, and their For the fourth year in succession the who took the opportunity of
interests absorbed her waking life; the Baroque guitar exponent Harvey announcing the impending launch of
organization of some 270 guitar con Hope has organised two one-day Classical Guitar Chester Guitar
certs represented only a part of her courses on the early guitar, on Circle must be one of the very few to
contribution. During the last two Sunday 31 October and Sunday 7 draw its members from more than
decades her work on behalf of Guitar November. Players may bring either a one country; some come from as far
Review was essential to its wellbeing, classical guitar or a five-
five-cour
course
se guitar, afield as Bangor-on-Dee and Cefn-y
as it was selflessly given. Her gentle although a number of Baroque guitars Bedd, in Wales.
and leisurely speech proclaimed her will be available for those who attend. Rebecca Crosby was con-
place of origin as the Deep South, to The courses cover repertoire, playing gratulated on achieving entrance to
which she withdrew at the end to die styles, tablature, technique and the the Royal Northern College, where
of cancer in Atlanta, Georgia, on 7 history and developm
developmentent of the instru her ability will fmd opportunities for
November 1981. In every way she ment. Some remarkable guitars from development and advancement.
will be sadly missed by her countless Mr Hope s collection will be Next meeting: first Wednesday in
friends, all th
thos
osee - from the
the worldld displayed, among them instruments September (Members evening).
famous to the humble amateur by the 17th century makers Voboam, October: recital by Katy Caws, with
who knew her, and, for what she gave Tielke and Platestainer, as well as high calibre programme of Dowland,
to the world of the guitar, by even 18th and 19th century guitars by N arvaez, Brouwer
Brouwer,, Walton, Lauro,
more who never knew her except by Pages, Panormo, Lacote, Stauffer and Smith Brindle and Rodrigo.
name. W e are all the poorer for her others. The course fee of £ 12 includes
passing. This brief tribute does not a 'ploughmans' lunch with wine.
represent stop-press news but, as this More details from The Guitar Study
is our first issue, it is one we must Centre, 64 Ashmore Grove, Welling,
pay, however late in the day. Kent DA16 2RY.
6
CONCERT DIARY
September
14 Thursday 29 Friday
6 Monday Aldenham: London: CAROLlNE
London: MARC ONGLEY OMEGA GUITAR QUARTET McCAUSLAND
Wigmore Hall, 7.30 pm Herts College of Higher Education, (Songs with guitar)
7.30''pm
7.30 Wigmore Hall, 7.30 pm (Songs of the
7 Saturday Country and of the Sea)
Exeter: HARVEY HOPE
Salisbury: HILL/WILTSCHINSKY (ring 0392 78396 for details) Preston: HILL/WILTSCHINSKY
GUITAR DUO
Salisbury
Salisbury Festival
Festival - Med
Mediev
ieval
al Hall,
Hall, GUITAR DUO
Salisbury, 7.30 pm 15 Friday Preston Poly Arts Centre, 7.30 pm
London: MANUEL BARRUECO
10 Friday Wigmore Hall, 7.30 pm 30 Saturday
Lewes: HARVEY HOPE (Bach, Cimarosa, Sor, Gonzalez, Lincoln: HILL/WILTSCHINSKY
(Baroque Guitar) Granados, Rodrigo GUITAR DUO
Alll Saints Art Centre, 7.30 pm
Al Lincoln Guitar Society, 7.30 pm
Wells: OMEGA GUITAR
QUARTET
11 Saturday Wells Centre, Wells next the Sea,
Sawbridgeworth: DAVID and Norfolk, 7.30 pm GUITAR APPRECIATION SOCIETY
RACHEL BURDON (Guitar, violin, OF
oboe) NORTH EAST ENGLAND
16 Saturday
The Old Malthouse, Knight St. prou ly present
Sawbridgeworth: KATY CA WS
(Tel: 0279 722318) 8 pm The Old Malthouse, 8 pm GRAHAMWADE
Oxford: OMEGA GUITAR
17 OCTOBER
14 Tuesday QUARTET
Hull: HARVEY HOPE
Feren Art Gallery, 7.30 pm St Edwards School, 7.30 pm BARNEV
BAR NEV KESSEL
31 OCTOBER
21 Thursday
October London: THE LUTE GROUP HARVEVHO PE
2 Saturday Wigmore Hall, 7.30 pm (Pacoloni, 21 NOVEMBER
Coventry: CARLOS BONELL Milano, Dowland, Valderrabano,
Cothedge Theatre, The Butts Mudarra, Besard, Hume) PEOPLE'S TH E A TRE - 8 pm
NEWCASTLE UPON TYNE
Sussex: CARLOS BONELL
3 Sunday
Gardner Centre, Sussex Univ.,
London: VLADIMIR MIKULKA
7.45 pm
Wigmore Hall, 7.30 pm (Rak,
Koskin)
22 Friday
BARBICAN CENTRE
London: LUIS ZEA SILK STREET
6 Wednesday LONDON EC2Y 80S
Wigmore Hall, 7.30 pm (Bach,
Chester: KATY CAWS
Lauro, Duarte, Barrios, Holborne,
Chester G uitar Circle, 8 pm
NEIL
(Brouwer, Walton) Morley, Milano) -
Nottingham: CARLOS BONELL
7 Thursday
Coleraine: CARLOS BONELL
Nottingham Guitar Centre.
Guest appearance SMITH
Coleraine
Colera ine Univ., N.I.,
N.I ., 8 pm (for venue and details: 0602 622709) WIT H THE
7
8
JULIAN BREAM
The Contribution
by JO N W. DUARTE
THE Julian Bream I first met in the 1940s was a small boy
in short pants; when playing he was virtually obscured by
his guitar, face and arms appearing on its perimeter like
those of a musical Mr Chad. By the time this appears in
print he will, incredibly, be in his 50th year. His fame is now
such that he could, if it were in his nature to do so, join
Segovia in adopting a surname-only billing. We so naturally
accept his presence and stature that we are in danger of
taking him for granted; it is perhaps a good moment at
which to survey the path that has led him to his position of
well-deserved eminence as, in a worthwhile sense, Segovia's
truest successor.
In relation to the guitar itself as a musical medium,
Segovia's principal achievements were:
(i) The establishment of the instrument on concert
platforms around the world, to a hitherto undreamed-of
extent.
(ii) The winning of respect from other musicians for the
guitar and its potential in high-quality music-making.
This had a variety of consequences, one of the most
important of which was his persuasion of non-guitarist
composers to write for this humble and previously
undervalued instrument.
Technological advances - in jet-assisted air travel and in
creati
cre ating
ng the lon
long-
g-pl
playi
aying
ng record
record - grgreat
eatly
ly enhance
enhancedd the
spreading of Segovia's influence and strengthened the situa Julian ream
tion of the guitar in the post-war years. At the same time otherwis
other wisee at that time
time - but wit withi
hin
n half a decad
decadee he was
there were those who viewed the matter with some already moving away from that territory; he has of course
apprehension: if Segovia were for any reason to disappear never entirely deserted it but it now forms only a segment of
from the scene, what would happen to the instrument that his working stock. Segovia had lobbied the sympathetic
was virtually identified with him? Such thoughts may well composers of his youth
youth onon behalf
behalf of th
thee guitar
guitar - Tor
Torrob
roba,
a,
have passed through Segovia's own mind at that time. Turina, Ponce, Villa-Lobos, Castelnuovo-Tedesco and
t was into this scenario that Julian Bream was the flrst others, some of whose music he found unacceptably
'young hopeful' with genuine talent to enter as the 1950s 'dissonant'. In his turn Bream had little difficulty in extract
unfolded. To all intents and purposes a self-taught guitarist, ing new works from a galaxy of co comp
mpos
oser
erss - Benennnet
ettt,
as Segovia was, he acquired a formal musical education Berkeley, Britten, Arnold, Fricker, Rawsthorne, Searle,
(which Segovia did not) at the Royal College of Music in Walton, Davies and Henze are names to conjure with in the
London though, in a haughty establishment where he was wider world of music; many of these works, like those to
requested to carry his guitar in through the back door, there which Segovia acted as midwife, have become standard
was no-one to help him in developing his instrumental items in today's programmes.
studies with the guitar. His official debut, in London's The high reputation of many of those who wrote for
Wigmore Hall, was in 1950 and announced his long Segovia now rest heavily on their guitar works and, indeed,
awaite
awa itedd arriva
arrivall - hi
hiss reputatio
reputation
n had prec
precede
eded him in the
d him some are currently represented in the record catalogue by
guitar-musical world. Through the 1950s it became little else. t is difficult to believe that a like fate will befall
'fashionable', not least among the politically motivated, to many of those on Bream's 'list', though time alone will tell.
ackno
ack nowl
wled
edge
ge Bream's
Bream's remark
remarkable
able musi
musicia
cians
nship
hip - but toto That Bream has been so richly successful is in part owed to
express regret that his guitar playing per s left much to be what Segovia did, causing reputable composers to take the
desired. Such myopic carpings may have hurt his feelings at guitar seriously, but it is equally important that Bream's
the time but they did not retard his development (they may artistry has made it possible for their efforts to be reward
even have provoked its acceleration!) or the spread of his ing. If Bream has not so far embraced anything beyond the
reputation in the world. friendlier manifestations of 12-no
12-notete music (a reaction shared
Since then he has continued to develop in his own way, by most contemporary audiences) his catalytic effect has
shaping his own path and attitudes, and contributing to the been greater than that of any other guitarist of his time; his
prestige and resources of the guitar to an extent unequalled contribution has been vital to the well-being of the guitar. t
by anyone since Segovia in the years of his most passionate has been just as important that it has been ream who has
evangelism. At the beginning of his performing career done it: when an artist of his quality and reputation presents
Bream used what has come to be known as the 'Segovia new music guitarists list n - to his concerts and his
repertoire'
reperto ire' - it wou
wouldld have
have been sur
surpris
prising
ing had
had it bee
been
n record
rec ording
ingss - and lea
learn
rn,, flr
flrst
st to toler
tolerate
ate and
and the
then
n to
understand, love and perform the music that at first momentum that others can now maintain more easily
sounded uncomfortably strange, far-removed from the because of what he did; he created the climate in which they
guitar s traditional image . This in turn helps talented, but can now work. Others may trumpet loudly about the things
less influential, performers by creating a climate in which it they have done for the guitar, but a simple count of the new
is more readily accepted that guitar music, like any other, music they play and a head-count of the composers whose
inhabits an evolving rather than a static area. interest th y have stimulated will easily sort the wheat from
Today there are other guitarists whose musical educa the chaff. The world of lute music too owes him a debt that
tion and technical prowess at least match Bream Bre am s but, is now more freely acknowledged than it once was. Five
though working in the favourable ambience he has done so men in the history of the guitar made different, key con
much to foster, none is so universally respected as he is a tributions to the progess of the guitar: Sor, Torres, Tarrega,
musician s musician. He has worked with others in a variety Segovia and Augustine, a list that should now be extended
of fields but, though he possess skills in the lighter forms of to a total of six by the addition of Julian Bream. 0
music (he is for instance, a deft improviser in ththee jazz of the
Django
those Reinhardt
areas era), he has been careful to keep only to
in which his abilities genuinely match his reputa
tion and standards. In no external area has he been more Subscribe to
influential than in that of renaissance music, one for which
he has deep affection and which strikes resonances in his
own personality. He took to the lute for the simple reason
CLASSICAL GUITAR
that he felt was best able to express the music written for it To ensure you get every issue
(though he has never come to terms with the baroque lute) fill in the Subscription Form on page 50
and not because he viewed it as an instrument with a OW
developing future beyond that of re-creation. The revival of
interest in the lute had gained momentum
m omentum before Bream s
involvement with it but the world of the lute was still an
esoteric one, inhabited by performers whose abilities were
technically ill-equipped to attract the affection of a nascent lackburn uitar Studio
public. Bream approached the lute with a guitarist s right Large selection of top quality instruments, for
hand and used his nails, a thing that was and still is the beginner to the concert artist. prices from
£30 to £ 1,3 00. Strings, music,
m usic, cases,
cases,
regarded with the same horror as would be the playing of personal service, P/X
the classic guitar with finger picks; he also used a lute that 47 PRESTON N EW ROAD, BLACKBURN, LANCS.
was far from authauthenti
enticc , with a sing
single
le second course that
tha t Telephone: (0254) 665905
took root only
only in
in Dowland
Dowland s last years - to mentiomentionn onl
only
y
one anomaly. Lutenists were so busy tut-tutting that they
tended to overloo
overlookk the important
im portant point; their trees got in the
way of the wood. Bream had an instinctive feeling for the
music nd posssessed the technique to present it with
burning conviction and the virtuosic fluency that purist GUITARES
lutenists then lacked; while they talked, criticized and
researched, Bream communic ted with the public and by
opened its ears. There are now many lutentists of superb
musical
mus icality
ity and
and high
high (aut
(authent
hentic)
ic) tech
techniq
nique
ue - most of them,
Michel Foussard
ironica
ironically
lly,, ex-guit
ex-guitaris
arists
ts - but Bream
Bream remai
remains
ns one
one of the
very few who can ftll a concert hall. Few are the diehards
who now refuse to acknowledge that Bream played a key
role in stimulating and accelerating public interest in lute PHOTOGRAPHS
music. BY
Within that same field the Julian Bream Consort MAURICE BERARD
virtually pioneered the revival of the Elizabethan broken
consort. Working with modern instruments and players
who, no matter how versatile, were not specialists in early
music, the Consort made a very great impact in concert and
on record. It was disbanded after the tragic, early death of
the violinist Olive Zorian but was revived in the 70s and is
now active once more, Bream the only member not qualify The most beautiful book on guitars as
ing for the medal of Au Auththen
enti
tici
city
ty - bu
butt who
who car
cares?
es? He is works of art ever published . Text in
still the great communicator and that is what early music,
like any other kind, is about.
English and French, 320 pages ( 1 2 t " x
Julian Bream has been the most influential guitarist of 9 f ) . hard cov
cover
er - te
text
xtur
ured
ed pa
paper.
the post-Segovia years, not merely because he is a mag Magnificent photographs illustrate th.
th .e
nificent performer and consummate musician who has
earned the genuine respect of musicians of ll kinds; his
book, and most of these are in colour.
influence has been much wider than that. Segovia Price £40.00 UK, post and packing
established the guitar within the musical world in which he
himself e ~ ~ l o p e d that of Spanish and romantic (albeit late) £2.50. Available
Publishing from Saltmeadows
Company, Ashley Mark
music, a massive achievement in itself. Bream gave a firm
bur affectionate push to a repertory that was severely in Road, Gateshead NE8 3AJ
danger of ossification and stagnation, imparting a
10
LOS ROMEROS
ROMER OS
by GRAHAM WADE
11
Los Romeros - Pepe, Angel and Celin Romero with their father Celedonio Romero
Like that other teacher, whose influence on the guitar here as they cohere the wilful spirits o four guitars into one
scene was like a tidal wave, Len Williams (b.191O), musical entity. Their sonorities in quartet performance
Celedonio Romero has achieved a remarkable pedagogic provide an object lesson in that blending o tone so elusive
feat, that o equipping his sons with both technique and ins to more spasmodic attempts at ensemble music one hears
piration. t is a fascinating exercise to compare Celedonio s occasionally. Los Romeros manage to deliver the impres
own recording of, for example, Narvaez Guardame las sion o one large resonating guitar rather than four guitars
Vacas, with that by his eldest son, Pepe, or the two versions played by separate individuals. Such musical closeness can
by father and son o Sor s Variations on a Theme o surely be achieved only by performers intimately related.
Mozart, Op 9. The distinctions are not only technical but But the Romeros are probably aware that the sound o
also stylistic, that much misunderstood aspect o 20th four guitars is not entirely satisfactory as a musical
century guitar history. medium. Guitar ensemble material is greatly inferior to the
Celedonio has succeeded in teaching his sons so well that richness and variety o ensemble music for other instru
their musical development is not constricted yet continuity ments. The balanced voicing o a string quartet, superbly
of generatio
generations
ns is maintained. This example o guitar evolu exploited by all the leading composers over the last two and
tion within a single family is extraordinary and unique. t a half centuries, is quite unlike the homogeneity o four
has even been revealed that, initially Celedonio demanded of guitars (even when a requinto or two may be added to take
the boys that they should play without nails, in the true the soprano line). The chemistry o four guitars can quickly
Tarrega tradition, before going on to master the modern induce monotony with a rather cloying textural brew, at
technique Guitar Player, January 1981). Thus Celedonio first delightful but later repetitive.
has provided an important historical link between the early The Romeros have tried to solve these problems.
20th century traditions o the guitar in the Tarrega school, Though the deficit in the ensemble repertoire cannot be
and later developments in the contemporary guitar world. made up, and transcriptions o Vivaldi, Telemann, Haydn,
The ensemble playing o Los Romeros is in itself an provide no real answer, the Romeros have inspired such
innovation, both in its excellence and in its repertoire. As an composers as Rodrigo and Torroba to look afresh at the
ensemble they have a distinctive, immediately recognisable challenges o ensemble music. Rodrigo s Conc
Conciert
ierto
o An dalu
daluzz
quality o timbre, warm, elegant and expressive, and above for four guitars and orchestra, li
for ke Torrob a s Concierto
like
all an ease and naturalness other quartets just have not Iberico, attempts to bring in variety and contrast by using
achieved. Family togetherness is obviously at a premium orchestral colour as a foil to the tones o plucked sound.
12
DANDA
Available from good music shops throughout Great
Britain,
Britain, 'Virtuoso South American Guitar Solos', retails
retails
: ? : t ~ at £3.99.
:.=:llstoCltr np
In case of difficulty it is available direct from the
i publishers (add O 50p for postage).
available for mall orCJer ASHLEY MARK PUBLISHING COMPANY,
292 High Street. CroYdon, Surrey Saltmeadows Road,
~ B S 1 ~ l f
iE ::=
n ~ . " . , ~ ) CRO ING. Te' 01-686 2708
Gateshead NE8 3AJ
A T LAST
GUiTAR
A compilation of music available for guitar priced in sterling. I t reflects
the demand that we experience as retailers and includes a consider
able amou nt of material not gene
generall
rally
y known - particul
particularly
arly inin the
student ensemble section - an area often thought to be lacking.
MUSiC
CONTENTS :
Tutors & Didactic Material
Scale, Theory Books & Manuscript
student Reperto
Repertoire
ire - all graded
graded
Solo
Duo
Trio
Quartet
Quintet
Concert Reperto
Repertoire
ire - solo & duo
Clarinet & Guitar
Flute & Guitar
Oboe & Guitar
Recorder & Guitar
Violin & Guitar
Viola & Guitar
'Cello & Guitar
Harpsichord & Guitar
Piano & Guitar
Voice & Guitar
(
Chamberr Music .. . Trios
Chambe
Quartets
Quintets
Sextets
Concertos
Index of Composers & Arrangers
OVER 2,000 entries 104 pages.
CATALOGUE
1982 Spanish Guitar entre
44 Nottingham Road,
New Basford,
NOTTINGHAM.
13
SOME years ago my harmony teacher, a fine pianist, drew pelled to prepare the next note, discontinue the sounding
my attention to a document he kept by him during piano note nd time the right-hand stroke precisely. In ascending
lessons; it contained an impressive list
list of names - Brahms, one is not compelled to remove the finger(s) from the pre
Chopin
Cho pin,, Liszt,
Liszt, Krei
Kreisl
sler
er,, Rubinst
Rubinstein
ein and others
others - atta
attached
ched vious note(s); this makes one less
less problem for the hands and
to single-sentence quotations relating to scales and their role mind to deal with.
in the life of a professional musician. None of these quota If we play the single-string scale of Ex. 1 at half-note
tions were from guitarists. At that time I was beginning to (minim) 200 the ascending and descending portions will
understand the value of scales to a guitarist, though I knew require different treatments. Leaving the fingers in place
that many abhorred the word itself let alone the work that works well in ascent, but what sounds best in descent? Very
was involved. very slow practice is essential and close listening is needed
There are good reasons why work with scales is valu to eliminate problems with the left hand and to synchronize
able in both the physical (performance) and academic the action of the right.
(theory) sense. First, without probing too deeply, the Further techno-musical problems arise in playing the
academic view: even a cursory examination of music before . simple scale in Ex.2. If we play the first note, C, and keep it
1900 (and much of it after that) will show that it is con held down while placing the 4th finger on the next note, D,
structed with scales as its raw materials; melodies and har we achieve a legato so far as the left hand is concerned (but
monies are largely built from scale notes. Through this one not a slur); this is potentially the smoothest way to join the
may obtain a modest insight on the processes of composi D with the C. The role of the right hand at this point must
tion in
in traditio nal music and may begin
begin to relate
relate them to however be considered: once the first note is sounding it
more recent musical trends. may be stopped in three ways:
In the physical sense the development is usually con 1 The 2nd finger can be lifted.
fined to major, minor, chromatic, whole-tone and intervallic 2 The 4th finger may arrive early on its note.
(thirds, sixths, octaves and tenths) scales but, however 3. The right han d can arrive early in approaching the next
limited they may seem in theoretical range, they can be used stroke, touching the already vibrating string.
to develop power, agility, speed, good tone, accuracy and The full note-length of the first note can be realized only
endurance - and because
endurance because the
their
ir notes
notes are
are the ver
very
y fibr
fibres
es of if the right-hand finger begins to touch and move through
the musical fabrics they relate directly to the vitally the string at the precise moment when the next left-hand
important area of interpretation. One difficulty is that finger stops its note. If this movement is not perfectly con
melodies, usually couch ed in
in scale notes, often refuse to fit trolled a small silence will result of practical value in
on the guitar in a technically simple way. A theoretically staccato passages) and this will become an annoyance,
simple sequence of notes such as CEFDC can result, with interrupting a flowing melodic line. This difference in
an inexperienced player, in an unmusical jumble of sounds; depressing, striking and releasing accounts for the effect
even a player who is fairly advanced may produce a poor produced by outstanding performers in playing any
result if such a sequence is played at high speed in any particular passage. The length of each sound is decided by
octave and with any fingering. each player, guided by the ears and controlled by the hands;
Although there are many scale books in print, most intelligent scale practice can make this possible. This
give little indication as to how their contents are to be element of articulation helps to give life, depth, interest and
practised; however, some do. Pascual Roch (a pupil of meaning to a passage.
Titrrega), n his tutor of 1921, tells the player to keep the To return to the fmgerboard: let us examine more
left-hand fingers depressed for as long as possible, releasing carefully the playing of su succ
cces
essi
sive
ve not
notes
es - seseco
cond
nd and
and
the pressure only when necessary. A similar approach is third DIE), and the return journeys from third to second
advocated in Hector Quine
Quine s Introduction to the uitar E/D) and second to first DIC). Though pre-pla
pre-placement
cement of
(1971) though it is stated that fingers should be removed the 2nd finger on the C secures that note without interrup
from one string after the first note on the next string has tion the movement is difficult when the music is moving
been sounded. The Roch tutor states that, in descending quickly or in a complex way (or both) since we may not
passages, all fingers should fall simultaneously on to their have time to do it. the D is lifted before the C is prepared
respective notes, preparing them in advance; on this point a brief silence will result and one may lose security
security of touch.
Quine is less specific. One thing is ce
cert
rtai
ain
n - de
desc
scen
entt alo
along
ng Ideally, the fingers should exchange one note for another;
one string is very different from ascent in that one is com- this requires great care, very slow practice and, above all,
,
Ex.l X
I V
4 I
-I 3 3 1
t
4 4 2
1 1
r f r
1 1
IT
IT f= IT IT IT :
repeat several times
Ex.2
T
2 4 2 4 3 4
) 0 11
.e - o
14
MA NUE L BARRUECO
in concert
The BRISTOL SPANISH GUITAR ENTRE (Principal Michael Watson) has provided an unequalled service
for over 27 years. We have the most comprehensive selection of student and concert guitars in the
country and our professional private and class tuition is much in demand. A 'by return' postal service will
supply you with music, strings (including pyramid lute strings and 10 string guitar sets) and guitar
accessories and our 'no deposit' HP scheme simplifies your guitar purchase. Please ask us to quote for
sending a guitar direct to your home. Send 20p in stamps for our catalogue
Spanish Guitar Centre, 2 Elton Road, Bishopston, Bristol 7. Tel. (0272) 47256
15
16
I
.
Bibl to
>
Paganini o Genoa by L. Day. -<
'
I
.
Paganini by L. Sheppard. gj
__ ____________________________________ o; l '
Paganini s guitar
Guitar P layer
£1 2 5
On sale now at leading
music shops throughout Great Britain
GPI Publications DISTRIBUTI O N IN THE UK BY T HE ASHLEY MARK
PUBLISHING COMPANY BACK ISSUES AV A IL A BL
BLEE
17
Part
THIS series of articles is not intended to cover its subject 5. What is the name of the interval between the following
comprehensively but, rather, to provide a sound basis of pairs of notes, assuming the first of each pair to be the
knowledge for those who are content to let it rest there,or on lower and the interval to be simple?
which more
which more strongl
strongly
y motivated
motivated readers
readers may buibuild
ld - eit
either
her C and Gb D and Bb A and C Db and A D and Cb
by reading the available textbooks or by taking lessons lessons Bb and F#
with a properly informed teacher. Answers are given at the end of this article.
t is not necess ary to examin
examinee too many piepieces
ces of music
in order to discover that a given melody may be underpin Intervals
ned with various harmomic sequences and, equally, that Two notes are not enough to form even the simplest chord,
even the simplest harmomic progression or formula may though they may suggest one, yet when played together
support a wide variety of melodies. Given even a particular they signal the beginnings of harmony. If we play two notes
melody and a specific progression of chords, the latter may successively we hear th their
eir in
indi
divi
vidu
dual
al chara
characters
cters - pit pitch,
ch,
appear with different bass notes, creating correspondingly timbre volume duration but if we play them
different combinations of upper (melody) and bass voices simultaneously they acquire an extra dimension. Different
- a question of counterpoint in a simple form. What this pairs of notes make different, subjective and emotional
means is that, despite the existence of numerous 'chord impacts on us and display a par ticular identity of their own.
encycl
enc yclope
opedia
dias'
s' - mor
moree impre
impress
ssiv
ivee to loo
look
k at than of value If we think of the effect of two separate notes as 4 and 5,
in use, it is impossible entirely to separate harmony from the when they are played simultaneously their sum is greater
other facets of music. Neither are such close bedfellows as than 9!
melody and harmony inexorably linked by predictable for The emotional effect of intervals varies widely and is
mulae that can be applied like ready reckoners; this is just subjective insofar as different listeners may use different
as well since, if it were otherwise, music could be written words to describe the effect of anyone interval. t is not that
with the simple aid of a handbook and without need of crea we perceive different characters when we listen to the same
tive imagination. There are clearly limits to what can be interval, we may simply use different words to describe the
achieved in a series of this nature (and, perhaps, to what same emotional area. We can in fact group intervals into
should even be attempted) but we will do the best we can 'families' within which the emotional effect is very similar;
within them. in doing so we use only the simplest ways of describing the
possib
pos sible
le note-
note-separat
separations
ions wit
withi
hin
n and octave
octave - a minor
minor 6th6th
The starting ground sounds like
like an augmented 5th (each has the same number of
Some basic knowledge of what is regrettably called music semitones) so we describe the interval as a minor 6th:
'theory' is necessary if one is to approach the subject of perf
pe rfec
ectt in
inte
terv
rval
alss - 1st, 4t
4th,
h, 5t
5th,
h, 8t8th
h - stro
st rong
ng,, sta
stark
rk,,
harmony; the information supplied by the ears alone is not empty, cold, severe. Minor and major 3rds and 6ths
enough, important though it is. We must assume a pleasing, harmonious, friendly, warm, compatible. Minor
minimum level of knowledge of basics that can be gleaned and major
major 2nds
2nds and 7ths
7ths - unple
unpleasant,
asant, discord
discordant,
ant, agg
aggres
res
from any standard primer 2 - notation, construction of sive, acidic, angular. Augmented 4th or diminished 5th
major and minor scales, descriptions
descriptions of degrees of the scale, (trito
(tritone)
ne) - vag vague,
ue, meande
meanderinring,
g, uncertain,
uncertain, lack
lacking
ing strengt
strength.
h.
the nomenclature of intervals. To provide some sort of Write out and play, repeatedly, as wide a variety of all
guidance, the reader should be able to answer the questions these intervals as your conscience and patience permit.
in the
the foll
follow
owin
ing
g 'te st' without
without too much
much dif
diffi
ficul
culty
ty - pre
pre isten to them carefully and learn to recognize their
ferably in the mind rather than on paper. If this proves emoti
emo tion
onalal type - li list
sten
enin
ing
g (not just overh
overhear
earing
ing)) is what
impossible, or laboriously difficult, at this stage, the reader music is finally all about. After some time ask a friend to
is advised to consolidate this basic knowledge before play a variety of intervals to you, not necessarily on the
approaching these articles. guitar, and t ry to iden tify the group to which they belong by
identify
1. Nam e the 4th degre
degreee of the scale of E major. recognising the type of effect they have on the ear.
6th degree of the scale of B major. As the next step, listen again to repeated playings of all
submediant of the scale of G major. possible intervals with the object of learning to differentiate
leading note of the scale of E minor. among the members of a particular group. The interval is
clearly from, say, group one (perfect) but which one is it?
2. Name the relative minor of A major.
Focus your ears in these ways:
Eb major.
Perfect
Perfe ct - the unison
unison and octave
octave should
should bebe easy
easy to reco
recog
g
relative
relative major of G minor.
nize and to differentiate, the 5th has a much
B minor.
'stronger' effect, reminiscent of a bagpipe drone,
3. What note is a Perfect 5th above A? Minor 6th above F? than the more 'neutral' 4th.
Major 3rd above Ab? Major 7th above 3rds
3r ds ver
versu
suss 6th
6thss - the former
former sound 'closer' and 'tig 'tighter
hter''
Db? than the latter.
4. What interval do you get if you invert a Minor 2nd? 2ndss and 7th
2nd 7thss - 2nds are vicio vicious
us (li
(like
ke hand-ta-hand
hand-ta-hand fi ght
Major 3rd? Augmented 4th? Diminished 5th? Major ing), 7ths are just disagreeable (like throw
6th? Minor 7th? ing stones across the street).
18
Tritone
Tritone - has its
its own,
own, unique
unique ide
identi
ntity,
ty, uncha
unchanged
nged by nota Answers-
tion (A 4th or D 5th).
Hence once more your obliging friend will be useful in 1I1S p<llU<lwllny - lIlL P<lllS U W G - 1I1S P<llU<lW
helping you to test your grasp on this form of recognition. -llny - p £ lOU W - 1119 lOU W - 1I1S P<lllS U W G 'S
The final step is to learn to differentiate between major 'puZ loftlw - p £ lOU W - 7 P<llU<lW
and minor intervals of the same numerical size - is it a -llny - lIlS P<lllS U W G - lIl9 lOU W - lIlL lOftlw 17
major or a minor 3rd? I f you cannot readily recognize the ' ; ) - q G - ; ) - 3 .£
character of each one within a pair, even with practice, put 'lOf
'l Ofttlw qH - l0U W ; - lOU W #tI ·Z
Ofttlw G - lOf
to use the basis on which the intervals are named. Regard ' G-3- D-y I
the lower note as the tonic of a major scale, sing through the
scale (out loud or, better, in your mind's voice) until you
come to the appropriate degree
degree;; does it agree with the upper
note of the interval? If so it is major; if not it is minor. The
same
tin
tingui method
guishi
shing willect
ng a perfect
perf help
4thyou mif ayou
from
fro have
perfe
perfect
ct 5th - si nginalon
difficulty
sing dis
alongg - An exciting new method for young guitarists
"THE GUITARIST'S W A Y "
the scale. There are various ways of accomplishing this last
step but the simplest is the one I have described. The final
by P T R NUTTALL JOHN WHITWORTH
objective is to be able to identify an interval when you hear Fourr Volumes - £1.60 each Onc p.&p.)
In Fou
it and to recognize the kind of emotional effect is has, a very - Su i t ab l e for solo tuition and ensemble classes
difficult thing to do without the help of a friend since it is Now in their second edition:
almost impossible to give oneself an 'unknown' test. FIRST GUITAR PIECES and MORE GUITAR PIECES by
However, the vital thing is to listen carefully and GERALD GARCIA JOHN WHITWORTH
Each £1.10 line . p . &p.)
objectively; if one does this conscientiously one will succeed
All books illustrated by Peter Nuttall and Gerald Garcia
- a nd tests will only confirm the fact 25% Discounts available on bulk orders
Send 25p stamps for complete catalogue
1 Melody and harmony for guitarists by John Duarte (Universal Edi
tion) ' " HOLLEY MUSIC ' "
Harmony for guitar by Lance Bosman (Musical New Services) 30 Holley Crescent, Oxford OX3 SAW
2 See also The guitarist s BC of music by John Duarte (Novello)
MU SIC M I N U S O N E F O R TWO C L A S S I C A L G U I T A R S
Arranged
and
played
by
I
Ed Flower
and
David McLellan
Volume ne - Renaissance and Baroque Music Volume Two - Classical and Romantic Music
This exclusive import from the USA is a series of two recordings of guitar duets. They have been recorded in 'split' stereo.
This enables the guitarist to phase out either the left or the right speaker, using the balance control knob of the record
player, and then to play along with whichever guitar part he or she chooses. The first guitar part will sound from the right
speaker, the second from the left Care has been taken to cover as many aspects as possible of guitar playing, but the main
endeavour in these recordings has been to select pieces which are pleasurable and accessible to the ear and enjoyable to
perform.
These long playing records/36 page book sets cost £6.99 (plus O.60p postage) and are available now from
ASHLEY MARK PUBLISHING
PUBLISHING COMPANY SALTMEADOWS ROAD GATESHEAD NE8 3AJ
19
MUSIC SUPPLEMENT
EDITED BY NEIL SMIT
SMITH
H
ZAMBEANDO/J. Morel avoids the awkward move from the B in the previous bar. bar .
This very attractive piece seems to suit a tempo of J Tr y to bring ou
Try outt the bass figur
figures
es in line
liness 4 5 as they move
move
(crotchet = 63). The rhythm in bar 12 (and all similar towards the cadence; line 5 bars 2-3.
figures) is not clear. I suggest that either the final three notes
should be treated as a triplet (this completes the bar) or the
P ASTORALE/SOR
opening figure of this bar should be played as LtLJ) part
A speed of J = 54 is suitable here, keep the music flowing
of a 6/8 bar. In this case, ignore the triplet figure to com
and legato. In line 5 bar 3 try to avoid shortening the G (in
plete the bar of 6/8. The second bar after has a reach
barre), use a swift move back to 1st position. The quintuplet
down
slides to
to III
F whilst holding
and then on to4 on, this isthe
E. Play important,
piece in the 4 later
a relaxed in line 6 starts as an anacrusis to the rest of this figure (A
major ending). Slur the notes holding on the lower thirds. In
manner, perhaps moving on a little at the second time bar to
cases of difficulty such as this, it can be recommended to
realise the crescendo implied.
always 'remove' (temporarily) the ornament; just play the
chords and imagine how the ornament should 'fit in'
BAGATELLE No. 4/0liver Hunt
naturally before attempting the complete phrase. Also in
The tempo here is suggested by the composer and this
line 6 bars 4 to 5, use the 3 to play the F and at this
makes bars 25 to 32 fairly difficult. Try at a slower tempo
moment try to prep ace 2 and 1 on their respective strings
here until the fingerwork is secured using the 2 or 3 to guide
anticipating the oncoming notes in III position.
the left hand. The slurs marked (X) can be played by the left
hand alone ie hammer), in this case, allow the finger to
'hammer on' and simultaneously lean against the upper FOUR PIECES FROM TH FITZWILLIAM
string to avoid the overlap from the struck sound. The piece VIRGINAL BOOK
is from a set of 6 Bagatelles written in contrasting styles. The Fitzwilliam Virginal Book so called from its lodgement
in the Fitzwilliam Museum in Cambridge, is the largest and
SICILIANA/MEISSONNIER most important single collection of early English keyboard
A speed of J = 72 would suit this work, quite quick for the music.
thirds later on but well worth the effort. In line 2 bar 2, use These four transcriptions by John W. Duarte are not
the I to stop the G but not the tip of the finger, use a 'hinge easy, neither are they as difficult as the solos attempted by
barre' ie: point the finger tip up off the fingerboard allowing most average amateurs. They are, however, of music that
the opposite and (knuckle end) to depress the string. This will amply repay the effort expended.
20
JORG MOREL
Z MBE NDO
Lento
lr : '
I 3 2
4 3 3
CII
De
21
OLIVER HUNT
BAGATELLE o
CII
I I ' 'I 0Ir J 01 I Il/' .l ~ ~ 3
..
.. . - ..
~ -
rl r ii'= Ii
-
r r
=
22
SICILIANA A MEISSONNIER
Allegretto
2 3
1
-r _
jiiiiiii I I 1 1 I 1 r
~ n i I
-- ---- -
r ll 0 i
3
FERN NDO SO
SOR
R
P STOR LE
® to D Andante V VII
~ l ~ ~ ~ ~ ~ ol ~ l3Si f it t I
. t . I t r· r· r·
to-$- Coda
2
~ r ~ r~ ~ r·
D.e.
,........... l od
-$- CODA t
r r r
j It:
r=
~ n : ~i ?Ii ~ t f ~ ~ I ~ : ~ t 9 l g J t , j l
1
3
t H
r 4 4
• r r ~ r •
r r r;.
arm. 2 Harm. Harm.
-
1
r. r· r·
24
Why sk You RR
ANONYMOUS
NGED FOR
BY
GUITAR
JOHN W. DU RTE
No. 161
J ? J ~ J I ,J 8 ~
;lCII
or
i
11
~
CIII
I I _ ~
r . _
25
ANONYMOUS
Watkin s Ale ARRANGED FOR GUITAR
BY
JOHN W . DUARTE
No 18
4 •
~ ~: :d: d: ;~: IJ •J
· ·ra-: It
1 1
sec r r t . 1 ~ r r r r ~
26
r
ANONYMOUS
Can She ARRANGED
BY
OR GUITAR
JOHN W DUARTE
No. 188
1
j
7
MARTIN PEARSON
he all o the Leaf RR NGED FOR GUITAR
BY
JOHN W DUARTE
No 272
t r
28
~ G U I T A R S C H O O L ~
MIKULKA r, <p~
"r,
"¥// " "¥ ~
" "¥ - W , <p '1' <p - ~ 'T' 'l' ; T>/
MANUEL
BARRUECO
WORKS BY J. s. BACH, CIMAROSA, SOR,
GRANADOS, GONZALEZ AND RODRIGO
Tickets: £4.00, £3.20, £2.50, £2.00
Special pre-publication price (until October 1, 1982): £I 0 pas/free.
all available from Wigmore Hall Box Office Exclus
Ex clusii ve di s tribut io n for th
thee U.K . and Brit ish C ommonw calr h:
telephone: 01-935 2141 Te c la Edit ions , Prea c hers ' Co urt, Chartcrh o usc, Lon do n EC1M 6AS.
Ch e q ue
uess should
should be ma d e payable to T cc la Edit io ns , and must be received by
1 Octob er 19 82 in order
October to qualify fo r t h e speci a l p re- p ublicati
ublicatioo n p rice.
A UNIQUE CONCEPT
Franz Jahnel IN
';gGUITAR TU T ON
Manual o f Until now, learning to play the guitar has meant a
Cuitar
Cui tar Technology
Technology choice between struggling along on your own with a
printed tutor, expensive private lessons or often
over -attended evening classes.
l 60~ n Stew
~ arts
~ o Road
L sure 01-6229911
(all hours) Ji
••••••••••••••••••••••••••••••••••••••
ondon SW8 4UJ
29
THIS is the first in a series of three articles. The second will 3. Modulation. T = Tonic, D = Dominant, ST = Super
consider the phrasing and interpretation of the Prelude and Tonic, R = Relative, M = Mediant, SD = Sub-dominant
the last will be concerned with the fingering. I recommend and lower-case m = minor. All keys are reckoned from the
the Kalmus Study Scores which can be obtained from tonic.
Universal Edition. This is a publication of the original 4 The Motive. The auxiliary note motive which occurs on
Gesellschaft edition. the 1st and 2nd beat of bar 1 is repeated throughout the
One cannot make intelligent choices about phrasing and entire piece. The shaded areas represent the bars in which it
dynamics or for that matter even fingering until one has appears.
analysed the piece. Since music takes place in time, a good 5 Rhythm. The rhythm likewise remains constant except
analysis should also concern itself with the passage of for bar 40 which is also shaded. t can be seen from this
musical events in time and the way these events interlock matrix that at no point do all parameters change
and diverge. I therefore think it a good idea to organise ones simultaneously; there are constant overlaps. Even at bar 40
analysis on different levels. When one talks about levels, one where the degree of change is most striking, i.e. the division
refers to the highest level and then a succession of levels of the sub-phrase, the modulation and the absence of the
moving down to lower ones. High levels take in relatively principal motives and a break in the rhythm. There remain
longer stretches of time and lower levels take in relatively two constants. First, there is no clearly defined cadence.
shorter stretches of time. One may list these starting with Second, the break does not coincide with the final return of
the highest. There are certain other aspects which are not a 5. I believe this whole question of parametric overlap to
necessarily so neatly time-centred, Modulation, Harmony be one of the principal hallmarks of good composition.
and Rhythm are other aspects that will be considered later. Repetition and variation alone will not guarantee good
These are not necessarily hierarchic in their time-spans. continuation.
Repetition and variation must also be looked for in any Formal aspects not shown in the matrix. Space does not
analysis. Repetition is not confined to themes; the the re
re are allow a complete harmonic analysis but it should be done as
repetitions of processes, structures and keys. All these follows:
things should be shown in good analysis. I quote bars 11 and 12. For chord symbols I recommend
I have analysed this piece in the form of a matrix. The a combination of Roman numerals and figured bass.
horizontal axis shows the duration of the piece in bars and Modulations are illustrated by a double set of numerals
the vertical axis shows the compositional parameters. which show the pivot chord connection between the two
Looking at this matrix I believe that one can make an keys. The different keys are shown by the above abbrevia
observation about good continuation in a composition. This tions in the matrix. The letter U means an unessential note
law, roughly speaking, is stated as follows: Rarely do all the not belonging to the prevailing harmony. The distinction
parameters in a piece change at the same time. I shall now between chord tones and unessential notes is most
explain the terms used in the vertical axis of the matrix. important when deciding upon good fingering, which I shall
1. Section. A represents a recurring idea, B C, D etc, etc , discuss in the final essay.
represent variations.
2 Phrase. Phrases always end with perfect cadences and
represent self-sufficient ideas or groups of ideas. Sub Higher Level Harmony Analysis
phrases represent modifications or changes of ideas within
phrases not usually ending with perfect cadences unless I quote a condensed
con densed form of bars 1-1
1-11.
1. t can be seen that
they occur between sequences as they do in between bars scales can be excised from the welter of melodic activity on
11 12 and 21. These are not generally regarded as cadences a .higher
.higher level. I will propose a tentative set of axioms in
because they do not coincide with the end of a process. order to determine what gives these scale tones their
MOVEMENT p R E L u D E
SECTION Al c A3 D A4 E s
Final
Section
PHRASE
SUB PHRASE
MODULATION
MOTIVE
RHYTHM
30
,
privil
privileg
eged
ed posit
position
ion - tentati
tentative
ve beca
because
use th
this
is for
form
m of Schenker attempts to prove that these higher level scales or
analysis, based on the theories of Heinrich Schenker, is Uhrlinien as he calls them, dominate entire movements. I
rather controversial. think, however, that the consistency of this idea is difficult
to demonstrate over longer time-stretches. I believe that the
1. They are usually harmony notes.
concept of the Uhrlinie is useful on a fairly low foreground
2. They may be mobile while other notes remain static.
level and that one should never attempt to force music into
3. They are often to be found in the highest and lowest
a priori concepts which do not fit the musical facts
registers, when they fulftl some but not all of the above con satisfactorily. The purpose of the Uhrlinie is to demonstrate
ditions, e.g. the E in bar 4, the D in bar 5, the B in bar 9 and the main thrust and direction of the music in order that the
the A in bar 10. They will be harmony notes which occur performer may not be bogged down by too much
either more often than others or their duration; explicit or extraneous detail.
implied, will be longer. In other words, they must be There is much more that I could say about this move
prominent in some way to justify their privileged position. ment. What I have said can be only an outline of a method.
BARS 11 AND 12
Fig. 2 U U U u
J ## J .J J J .J J J J rJ J j [J J
(T)r
r r r6
Rm) r r
yl
116 Y 5 I6 YI 5
I
m 3
..
BARS 1 to 11
Fig . 3
•
I -I-g-I-
f
.-
New premises in the heart of London where in a friendly and cosy atmosphere you can try
the best collection o f Spanish Guitars in the UK.
Various models, classical and flamenco, in different scale lengths. A real fiesta o f Spanish
craftsmanship, plus a first class service in repairs, tuition, mail order etc.
31
Saburo
Nogami
After some years
years professional performance,
performance, Saburo
Nogami started to make guitars in 1950. e gained valu-
able experience studying under Masaru Kohno for seven
years. After becoming an independent luthier, Nogami
succeeded in the development of several unique guitars
for guitar ensemble. From the small guitars for the higher
registers, to big guitars for lower regist
registers.
ers. His fine guit ars
of concert standard size have attracted the attention of
many of today
today s famous guitarists including Julian Bream
and Jose Luis Gonzalez.
In recent years many leading guitar makers looked for a
way to increase the volume of the classical guitar by
enlarging the size of it s body. However, the result in most
cases was the loss of the guitar s most important
features, in particular the purity of its sound and wide
tonal qualities. Top Japanese luthier Saburo Nogami ,
after long rese
research
arch into the relation between body size and sound came to the definite conclusion that volume is not particularly
influenced by body size. That is as long as the string length remains at around 650mm (25.6 ins.). The Nogami concert guitar
range has been designed and developed under the supervision of master luthier Nogami, who also has had the advantage of
several years experience as a concert guitarist. His aim was to retain all the best features of the classical guitar plus extra
volume. This
This,, Nogami has finally achieved with the introduction of this new range of concert instruments. The Nogami concert
guitar range offers several models to suit the needs of both amateurs and professionals.
TG· TG f
TG C TG D TG F
Top: Solid cedar/Back and sides: Top: Solid pine/ Back and sides: Top: Solid pine
pine// Back and sides:
Rosewood/Neck: Nato/Finger- Rosewood/Neck: Mahogany/ Rosewood/Neck: Mahogany/
board: Rosewood. Fingerboar d: Ebon
Ebony.
y. Fingerboard : Ebony.
Also available (not illustrated) TG B as TG C but Ply Top/Pine veneer.
3
IVOR MAIRANTS
from the late 20s onwards. The larger portion of the book is a detailed examination from good
book shops everywhere
of guitars and guitarists." SUNDA Y TELEGRAPH but in case of difficulty
available direct from the publishers
Ashley Mark Publishing. Salt meadows
Over 100 photographs 0 392 pages 0 ISBN 09506224 3 5 Road, Gateshead NE8 3AJ. Please
add £ 1.00 to cover post and packing.
GUITARS?
You won t find a more complete range o f classical guitars anywhere in
Scotland.
Ranging in price from £31.00 to £ 1500 and including such famous
names as Ovation, Ramirez, Contreras,
Sigma, Martin, Ibanez, Yamaha, Lorca, Aria, 17 fi r O N SI
SIM
M ON
Fendstockists
one er - Yo
Youu ll
o f fi
find
nd them all at the number
musical I nu
The usicall nstrumen t Specialists
r ~
instruments in Scotland. 6-8 Sta
Staffo
fford
rd Street, EDI
EDINBUR
NBURGH
GH
TeI 031-225 6305
li
d
R VI WS §II ~ ~ ~ ~ ~ m u s i
IMPRESSIONS FOR GUITAR by Ruth pieces are, by their very nature, inward before Duarte could send his contribu
Nunn looking statements of their composer s
looking tion, Tedesco died. The theme remained
Punchbowl Music. £2.50. own impressions and not, I feel, likely to unused until 1978 when Op. 72 was com
First impressions are important and I appeal to a wide market . menced.
think a cover that only grudgingly reveals Frances Gray Insieme (meaning together in
the title will not help this book. There are Punchbowl Music, Leigh Heights, Castelnuovo-Tedesco s nativ
nativee language,
seven pieces which, I recaiI, were Haslemere Road, Hindhead, Surrey. Italian) consists of a haunting chromatic
originally written as illustrations for a theme followed by five contrasting varia
series of teaching notes in a magazine; tions and a Finale. The variations are
this may be why two have helpful sub HOMAGE TO ANTONIO LAURO marked, Un poco agitato, Alla marcia,
titles - The Shepherd PiperPiper - a legato (THREE WALTZES) Op. 83 for guitar Largo e dignitoso, Scherzoso and Alla
study in 3rd position but why why not the solo by John Duarte. siciliana. The Finale, which is in the form
others? The pieces appear to have been London/Universal Edition UE 29170, of a Passacaglia may also be considered
assembled in suitable batting order but £1.50 as an extended variation.
with little thought of inspection before The work is tonal and effective use is
The guitar works. of the Venezuelan made of the chromatic scale and
taking the field. Only one, for instance,
guitarist and composer, Antonio Lauro chromatic harmony. Castelnuovo
has a metronome-marked speed. The are popular throughout the world, due
sunken Cathedral is the only one with an stylee is very much in evidence
Tedesco s styl
principally to guitarist and fellow
alternative part for small
small hands but the at all times. The playing standard of the
countryman, Alirio Diaz. The most
replaced chords are not really difficult individual parts is moderate and no feats
popular pieces are, without doubt, the
anyway - and are small-handed of virtuosity are called for.
various Valses Venezolanos.
guitarists going to buy the book for one The music is printed in full score - a
John Duarte s Homage to Antonio
piece, one invoking comparisons with a separate guitar part not being necessary
Lauro consists of three waltzes in el
rather better-known, French depiction of as page turns are in convenient places.
estilo Venezolano , written firmly in the
the same unusual subject? Fire Dance is The absence of fingering should not deter
Lauro tradition, including much use of the guitarist from attempting the work as
claimed to be a study in 2nd position but the 3/4, 6/8 hemiola rhythm. As we have
I see little evidence of this, except in the any problems in this direction can be
little run of quavers in the last two bars come to expect from John Duarte, the easily overcome. The few misprints that
three pieces are skillfully and thoughtfully
- when the fire has gone out; the rhythm exist are obvious with, perhaps, the
constructed.
is less insistent than the title of dance exception of the missing ties connecting
The Waltzes are marked Moderato
implies. the fmal two chords in the guitar part.
con grazia. Andante espressivo (with D
Birds migrating is quite pleasing to Raymond Burley
tuning), and Ritmico e con brio in rondo
play, the fmger
fmgerss migra
migrating
ting up and down form).
the fmgerboard in shifting positions, and
The Homage to Antonio Lauro is
the cuckoo in harmonics adds a wistful , slightly easier to play than the majority of
charm to thethe end
end - do cuck
cuckoos
oos migr
migrate
ate?? ENGLISH SUITE No. 2 Op. 77 for two
the published Lauro waltzes and could be guitars by John Duarte
The Shepherd
Shep herd Piper calls for the remark
programmed very effectively alongside London/Universal Edition UE 29169,
able feat of making a crescendo through a Lauro s origi
original
nal compositions, o r indeed,
tied note, four times. Winter Landscape is £2.00
as a welcome alternative.
pleasant enough, and falls well under the During the last century there has been a
The printed fingering is adequate and
hand, but I feel that, as in most of these renewal of interest in the English
the few misprints are easily identifiable.
pieces, the musical ideas are less fully folk song, which can be attributed largely
Raymond Burley
developed than they might be. In this and to the collecting and cataloguing by Cecil
four of the others the composer resorts to Sharp and Ralph Vaughari Williams
an A-B-A plan; ternary form is con amongst others. There is no better way of
n or
venient to work in, but not necesarily INSIEME (or
harpsichord Op.piano) by Johnguitar and
Duarte keeping this valuable music alive, than by
expressive of the way one sees a land performing it.
scape, migrating birds, or any of
o f the other Ancona/Berben 2366, n.p. John Duarte s English Suite No. 2, like
subjects. Snatches of ticks, tocks, chimes The repertoire for guitar and harpsichord English Suite No. 1 for solo guitar, No. 3
and cuckoos are put together, not very is far from large, in fact, works of sub for four guitars and No. 4 for recorder
convincingly, in Clock Fantasy. Clocks stance can virtually be counted on the and guitar, comprises English folk song
are mechanical things and seem to call for fingers of two hands. The publication of a melodies and composed material which
a steady (crotchet) beat amid the other new work for this medium is indeed an together provide a work which is both
goings-on, even if the spring does run exciting event, particularly when it is an interesting and charming. The Suite was
down from time to time. item of quality, as in this case. Insieme is Gre.ek
written at the request of the Gre. ek guitar
y a Sussex River ank has long, dear to me as I was present at the birth duo, Evangelos and Liza, who also gave
sustained, six-note chords alternated with and, together with harpsichordist Steph
Stephen
en the first performance in the Wigmore Hall
rippling arpeggios that make full use of Bell, gave the first performance at the on the 2 May 1980.
different sonorities by having the lowest Wigmore Hall in June 1978 and the first The work is in three movements
two strings retuned, but again the music broadcast performance on BBC Radio 3 marked, Cheerfully, Lyrical and Smooth,
leads us nowhere, too brief a glimpse. shortly aftwards. Insieme is the result of a and Brightly. The opening movement
The music is clearly fingered and suggestion from Segovia to Duarte in the uses the Somerset folksong, The Brisk
printed; the composer rates the level of late 1960s, t hat he and Mario Young Widow as its main theme, consist
difficulty as Grade Ill-IV. The book is Castelnuovo-Tedesco should exchange ing of two-part writing in the outer sec
unlikely to be snapped up greedily by themes in order that each might write chordal accompaniment in the
tions and a chordal
younger or less experienced players since works based on the other s material. At slower central section. The slow second
there is music of a more appealing (even the beginning of 1968 a theme arrived movement uses the Essex song, The Lost
exciting) nature readily available. The from Castelnuovo-Tedesco, however, Lady Found and is both expressive and
34
,
moving. The final movement is in the intervened. The piece is pervaded by a which unrelieved exposure to the early
form of a rondo and uses the Hampshire three-note cell, appearing at various 19th century all too easily leaves it. Try
song, Sing Ivy, together with Gently, levels, with variations of its pitch-profile this, persevere with it and reap your
Johnny, my Jingalo as the central couplet. and many rhythmic transformations. Its rewards.
Percussion on the sound board is featured avoidance of 'tonal' patterns of rhythm, As with Colombine there are move-
in the 2nd guitar part at both the begin though not via serialization, calls for ments that invite (virtually compel) free
ning and end of the movement. careful counting and much slow practice. dance or mime and others which sustain a
English Suite No 2 is extremely well The two pages of music need about four constant metre and permit a more formal
written and is of moderate difficulty. It is minutes to play and to describe the treatment. The two works, indeed the
almost impossible to detect where required technical level as not higher than trilogy when completed, are designed to
folk song ends and Duarte begins. The Grade VII is in insu
suff
ffic
icie
ient
nt - a far
far mor
moree be performed successively, in one large
work as a whole has immediate appeal developed grasp of music is needed than scale enterprise of music and movement,
but any duo contemplating its inclusion in that rating usually implies. This is a study occupying dimensions that are new to the
a recital programme need not fear that piece rather than concert material. realm of guitar music. To bring it to
the quality is in any way inferior. Imprint is needle-sharp but fingering, reality demands more, however, than the
The printed layout of the music does often mildly cryptic, is shown in hair-line Old Brigade, singing its Old Songs, is
not allow for page turns in performance figures that are not always as clearly likely to offer at the moment. More's the
and duos must find their own solution to visible as they might be. pity.
this problem. Having played this Suite John Duarte John Duarte
from a manuscript copy in concerts and
recordings since April 1980, together
with John Mills, I found the printed
fingering (supplied by Evangelos and FINGERSTYLE GUIT R
Liza) seemed foreign to me. This, of FURTHER STEPS by Doug Kennedy.
course, does not make it ineffective but I PIERROT for two guitars by Gilbert pp 48.
found it unimaginative and did not find i Biberian Punchbowl Music. £2.95.
helpful. London/Chester 55158 Seeing a guitarist on the front cover
The Foreword, as with all Duarte edi- To keep Colombine company, what could apparently playing his instrument while
tions, is clear, concise and informative. be more fitting than a substantial Perrot, resting it on someone else's knee, I felt
Raymond Burley with Harlequin soon to complete the uneasy about this book before even
trilogy? It's not simply a matter of instru opening it. Reading that here was yet
ment
me ntal
al wei
weigh
ghtt - heherr 600
600 bars
bars (ca)
(ca) ar
aree another attempt to 'bridge the Great
topped by 879, two lengthy works Classical/Folk/Rock Divide' did nothing
his standard. It is the whole,
any reasonable by to dispel my fears.
PETIT NOCTURNE for guitar solo by
Stepim Rak.
rather than the component parts, which is Why does an author attempt this
long; Biberian describes the work as: 'A daunting task when it is obvious to most
Helsinki/Chorus Publications. £1.25.
collection of short, study-like pieces that the objective is not attainable in a
Ashley Mark Publishing Company, bound together organically in order to book o f this size, and is probably
Gateshead NE8 3AJ make a large-scale composition. The unnecessary anyhow? Most musicians,
Stepiln Rak is a very resourceful guitarist structure is very simple: Prelude; Theme guitarists included, are quite capable of
a nd c o m p o s e r who live s in (Au Clair de la Lune Mon mi Pierrot) bridging gaps if that is what they really
Czechoslovakia but lived and worked for and six variations; Cadenza; Waltz; Link desire. Is there really a Great Divide? At
some time in Jyviiskylii (Finland); his passage recalling the Prelude; Round classical guitar Summer schools I never
most eloquent advocate is Vladimir Dance; Postlude'. Those dependent on cease to be amazed at the wide variety of
Mikulka, to whom this piece is dedicated. the good old-fashioned crutch of tonality (musical) activities that take place after
The Petit Nocturne, despite its spicing will fmd little to cling to; and what little the beer has started to flow in the evening.
with diatonic dissonances, is an agreeably there is soon becomes a tantalizing The choice is ou
ours
rs - cl
clas
assi
sica
cal,
l, folk, jazz,
sentimental A lbumblatt whose melody chimera. Two variations confirm their flamenco, blues. We can be as br broa
oad-
d- or
overcomes passing harmonic nudges in bitonality by employing different key as narrow-minded as we choose; no-one
other, 'flatter' directions. Hardly long signatures for the two parts, though needs to be wooed with empty promises
enough to stand alone in a concert bitonality arrives elsewhere without that, for £2.95, we can have all, or at least
programme, its two pages are a little benefit of advertisement. in his foreword some, of our musical desires satisfied.
harder to play than its mainly clean Biberian says that the piece should be The present book is a hotch-potch o f folk,
folk,
appearance suggests (about Grade VII, well within the grasp of students who classical, ragtime and blues, with an
I'd say) but they would make an accept have played for three or four years, occasional page of 'theory' thrown in.
able change for players (and audiences) having learnt the studies of Carulli, Sor, As a folk-song repertoire book it
not yet ready for what the 20th century Aguado and Carcassi. Technically speak rather overdoes things: having described
has brought. A barre given at III instead ing this is true, though a little more must four different 'clawhammer' techniques
of (page 1, system 3, bar 1) is the only be added to offset the difficulty of playing (for nail players?) the author needs only
printing error I have detected. such duo music, but those brought up on to give melody line, words and chord
John Duarte such a utilitarian diet will suffer severe symbols for the reader to have fun with
culture shock! If this seems to be spelling Bob Dylan, Tom Paxton, Ralph McTell
out a deterrent, it is not No feat of and the other numbers included. The
virtuosity is required in either part (most essence of folk music is individual
of the activi
activity
ty is within the first seven interpretation, but Kennedy gives his
THREE EQU L THOUGHTS fur frets), successive changes of metre and own, rather ordinary accompaniments in
guitar solo by Kari Karjalainen. timing problems will yield to careful full, in staff notation and in tablature.
Helsinki/Chrous Publications. £1.25. counting, and what may at first sound Most of the songs are set too high for the
Ashley Mark Publishing Company, offensive will become piquant if goodwill aver
av eragagee voi
voice
ce - I can't rereach
ach so many
Gateshead NE8 3AJ persists; even such delicacies as caviare, high Gs, even after opening time.
A ternary structure (largo, allegro, largo) olives and escargots seldom appeal to In the 'classical' solos he gives too
frames a somewhat austere work in free- unsophisticated taste-buds and it takes little, apart from the fact that the chosen
atonal language; the complete unfolding time to learn to love dry wines. The pieces are readily available n better
of the note-row ends with the first note of avoidance of such aural challenge helps prin
pr intted ededit
itiion
onss - yes,
ye s, th
thee Spanish
bar six but not before six repetitions have to keep the guitar in the retarded state in Ballad is here? The negligible help with
36
technique or interpretation appears in the MORGONRODNAD for flute and setting aside such ancilliary purposes, this
general scheme of things much as a home guitar by Jack Mattesson is most enjoyable guitar music, clean-cut
decorator ft s in cracks in the plaster and Helsinki/Chorus Publications. £1.50. and, though deploying compatible idioms
woodwork. Ashley Mark Publishing Company, the 19th-century would not have
It is difficult to believe that pupils Gateshead NE8 3AJ welcomed, never abstruse or gratuitously
learn happily by this 'whim and fancy' The title means 'morning blush' (dawn) intellectual. Fingering is comprehensive,
method; on page 25, for example, the but its red sky holds no warning for with few unavoidable awkwardnesses
author has a whim to give some helpful sailors, shepherds, flautists or guitarists. imprint is clear, spacing is generous,
information on minor scales, but you The flute (or violin, a piacere) sings a without overcrowding and, horizontally,
have to turn a good 15 pages either way simple, sustained melody above arpeggios roughly proportional to note durations.
before meeting any minor-key music. that ripple from start to fmish. A third
'Followed from page to page, this book stave gives the bass line alone, for use by
plots a gradual logical course', the a cellist who, in the interests of not PIECES FOR POLITA for guitar by
introduction states: on page 31 we learn obscuring the guitar, would do well to Richard Stoker, ed. John Duarte
that 'When two or more notes are played
together, this is called a CHORD' consider
The using
music a nicely
is firmly t o nrounded pizzicato.
a l - home-base is London/Ricordi LD678. £3.50
Basic chord progressions are dealt with G major, its harmonic surprises being FIFTEEN MINUTES for guitar by
on page 3 and barre chords on page 22. gentle and easily fmgered (comfortably Colin Head, ed. John Duarte.
Some information is misleading and some within Grade Ill-IV); one might London/Ricordi LD667. £3.50
downright incorrect: A major triad con paraphrase Thomas Morley by saying GREAT BAROQUE ARIAS for voice
sists of TONIC, major 3rd and perfect that 'no extraordinary motions are used and guitar, arr. John Gavall.
5th', the misuse of 'tonic' (instead of in the playing of it'. >Total absence of London/Ricordi LD660. £4.00
'root') continues for a whole page - no tempo or dynamic markings leaves the
misprint here. field open for the imagination to move in. Richard Stoker's contribution to the
The illustrations, some of
o f the poorest With a mere 42 bars (including a repeat repertoire at recital level is by now well
I've seen, simply add to ones general of 16) it is too brief for a concert piece esteemed for both quality and quantity.
apprehension regarding what seems to be but it might make a pleasant little encore Here in six 'moderately easy pieces',
a hastily assembled book. I t is unlikely to item. written for Polita Estarellas (spelt
cause any real damage to potential John Duarte incorrectly in the Foreword ) Mr Stoker
guitarists but certainly does nothing provides playable, idiomatic music for the
worthwhile. competent guitarist. The pieces here are
Frances Gray middle of the road in vocabulary and
COLOMBINE (SUITE) for solo guitar technical requirements, yet lyrical and
looking
piece and for 'ina tune'
forceful single-movement
with the music of the music
mime, as a substrate
inviting matching for free balletand
movements or Ashley Mark Publishing Company
Stephen
Step hen Dodgson, might find this gesturess rather than the classic framing
gesture framing of Saltmeadows Road, Ga t head
interesting; there are 7 pages of music. dance steps within a steady pulse NEB 3AJ
maintained over long periods. However,
37
Universal
Universal Edi
Editi
tion
on
A vailable from
fro m many retailers or direct from
AM313 Four
Four Ep
Epis
isod
odes
es - Ha
Harr
rrii Wess
Wessman
man ... £2.20
AM314 Works of Preliminar
Preliminary
y Character: Veli
Veli Salonen £2.50
AM315 Nattens Akvareller - Kai Nieminen £ 1.S5
PUBLICATIONS
38
REVIEWS mll ~ ~ ~ ~ ~ r e o r d s
F. S O ~ Fantasie Op 54; GUIDO timing to unanimity in articulation. As in Pere-Lachaise Cemetery, one
SANTORSOLA: Sonata a duo; JOHN Though Santorsola wears a variety of can scarcely move in French music
DUARTE: Variations on a French musical hats in his guitar (and other) without stumbling over a tombeau or
nursery song Op 32; PIERRE PETIT: works his most familiar language is that 'tombstone'. These musical tributes from
Toccata. of 12-note writing in which rhythm is not the living to the dead are usually short,
Lars Karlsson, Michael Ljung (guitars) serialized and the note-row itself is very frequently sincere, occasionally dull and
Opus 3 8201 freely treated. 'Everyman', even today from time to time intensely moving. Louis
Couperin's is tragic and eloquent, and
Karlsson guitarists
Swedish and Ljung are two
who began young
playing in when
tends the technique
to regard is halfwriting
12-note a century old,
as dry, Holmquist makes the most of it Mr
duo in 1977 under the name Duodecima tuneless (it all depends what you regard Blancrocher had no fewer than three
and this is their first recording. The extent as a tune ) a nd g e n e r a l l y tombeaux written for him, which must be
to which playing standards have risen in incomprehensible; so it Can be, even in some sort of compensation for an
the last two decades is shown in the Santorsola's hands, but the Sonata a duo untimely end caused through getting
current work of duos no less than soloists is a very accessible work, here played drunk and falling downstairs in 1652.
since, as with the great duos of the past, with the expressive freedom and propul James McGuire's Suite No. 2 is
many are composed of players of out sive energy usually and easily applied to dedi cat ed to Holmquist. t is
standing solo ability; the duo medium is more familiar musics. unpretentious, straightforward, tuneful
no longer simply a refuge for those who Duodecima play with a good range and not too hard for most of us to play.
could not have made it individually. of clear tone, a high degree of unimity The performance here will make a
Shortly before her death, Ida Presti told and precision, and sensitive (if somewhat number of new friends and gladden the
me that the above two works by Petit and 'unromantic') expressiveness; the record heart of its composer. As will the perfor
myself were the most difficult the Presti ing is pristine and well balanced. On all mance of the following work, Gilbert
Lagoya duo had in its repertoire; indeed, counts.. this is one of the most remarkable
counts Biberian's Monogram. Once described by
after her death I was convinced that my guitar-duo records to be issued since the your reviewer as engimatic, it is gradually
own work would die also because no-one demise of Presti-Lagoya, a required revealing its mysteries. This performance
else would be able to play it. The conclu possession for all guitarists who are not strips away more veils What will remain
sion was
sion was mist
mistak
aken
en - seve
severa
rall per
perfo
for
r guided solely by Famous Names and when is laid
Hunt'sallThe is not, like Oliver
bare?o fItBaghdad
Barber directly
mances in concert were given by a few well-worn music.
duos th at came into being
being in the following John Duarte inspired by the East, but a contemporary
few years. Then, in the late 70s, the piece Address of Opus 3 records: Box 2024, S- Western work that uses the conventions
was recorded by the Frankfurter Gitarren 691 02 Karlskoga, Sweden. of spatial development that characterise
Duo with remarkable virtuosity but in a much Eastern music. In case that sounds
strange acoustic that left something to be too much' like an entry in 'Pseuds'
desired. Now, to my even greater surprise COUPERIN: e Tombeau de M. Corner', Biberian's own words should
(the Frankfurter Duo celebrated the 10th Blancrocher. McGUIRE: Suite No 2 in make matters clearer . Talking about a
year of its establishment in 1981) it has Popular Style. BIBERIAN: Monogram. performance by a Turkish musician on
been recorded again, this time without the PONCE: Variations and Fugue on a the ancient keman (a kind of fiddle) he
cuts made in the 4th Variation and the Folia de Espaiia. says Everything wouldwould jus justt float in the
Finale by the Frankfurt players, and John Holmquist (guitar) air, full of anticipation for the next
adhering precisely to the published score. Cavata CV5001 phrase. There is ... development of the
Other than in the making of some John Holmquist's performance of the sense of space, a lack of hurriedness'.
unmarked ral/entandi and pauses, and a Ponce work earned him a standing Everything, in short, must take its time
few uneasy tempo transitions, I fmd this a ovation and the first prize by a - and th th at goes for the listener too. It is
at go
magnificent performance of a work that unanimous decision in the Guitar '78 also, again in the words of the composer,
demands the utmost virtuosity. Toronto International Competition. He a work about the sound of the guitar
Petit's Toccata a pert and bustling has now recorded it, and it rightly forms itself.
piece with jazz overtones in its episodes, the main substance of this, his debut The Middle Eastern resonances are
is one of the most immediately attractive recording. At his Wigmore Hall recital well brought out in Holmquist s
pieces in the duo repertory, previously some longish tuning intervals between the meticulous observance of the often
obtainable only from Presti-Lagoya on a variations tended to destroy cohesion; complex playing instructions. The har
long-deleted disc. Duodecima have not here all such difficulties are overcome, monics at the end could have been give a
modelled their view of it on that earlier and the work is presented as one full and little more plangency (perhaps, to be
recording but have found their own, flowing entity. realistic, by the engineers). There is also
equally winsome approach - in the From the darkly intense statement of some fmgerboard squeak, nothing new in
episodes, that of a younger generation to the theme and the crisply buoyant guitar recordings. The sound is clear and
which jazz is a more 'natural' language, rhythms of the frrst variation, through to spacious without being over-resonant.
and they despatch it with no less the fmal fugue in which the player's John Holmquist's stimulating blend of
virtuosity. The Fantasie of Sor is the only measured solemnity imparts a rare vigour, sensitivity and musical penetra
item available in another recording, by grandeur, we are taken through an tion make this an impressive debut.
Bream and Williams (RCA RL03090), astonishing variety of music. These Colin Cooper
and it must be said that Duodecima brilliant pieces, some of them lasting only
match their more famous counterparts a few seconds, explore and test every CLASSICAL GUITAR
every step of the way in sensitivity, aspect of guitar technique. Everyone of BY
flexibility and quality of sound and, with the 20 variations provides some kind of
the natural advantage of constant musical interest. Marred only by a slight NEILSMITH
his superb recording available now from
working as a duo rather than an tendency to occasional over-emphasis, shlay a rk Publishing Company
occasional
oc casional encounters, achieve a higher this is a performance well able to stand £ 5 5 0 including post and packing
le vel of 'togetherness' in everything from beside its predecessors.
39
RENAISSANCE AND BAROQUE reproduced (photographed, hand-written Dance No. 5 as it is, some of them not
MUSIC FOR TWO GUITARS. d manuscript) and easy enough to play marked on the score.
Flower, David McLellan (guitars). from once one become accustomed to its The playing is clean and workman
ANON: La Rossignol, Greensleeves, somewhat spidery appearance; redundant like, the recording is the same. To those
Drewries Accords, My Lady Careys fingering directives are unhelpful in this inexperienced in the discipline and
Dompe,, Lesson; JOHN JOHN SON: The
Dompe connection.
connecti on. If much of it is inevitably pre pleasure of duo playing these recordings
Flatt Pavin; JOHN DOWLAND: My dictable the music in the may be recommended. Though one might
Lord Chamberlains Galliard, Tarletons renaissance/baroque book is quite well describe the difficulty of the separate
Riserrection, My Lord Willoughbys chosen but the ancillary notes are brief, parts as falling within a maximum of
Welcome Home; FRANCIS PILK not always particularly informative or Grade Six it would be misleading to use
INGTON: Echo; LE SAGE DE well-informed: a ground is not necessarily this as a guideline; if one is unused to
RICHEE: Echo; J. S. BACH: Musette, a chord progression, the anonymous playing in duo the experience can easily
Menuet, Prelude, Fugue, Invention; C. P. Dompe, 'probably played on the virginals'
virginals' knock ones rating a notch or two lower.
E. BACH: Marche, Polonaise; is in fact one of the earliest known John Duarte
WILLIAM LA WES: Suite; G. P. examples of idiomatic writing for that ins-
TELEMANN: Canon. trument, the Telemann Canon is for two RAY SEALEY: Platero (An eleg elegyy fo r
Music Minus One MMO 5043 £6.99 'equal'
'equ al' instr
instrume
uments
nts - of whi
which
ch viol
violin
inss or two young guitarists and narrator)
(including score) flutes would be apt examples, and last Ray Sealey (narrator), Karen Chapman,
three pieces by J. S. Bach are inade Andrea Hayman (guitars)
quately identified. Tempos are well Hyperion A66046. £4.99
CLASSICAL AND ROMANTIC judged in performances, though the Ray Sealey's declared object is to provide
MUSIC FOR TWO GUITARS. Ed Dompe is usually ta.ken a fraction faster a work that is in line with both the
Flower, David McLellan (guitars). by keyboard players, and the renaissance spiritual and technical levels of young
F. SOR: Andantino, Marche, Duo in A, items are welcomely free from left-hand players, and he achieves it signally. His
Andante, Allegretto; F. CARULLI: slurs; some fmgerings· are made that bit texts are taken from Jimenez' Platero y
Study in A, Duo in E, Largo, Allegretto, harder by dogged adherence to guitar yo, in excellent English translations by
Duo in F, Rondo; C. G. SCHEIDLER: tuning (3rd string at G). On page three of Willia
Wil liam
m and Mary Roberts, narrated
narrate d with
Romanze; G. FAURE: Sicilienne; the booklet it states that 'all but one' of clear enunciation and without trace of
JORGE ANCKERMAN: El Arroyo que the pieces on the 'renaissance' side were either the exaggerated emphases of an
Murmura; E. GRANADOS: Spanish written for two lutes; the Dompe is a key- adult telling stories to children or Sealey's
Dances 2 and 5; I ALBENIZ: board work and Tarletons Risserection is Canadian nationality. The 12 items:
Malaguena. a perfectly easy lute solo. The Suite by Platero, Nursery school, Angelus
Music Minus One MMO 5044 £6.99 Lawes is the one published by Bream (Sunset), The canary escapes, Sunday,
(including score)
The music-minus-one device must be (Faber
here inediti
edition)
A on) in 1967
major but it is
(versus presented
Bream's D The fright,
nival, Interlude
The canary dies,and lullaby, Car-
Donkeyography,
close to celebrating its 50th birthday and major), in which key it is rather easier to The thorn and Nostalgia, are framed in
it is perhaps surprising that it has not handle. The baroque music is well charming music, simple in language but
been more fully exploi
exploited.
ted. One of its valu arranged except for the Prelude, in which atmospheric in effect, using dissonance as
able applications is that of giving octave-compression leads to some an expressive, not an intellectual, device.
guitarists the opportunity to break out of undesirable part-crossings and one nasty Economy, directness and simplicity
solitary confmement by playing with accident at the beginning of bar 5 (page without triteness are characteristic of
unseen partners, widening experience and 24). The attentive user will find the slurs Sealey's writing in those works I have
developing discipline. These recordings indicated in some baroque pieces to be heard.
were made by a split stereo process, the only the majority (not the whole) of what The work's subtitle is fulfilled, the
two players being in aural but not visual is actually played on the recording. guitarists being 14 and 12 years old.
contact (resulting in a certain lack of Likewise he/she will be well advised to Though their familiarity with the music is
'togetherness' in a few of the slower follow the recording of Greensleeves to be assumed, since they are Sealey's
items), so that either part may be isolated rather than the score where, in bar 8, the students and the work is dedicated to
by turning the stereo-balance knob hard correct rhythm is played and the wrong them, their clear-bright tone, firm attack,
to the left or right;
right; that is the principle but one printed. precise timing and control are impressive;
the fact is that 'cross-talk' prevents total The music of the classical/romantic youth per se holds at bay the fear of
separation and the ghost of the volume is of more variable quality, with microphones that can develop later. The
suppressed part cannot be e x o r i z e d ~ I f an overlarge ration of Sor, Carulli and recording could hardly be bettered. This
this results in less than a whole loaloaff it still Scheidler, much of it inocuous time is a delightfully imaginative work and a
leaves enough to be well worth the eating. passi
pas sing
ng - and uniduniden
enti
tifi
fied
ed,, rescu
rescued
ed by
by valuable addition to the guitar s
The track given to tuning (confus rather better music in the later period. Platerography, far more accessible than
ingly, not mentioned on the sleeve) which Sor's birth date (1778) is given as 1776 in the settings by Castelnuovo-Tedesco and
begins each disc is invaluable, for reasons the notes, from which we learn also of a Eduardo Sain
Sainzz de la Maza, and in no way
too numerous to mention. Each item is hitherto unknown accomplishment of competitive with them. f and when the
preceded by an appropriate number of Granados: ' ... besides compositing (sic) score is published it should succeed in a
ticks of a metronome, defined in the was a virtuoso pianist'. In the score of the big wa
wayy wit
with
h enter
enterpri
prisin
singg teach
teachers
ers - or
printed scores accompanying the discs; Malagueiia it is impossible to play bar 21 enterprising young people who may guide
the metronome settings are useful only in (page 36) as it is printed, and if you want their teachers in its direction. It comes
establishing target speeds in practicing, to stay with the performers you had like a breath of fresh air.
before playing with the record. If the better cross out bars 11-14 on page 37. John Duarte
performances sound somewhat stiffer To round off your orientation, of the two
than one would hope to hear in concert Spanish dances of Granados No. 2 prece DEDICATION. Julian Bream
this is natural, given the circumstances of des No. 5 in the book but they appear the RCA Red Seal RL25419
the recording process, and more other way round on the record. Perfor When Julian Bream offers a recording to
appropriate to the purpose of the mances of the Spanish music are more the public it is always a significant event,
enterprise. of
inexperienced)- guitarists
to enable (mainly
to develop the mechanical
wish, but andtoo bloodless than onenot
much should would
be the musical
Stoppard or equivalent a new play
a novel by Fowles. Thatby
it
necessary discipline rather than to learn expected in such a context and all but the seems necessary to say this may be an
to follow particular 'bendings' of the most adaptable players will have some adequate commentary on the pre
written text. difficulty in keeping in touch with the dominance of the commercial over the
The music in the booklets is crisply comings and goings of tempo in Spanish artistic in the policy of many recording
40
companies and their attendant artists. interpretation will gain much from com sustained workings out of very complex
The ever-simmering pot-boilers are more paring how Bream's playing of these and very inward musical labyrinths.
characteristic of new guitar records these pieces has changed in just under a The future of this work is fairly
days than are those albums which cause decade; the first recording in 1973 was problematical. I hear that it has already
us to revaluate our notions about the rem
remar
arka
kabl
blee - this onone is better still. been prescribed for a Guitar Competition,
guitar and its directions. Certain note-values have been suitably a report I would prefer to disbelieve. In
That Julian Bream has been for amended, the range of tone-colour is Bream's hands the Royal Winte
Winterr Music is
many years liberated from the com broader and yet more dazzling. a magnificent challenging entity, a monu
mercial
merci al pressures that grin
grindd other players R ich ar d R o d n e y B e n n e t t s ment to something of musical substance
into pre-formed moulds may be a truism. Impromptus (1968) at last find their way attempted through the guitar with its
t would be better to put it the other way onto a record. These works, so often whole range of timbres, moods and
round and afTtrm Bream's determination trotted out in recitals by inferior perfor echoes; in performances by lesser mortals
to offer a positive artistic lead, not to be mers and occasionally set for students in this piece could quickly empty the
swept along on the prevailing commercial diploma examinations, can be suffocat theatre. Attempts to impress the average
tides and certainly not to be blown off- ingly tedious in the wrong hnds. Bream audience by hitting it over the head with a
course. in
the fiftiesall were
lateAfter Bream's
not early recordshot
considered here of
ling touches
magiceach
andphrase with aand
conviction sprink
the awork of this
charge specificand
of assault, density
I do could leadtoo
hope not to
property by his recording companies at potentially arid sparseness of the many younger players try to prove their
the outset. Neither could his forays to the atonality is shaped into meaning. One intellectual virility by wheeling this one
Wigmore Hall with lute in hand ready for could hardly imagine a better perfor out too often. Such a work, like
an evening of Dowland be judged at that mance of these 'unlovable' compositional Beethoven's Hammerklavier Sonata,
time as the stuff from which fortunes sketches. does demand rather more than technique;
might later be made, even if every ticket Hill Runes (1981) by Peter Maxwell it asks for a commitment that very few
was sold. Davies evokes the Orkney landscape. t is have to offer. Anything less than the best
Bream's essential seriousness, the an esoteric, introverted composition, simply will not do for this kind of work.
total integrity that informs his playing, is perhaps more appropriate to Maxwell But here we have the best and Bream
a special tonic in our age of compromise. Davies' states of mind than to specific enables us to quarrel with the music
Whilst a number of players have jumped impressionistic images of Scottish barren creatively. His playing is a total tour de
on other band-wagons, for financial gain ness. This is a work whose absorption force and one of the finest performances
but artistic loss, Bream has continued to into the nervous system, let alone the he has ever put on record. Where Bream
explore, to evolve and to reveal. From his blood stream, could take time. At this goes from here, or whether he slips back
first recording to his most recent the point the composer's intensely private into consolidation, is anyone's guess. I
journey has been exhilerating and, in world, united with our ears through would imagine that for Bream, as always,
retrospect, not arbitrary. Bream s Bream's masterly playing albeit, can be the road points forward and uphill to
personal development through a mul- entered only with due permission and a fresh summits. At certain points the air
titude of phases, involving technique, certain interval of knocking at the portal. may be quite rarified, but it will be an en
choice of repertoire and even of instru As yet its ultimate coherence has eluded thralling expedition.
ment, has been at one with the progress of me and, like a number o f lunar rocks, the Graham Wade
the guitar itself. Following Segovia's cound clusters lie distinctly in the ear
similar but earlier creation of a congenial without total integration into a musical SARABANDE Gregg Nestor
repertoire, Bream has done more than statement. However if the work does not Spartan Records SALP 001
any other artist to shape and direct the in the end grow into unity, it is certainly Gregg Nestor was pne of the semi
guitar's destiny. not the fault of Maestro Bream. finalists in the 1981 Segov
Segovia
ia International
In terms of contemporary repertoire If Hill Runes provide something
something o f a Competition and is establishing a reputa
the process has been subtle and inclusive. sticking point where good solid resistance tion as both a virtuoso performer and a
From the first recital offerings of works is encountered in the teeth of something prolific arranger.
such as the Sonatina by Berkeley, Smith entirely new, then Henze's Royal Winter This recording is perhaps a rather
Brindle's El Polifemo de Oro and Drei M u si c ( 1 9 7 6 ) , A S o n a t a on strange way to begin a career which
Tentos by Henze (between 1958 and the Shakespearean Characters' may provoke surely will produce many worthwhile
early 1960s), Bream moved inexorably outright mutiny. Purchase
Purcha se of
o f the score albums. The programme ranges from
toward the unveiling of Britten s from Schott Ltd (£4.50) may help to Grieg's Sarabande Op. 40, No 2, to
Nocturnal, Walton's Bagatelles, and elucidate quite a few of the immediate Sondheim's Send in the Clowns, and
Berkeley's Theme and Variations. After problems. I have already heard this work includes such rarities as Seventy-Six
dozens of concerts in which these pieces acclaimed as a masterpiece by one Henze Trombones, Singin in the Rain, Berlin's
were well received by the public, the fan (though unaware that the music was suite Annie Get Your Gun, and Gra
landmark was ratified by the issue of an published) and a composer of my inger's Country Gardens and Shepherd s
appropriate recording. Bream's record acquaintance found the whole thing a Hey.
ings emerge only when he fmds it possible colossal bore when Bream premiered the The playing of this material is not
to present the work with the fullest work at the Wigmore Hall. have also what you might expect; it is actually
ex perience and authority. endured a mediocre performance by a virtuosic, ebullient and extremely
The significant steps can, for the recitalist, of two or three sections of the accomplished. The music is delivered with
interested listener, be charted from The work, no doubt to baffle us by science. that mixture of exuberance and discipline
A rt o f Julian Bream (1958) to 20th The characters depicted in this which characterises Gregg Nestor on the
Century Guitar (1967), and from Julian sonata include Gloucester, Romeo and concert platform. Normally such a menu
ream 70s (1973) to this new recording Juliet, Ariei, Ophelia, Touchstone, could indicate a flight from reality or a
just issued. Each of o f these recordings Audrey and William, and Oberon. Henze desire to please by concentration on the
ex plored new areas of guitar sonorities tries to seek out in this work the 'many trivial; in fact the playing has such
and the latest can only be properly unexplored spaces and depths' of the integrity and commitment, and is so well
un derstood against this background of guitar. But the Shakespearean context of arranged for the guitar, that the record
dev elopment of the repertoire. the composition will not necessarily help ing, though lighthearted, is actually
To commemorate Walton's 80th the listener. Henze s response to delivered in a most professional and
birt
birthday,
rarehday, Bream
for him, allows something
a re-recording fairly
of one of the the Germanis tradition
Shakespeare at its best intellectual
rather than in serious manner.
qualities The album
of spontaneity has all the
and originality,
contemporary
conte mporary masterpieces. The Five emotional in the traditions of Stratford. rare virtues in the hothouse conditions of
Bagatelles
Ba gatelles (1971) gain considerably from The characterisation of each movement is the contemporary guitar scene.
thiss digital recording, and avid students of
thi an elaborate peg on which to hang Graham Wade
41
R VI WS o n e r t s
Mills moved Jorward onto ground on own. Guitarists who attempt the Caprice
which he would, not long ago, not have No. 24 by Paganini usually succeed in
been found. t was not tha t they were well making it sound as difficult as it is
played (Mills seldom comes close to which, if not accompanied by technical
doing less) but that they were delivered breakdown, adds to the excitement and
with such intensity and conviCtion. Life, tension; Cotsiolis made it sound easier
like its musical reflection, is not all beauti than even a violinist would consider it to
ful nor does beauty always equate to be. His opening tempo seemed to invite
sentimentality; when one comes to disaster, or at least a charge of reckless
accept, and learns to handle, this situa driving, but the notes flowed with awe
tion, new doors are opened and entered inspiring freedom, crossing even position
with confidence. t is a watershed Mills shifts without the slighest trace of
has crossed in recent times and in the discontinuity. In the face of such all
crossing his
his sta ture has grown
grown.. That is no embracing virtuosity the question of
light musical matter. interpretation became almost irrelevant,
John Duarte indeed it had little time to get a word in
edgeways. Seldom has the guitar s finger
board been scoured with such con
temptuous ease. With this the programme
climaxed; the three items by Cardoso,
leading to the interval, sounded even
more limp then they would otherwise
John Mills have dodone - even in a programme of
light music. The second half was
devoted to six pieces by Albeniz, played
JOHN MILLS
(a few slack moments apart) with con
Purcell Room, London. 5 June 1982. summate ease but little warmth, the
In launching the five-recital series Music expressiveness that was certainly present
Jor Guitar, organized by the BBC in appeared to be be applied to the music
collaboration with the GLC, John Mills rather than to spring from the heart.
watchword was value for mon ey ; his Cotsiolis has a prodigious technique and
last exit to the green room came 2 hr sensitivity but, as I would have written in
1 min after his first entrance, the two 1974
19 74 - al albe
beit
it more
more emp
emphat
hatica
ically
lly,, he
he is
events separated by numerous views of inclined to lead with his mind and fmgers;
the old
old and new face s of Mills. He has in if he ever manages to involve his heart to
the past been firmly linked to the a comparable degree he will conquer the
romantic image of Segovia, not least in guitar s musical world.
his pursuit of tonal beauty, but a harder, John Duarte
post-romantic element has recently Costas Cotsiolis
entered his programming and playing
approaches. In a programme that was COST AS COTSIOLIS
part of a declared
declared International Festival Purcell Room, London. 19 June 1982.
of Light Music
Music there was naturally a t was as a juror that I first heard Costas
liberal supply of traditional Mills music Cotsiolis in 1973 (and again in 1974) as a
by Sor, Ponce, Villa-Lobos et ai, formidable competitor in the Concorso
despatched with his customary charm, Internazionale di Chitarra (Alessandria)
eloq
eloqueuenc
ncee and
and vibr
vibrat
ato
o - ththee last
last not and I had not had the opportunity to
always applied logically viz. as an orna repeat the experience since then. During
ment, but doubtless relished by those who the intervening years he has acquired a
have tried (and failed) to emulate its considerable reputation in Europe, so it
opulence. To enumerate the items would was particularly interesting to be able to
be to retravel familiar ground; to describe assess eight years of development at a
the excellences of their perfomance woul
wouldd stroke .
be superfluous, for he is a master of Perhaps remembering 1974, when
musical seduction and this kind of music we discussed the work, he opened with
is his mistress. the so-called Fantasia No. 7 of Dowland,
The new face is not without effect setting a moderate pace and presenting David Russell
on the old for there is an almost aggres the voice-leading with clarity; a few
sivee strength in Mills
siv Mills appr oach to some hiccups probably stemmed from memory DA VID RUSSELL
items o f his established repertoire, lapses, technical strain seeming as prob Purcell Room, London. 3 July 1982.
notably the minuet of Sor that must have able as snow in August. Stephen When someone mentioned light music to
been astonished to find itself attacked Dodgson was present to hear his Fantasy Sir Henry Wood he said I often wonder
with such vigour. The gentler end of the Divisions and, whilst one cannot speak on what dark musi
musicc sounds like . Bach s
new territory was inhabited by a clean his behalf, it is hard to imagine that he Chaconne is neither dark nor heavy; but
cut, four-movement onatina (of was less than delighted with the com by no conceivable stretch of the imagina
undeclared provenance) by Haydn, manding performance they received. tion can it be called light. One can only
arranged and delivered with excellent There is little in this work to help the admire the cheek of whoever it was who
style and mod
mod eration by Mills. t was in player who lacks technical mastery; deci
de cide
dedd to incl ud
udee it in a fes tival of li gh
ghtt
Reginald Smith-Brindle s Sonata No. 4 Cotsiolis has it n abundance and in the music.
La Breve and Brouwer s Canticum that following item it was to come into its In the same prog pro gr a mme we heard
42
Bernard Steven s version of the folk song point of his music is entirely musical and
in which various members of an difficult to write about in any other way.
unfortunate girl s family turn up to see Secure phrasing and impeccable techni
her hanged, all of them apparently with que made minor masterpieces out of all
their faith in British justice undimmed. three.
Not exactly Palm Court material; but And so to the old warhorse. This is
what s in a name? not the place to resurrect old arguments
The Bramble Briar is based on The about the desirability of turning good
Briary Bush, in the Sharp collection. The violin music into good guitar music. The
girl s true lover arrives in the nick of time Chaconne from the Violin Partita BWV
with enough gold to purchase her release 1004 will still be played by guitarists
(what would Lord Denning say about when the last pundit has drawn his last
that?), so all ends happily. Bernard breath in talking about it. Like Everest, it
Stevens makes an ironic comment on the is there; and there is more than one way
modality of much English folk song by to climb a mountain. Russell takes a
introducing his melody with a major poetic view, though without mysticism
scale. (no clouds around this peak). A precise
Albert Harris is remembered by an working-out of dynamics helped towards
earlier generation as a guitarist before he this clarity. Rumour has it that Mr
went to Hollywood and took to writing Russell was at one time considering a
film music. His Variations on a theme y crescendo lasting over three pages
Handel have been accorded the seal of evidence of a creative,
creative, approach, at least.
respectability in the form of a Segovia Not often are the arpeggios and scale Jorge Morel
recording. Undoubtedly light music, but a passages executed with such security.
well-jointed evocation of Handelian style to the bottom of Argentina. Where other
Accuracy plays its part in the overall
without Handelian pastiche. David impression. South American guitarists like to prove
Russell paid it the compliment of taking it themselves in Britten and Rawsthorne,
One of David Russell s strengths is
seriously and making a lot if it. Sir Robert his phrasing. One feels he could present a Mr Morellikes to demonstrate his skill in
Feuerstein is a Hungarian-speaking phrase in a number of different ways clever arrangements of Gershwin and
Rumanian who lives in Canada. His Four without losing cohesion. The effect is an Bernstein. The audience appreciated it all
Epithets are couched in the reasonably impression of spontaneity that belies the hugely, even those who had been sur
universal language of tonality, and are hard work he, like every other guitarist, prised and delighted by the same pieces at
properly short. Written six months ago, must put in. Not only you but he appears the Wigmore Hall in 1979. Black is the
colour
colo ur West Side Story Nortena Mis-
hey c onta to
tabrasiveness in demonstrate
enough harmonic
the com to experiencing
be and
time the music
that is one of thefor the first
secrets of ionera - these formed part of the pre
vious programme, as they did of this. The
poser s awareness of his times, though music-making the textbooks cannot
not enough to provide a challenge to the impart. Clarity, incisiveness, simplicity, printed programme, however, showed a
listener. Pleasant, urbane and civilized- pow
ower
er - ananyy of th
thes
esee in combinations of substantial difference. Presumably Mr
and that is no mean achievement in these one, two or even three can carry a recital, Morel wanted to give everybody another
times. but David Russell can combine all four in generous portion of what they had so
The three pieces by Emilio Pujol, a way that makes him one of the most much enjoyed on the first occasion.
who died in 1980 at the age of 94, are so exciting young guitarists on the scene. For all that, Jorge Morel is a superb
often deemed unplayable that one almost Colin Cooper guitarist, and will always be welcome in
begins to believe that they are not worth London so long as he maintains his
playing. They may not contain the attitude of spirited and joyous celebra
profoundest musical thought, but they do lORGE MOREL tion.
express their composer s devotion to the Purcell Room, London. 26 June 1982. Colin Cooper
music of his native Spain, cloaked in a Tuning problems beset the Argentinian (The choice of programme resulted from a mis
understanding between Jorge Morel and the BBC
fabric of complex guitar technique that guitarist from the outset. There was so
concerning what the latter required, and from the
even skilled piers fmd daunting. To object much activity of the snatch, twist and former s wish not to repeat items from his previous
that the technique obscures the simple hope-for-the-best variety that one feared recital in the Riverside Studios in November 1981
message of Seguidilla Tango and for Mr Morel s ability to project his - J . W . D .)
43
These are only a few of the many guitar books available from the Ashley Mark
Publishing Company. Send for your free copy o f our extensive list of jazz guitar music,
including Blues and bossa nova. Our stocks of over two hundred publications include
solos by JOE PASS, DJANGO REINHARDT, GEORGE VAN EPS, HERB ELLlS, WES
MONTGOMERY, CHARLlE CHRISTIAN, BARNEY KESSEL, JIMMY RANEY, BUCKY
PIZZARELLI, JOHNNY SMITH, SAL SALVADOR, LAURINDO ALMEIDA, BADEN
POWELL, CHARLlE BYRD, B.B. KING, JERRY REED, CHET ATKINS, JOE DIORIO - al also
so
BERKLEE COLLEGE, US USA
A JAZ
JAZZ
Z GUITAR BOOKS,
BOOKS, and GUITAR PLAYER PLAYER BOOKBOOKS. S.
fr
now for MARK
SendASHLEY your list to
PUBLISHING COMPANY, SALTMEADOWS ROAD,
GATESHEAD NE8 3AJ, UNITED KINGDOM
Jorge Morel
Plays Broadway
This second recording by Jorge Morel for
Guitar Masters features a selection of his
outstanding arrangements of popular 20th
century American music and more o f his own
compositions. Included areare West SideSide Story
Suite'-Bernstein; Variations On A Gershwin
Theme'-Morel; Prelude No 2'-Gershwin;
'Take F i v e ' - O e s m o n d ; ' Y e s t e r d a y /
Norwegian Wood'-Lennon & McCartney;
Bossa In Re -Mo re l; 'Romance'-Morel and
Oanza In E Minor'-Morel. Jorge Morel
Plays Broadway is an outstanding record by
one of today's most brilliant guitarist/
composers.
GUITAR MASTERS RECORDS GMR 1004
Available from leading record shops throughout Great Britain, Jorge Mor el- Plays Broadway
Broadway , costs £4.95;
in case of difficulty it is available direct from Guitar Masters Reco
Records
rds , a division of Summerfield Ltd,
Saltmeadows Road, Gateshead NE8 3AJ - £4.95 + £0.75 post and packing.
Delighted to hear the news. I look On hearing the news about the birth of
Over the years I have watched Great forward to reading (and contributing) to Classical Guitar: Ad Admir
mirati
ation
on - fo
forr the
the
Britain become far outclassed in classical what I know will become the magazine courage of those who undertake the pro
guitar periodicals by other countries. for classical guitarists worldwide. ject.
By now the instrument is beginning to JORGEMOREL
Respect
Respe ct - fo
forr the quali
qualificati
fications
ons of the
get an authoritative musicological New York Editorial staff and its avowed 'clean'
support we never dreamt of 25 years ago, USA policy.
and I have felt some regret that our best Hope - for the grow
growing
ing success
success of the
writers in this field have had to go abroad endeavour, and its permanence.
in order to get publication. In friendship, and with all good wishes.
I strongly hope that with Classical The future of the guitar depends not only
u ita r they will find a proper outlet in on increasing its repertoire, but also RICARDO FERN NDEZ IZNAOLA
our own country. We need just such a expanding its respectability through top Miami
mag a zine to maintain our prominence in publications and pUblicity. I am certain USA
th e guitar world. Everyone looks to that this new addition, with a superb
Bri tain for its performers. Let us hope
Britain selected staff of writers and contributors,
they
the y have reason to do the same with its will do much towards that end. I wish it
mu sicologists and publications.
publications . well. Good luck to Classical Guitar
REGINALD SMITH BRINDLE GREGG NESTOR MICHAEL LORIMER
London London California
USA
45
Magazines for guitarists are generally full About 150 years ago The Giulianiad David Russell
of news and information about the private appeared in London. This was probably
affairs of various Maestros and there is
nothing wrong in this, providing readers
the first organ to serve the guitar com
munity in that great city. In the introduc
plays
are so interested to know how much tion the Editor stated the objectives of the
sugar their beloved hero puts in his
coffee.
journal, from which I quote: To bring
their (Giuliani, Carulli, Sor and others)
Antonio Lauro
About 10 years ago in Italy, the dis compositions better to the notice of the
tinguished musicologist and guitarist Englis
Eng lish
h amateur andand profes
profession
sional
al - to
Ruggero Chiesa, with funds provided by discuss the relative merits of their
Suvini Zerboni (publishers), gave birth to developments, to instil in those who are
a magazine for guitarists Il Fronimo) just beginning, and keep alive in those
based on musical and musicological who are already advanced, an interest in
purposes; its small concern with the their instrument - and fmafmall
lly
y to prov
provide
ide
reporting of guitar 'news' has been food for a little chit-chat among the best
reduced to nothing, whilst the polemics, professionals themselves .. This
at least in the style of the editors, have magazine set a precedent in the English
related only to the subject matter , with an speaking guitar world in recording a part
approach that does credit to the civilisa of guitar history.
tion of the 20th century, and not directed Let me extend a ig welcome to this
against persons. This review has new publishing venture, and to wish you
blossomed well and I have been glad to and your staff success in preserving
contribute to it. impartial columns in this long
long tradition of
Gl ' ITAR ~ I S T E R S RECORDS m I R 1001
I am delighted to learn that a new guitar news.
publication, sharing the same outlook, is RONALD PUR CELL On this recording, the fi rs rstt devoted entirely to the
music of Antonio Lauro Lauro,, David Russetl fully captures
to be issued in Great Britain. Due to my Professor of Music, Guitar Department the authentic spirit of Venezuela as was in t e nded by
Mickey Mouse English I cannot promise California State University the composer. From the delightful rhythmic simplicity
of the nine bea b ea utifu l waltzes
waltzes,, to the dramatic excite
contributions but, if the subject of the USA ment of the Suite Venezolana', the Sonata ' , and then
magazine is music, I will remain at least to the breath -taking f ina ina le - 'Se
'Seis
is por Derecho' , this
fi rst ' Guitar Master s' recording will delight the listener
among its readers. over and over again.
ANGELO GILARDINO Withou t dOUbt this a vi d Russell recording is the
May I wish you all the best of luck in this
Italy definitive performance o f Lauro to date establishing
new publication, urgently required, I may David as one of the greatest guitar talents to have
emerged in the last few years.
add.
BRIANPENNY
be aptly expressed.
Guitar Masters
ANNUNDBACK
MAT ANYA OPHE E Secretary
B oston, Mass. Swedish Guitar and Lute Society
USA and Publisher o f S LS Recordss
Record
SA L TMEADDWS ROAD, GATESHEAD NE8 3 A J
46
,
JUAN MARTIN
JUAN MARTIN
lamenco Strings y D Addario
FLAMENCO DE CONCIERTO'
FlAJ\1Et\CO s r l ~ S
SUMMERFIELD. GATESHEAD. ENGLAND BYOI\[D\RI()
ustina
QUARTZ
GUITAR TUNER
The ustina Quartz Tuner makes
professional accuracy affordable for
everybody
This tuner packs a stable quartz oscillator and
advanced LSI circuitry into a rugged, pocket-sized
unit. The accuracy is truly amazing . . . it tunes to
within 1/100 of a semi -ton e The Justi na also
also
features a built-in microphone, input jack, a lean
stand for one-hand use, an extra-large meter, and
a battery check switch. Ifs so versatile that it can
even be used to tune against other instruments. And all for a
suggested retail price of £35.00.
T he Justina is manufactured exclusively for Zen-On, one of
Japan·s foremost music firms.
Exclusive UK distribution is through Summerfields of Gateshead
and it is available from leading music shops throughout Great Britain.
Tuning Accuracy: 1 per cent (0.06%); Tuning Range: 100 to + 2 0 0 cents (approx. 415 Hz to 490 Hz against 440 Hz = A
47
-Leopold Hagar,
General Music Director,
Salzburg Mozarteum Orch estra
The n e w Metrina
gives quartz-accurate tempos.
Anywhere, anytime.
The new Met rin a Quartz Met ro n o me sets n e w standards for
accuracy, features and convenience
Exceptional accuracy of±0.02%. Advanced quartz technology makes the Metrina
the most accurate metronome available today. Thirty - nine (39) click-stop
settings ( 40 to 2 0 8 beats per min.) for exact repeatability of tempos with no
guesswork Built-in tuning signal gives an exact 4 4 0 Hz = A. Three - way
tempo monitoring: (1) visual, (2) audible through speaker, or (3) audible through
earphone, Includes lean stand, vinyl case, earphone, and battery.
The Metrina is made for Zen-On Music of Japan. Exclusive UK distribution is
through Summerfields, Gateshead NE 3AJ and is available from leading music
shops throughout Great Britain.
re you happy?
Are you really happy with the nylon strings
you're now using? If your answer is no we
have just what you're
you're looking for Darco
Concert Classic
ongert We've
We've spent
spen t a lot of time with gu itarists
like Sabicas, Albert Valdes Blain and you, to
come u p with a nylon s tring that del ivers
ivers a
vibrant, crisp and well balan ced tontone,
e, We'
We're
re
9 l a ~ ~ i c confiden t that even
even the most critical
hands and ears will love what we have
to offer,
offer, Give us a chance
chan ce to make you
Iq \ .u r " [W/ is
happ y again,
SET 020 • NORMAL TENSION
BLACK NYLON TREBLES Ask your dea ler about Concert Classic,
(You'll make us hap py too!)
(You'll
~ ~ r
THE CF MARTIN ORGANISATION
n g s
8
9
A vailable from:
ASHLEY M A R K PUBLISHING COMPANY, SALTMEADOWS ROAD, GATESHEAD NE8 3AJ
Small
Small Ads Subscription orm
Rate is 2 0 pence per word, minimum 10 Make sure of your next copy of
words. Box number 50 pence extra. lassical Guitar by subscribing now
Ignacio Fleta concert guitar. 1980. Superb and very power Classical Guitar
ful instrument. Offers to Box 9101.
Ashley Mark Publishing Company
Bryn Jones Rubio workshop concert guitar 1978. £950
Saltmeadows Road, Gateshead
with case. Tel 021-426 1084. Tyne and Wear, United Kingdom NE8 3AJ
Classical Guitar made by Taurus of Spain £440. Tel
Templecombe (Somerset) 70323. Please send me the next 6 issues
Ten String Classical Guitar - Mitsura Tamura, cost £900
with case - as new sell £650.00. Tel (0632) 813166. beginning with , ,.,,,
Name,
Address .
GARETH BALCH BMu s (Hons, London)
Teacher in Guitar, Uni versity College, London
Subscription rates
I HAVE VACANCIES FOR KEEN STUDENTS, United Kingdom: £5 50
BEGINNER TO ADVANCED, AT THE Overseas: £5 75
Airmail: USA, Canada, South America,
BLOOMSBURY THEATRE, South Africa £11 75
GORDON ST, LONDON WC1 Airmail: Australia, New Zealand
and The Far East £12 75
- GRADE THEORY GCE COACHING ALSO TAUGHT Airmail: Middle East £9 50
50
BY
MAURICE J. SUMMERFIELD
AVAILABLE NOW
PLEAS
PLEA Great Britain
S E ADD £ 1 . 2 0 TO COVER NE8 3AJ
POST AND PACK I NG
AIR M A IL £ 8 . 0 0
_ t
JORG M:OREL
Printed by CampbeU Grap hics Ltd Newcastle upon Tyne NE6 AS lInd Suit e 108
108 Tem ple Chambe
Chambers
rs Temple Avenue London
L ondon EC4 TeL 01-583 3190 ;