0

GUITAR NEWS- The Official Organ of the

INTERNATIONAL CLASSIC GUITAR ASSOCIATION

No. 114 Single copy price 20p (U.S.A. 60c.) 0CT./DEC., 1971

AUSTRIAN GUITARIST

Pho to: Fo tojeck

KONRAD RAGOSSNIG
2 GUITAR NEWS 0CT. / DEC., 1971

CONTEMPORARY GUITAR MUSIC

A ne w serie s o f o riginal work s e dited by

ANGELO GILARDINO
J ean ABSI L-Contrastes (two guitars)
- Sur un paravent chinois
Hermann AMBROSIUS-lmpressionen
Den is APIVOR- Discanti op. 48
Herbert BAUMANN - Toccata, Elegia e Danza
Bruno BETTINELLl-lmp rovvisazione
Ja,m il BURGHAUSER- Tesknice (Canti dell 'ansieta)
Mario CASTELNUOVO-TEDESCO-Cap r ic hos de Goya (in four volumes)
- Passacaglia o p. 180 (Omaggio a Roncalli)
- Vari ations plaisantes sur un petit air po pulaire op. 95
John W. DUARTE-Greek Suite (two guitars)
- Five quiet songs (voice and guitar)
- Prelude, Canto and Toccata
- Suite piemo ntese
- Va riatio ns o n a French nursery so ng (two guitars)
Thomas EASTWOOD- Amp ho ra
Ferenc FARKAS-Cin q ue canzoni dei trovatori {voice and guitar)
- Six pieces breves
Johan FRANCO-Three prayers
Angelo GILARDINO-Canzone notturna
Friedrich Karl GRIMM-D ue pezzi op. 150
Hans HAUG-Al ba
- C o ncertina (guitar and chamber o rchestra)
- Pre lude, T iento et Toccata
- Pre lud io
Armin KAUFMANN - Rh apsody o p. 97
Herbert LUMBY-Pre ludio e Capriccio
Franco MARGOLA- Leggenda
Jost MEIER- T ro is reflets
N ilo PERALDO- BERT- Due improvvisi
G iuseppe ROSETTA-Preludi per Gilardino
- Preludio , Barcarola e Scherzo
- Sonati na
- W eissiana (O maggio a L. S. Weiss)
A n tonio RUIZ-PIP6- Estancias
- Cantos a la noche (voice an d guitar)
Guido SANTORSOLA- C inco preludio,
- Cuatro tient05
- Sonata
- Vais romantico
Henri SAUG U ET- T rois prelude,
Richard STOKER-Impro vi sation
Alexandre TANSMAN -Pezzo in modo antico
Thomas WILSON -Three pieces
P ierre WISSMER-Partita

\
Published by : EDIZIO N I BERBE N
V ia Redipuglia no. 65
60100 ANCONA , Italy

F ree catalogue on request

OcT./DEc., 1971 GUITAR NEWS

KONRAD RAGOSSNIG
RESS reports from Teheran (Persia-Iran) and also from Cairo and
P Alexandria (Egypt) proclaim the success of a concert tour of the
Near East by Konrad Ragossnig. The recital at Teheran was in the
Faculty of Fine Arts Hall under the auspices of Teheran Philharmonic
Society. Jn Egypt His Excellency the Austrian Ambassador presented
this distinguished Austrian guitarist. The programme included music by
Frescobaldi, an anonymous l 7th-century English composer, Von Einen,
Bach, Sor, Turina, Granados and Villa-Lobos. To quote the critic A. T.
Zand in The Teheran Journal "the recital was a pleasure from beginning to
end ... "

ANGELO GILARDINO
URING May and June the young Italian guitarist, Angelo Gilardino,
D gave a series of guitar solo recitals arranged by the cultural organiza-
tion "The Centro Sociale di Educazione Permanente". These
recitals took place in the ancient churches of Piemonte. His programme
included Alba and Tiento (Hans Haug); Pezzo in Modo Antico (Tans-
man); Romance de los Pinos (Torroba); Volo d'Angeli (Castelnuovo-
Tedesco); Suite in E minor (J. S. Bach), transcribed for guitar by Jose
Tomas; Sur un paravent chinois, four pieces for guitar inspired by Chinese
music (Absil), and Suite Piemontese (Duarte). From one report in "La
Sesia" of Vercelli we quote: " ... During two hours, Angelo Gilardino
played with excellent mastery a very fine programme. We found a
Gilardino with an exquisite sensibility and his technique, constantly im-
proving, appears nearly perfect ... "

1972 GUITAR CONCOURS, PARIS

OR the 1972 concours there will be two sections: the first for inter-
F pretation and the other a composition for guitar solo. For full
details send at once to Concours International de Guitare 1972,
Office of RTF, 116 avenue du President-Kennedy, Paris 16e. France. The
closing date for registrations is Dec. 31st 1971.

FORTHCOMING CONCERT
N October 10th in Queen Elizabeth Hall, London, England, at
O 7.15 p.m. the guitar duo Evangelos and Liza will play a wide-
ranging programme of guitar music.
4 GUITAR NEWS OcT./DEc., 1971

MAURO GIULIANI
Bi:rth and Death Dates EstabHshed
By Thomas F. Heck (U.S.A.)

ONFUSION regarding the date and place of Mauro Giulian i's birth
C and death has reigned for many years in the standard biographical
dictionaries of musicians. This is because no one, so far, has been
able to establish these dates with hard and fast documentation. As
early as 1836, two distinct biographical "traditions" can be discerned.
The first would have this guitarist/composer born in Bologna around
1780, and still alive and well in St. Petersburg in the 1830's. The second
states that he was born in Barletta (near Bari, Italy) in 1781, and died
in Naples in 1828.1 It turns out that neither of these stories is entirely
accurate, but the latter proves closest to the truth.
Recently, working in close co-operation with this writer, Rev. Donato
Lionetti of Barletta was able to locate the baptismal certificate of- not
Mauro, but- Michel Giuliani (1801- 1867), son of Mauro, in the archive
of the Church of Santa Maria in Barletta. It says :
Michel Giuseppe, natural and legitimate son of Don Mauro Giulian[i]
of Biscegli[e] and of Donna Maria Giuseppa del Monaco, daughter
of Gaetano of Barletta, spouses. Baptised here on 20 May 1801 by
Rev. Giuseppe Virgilio with permission of the Rev. Pastors. The
godfather: Major-domo Gregorio Spera, Notary. Born here on the
17th of [May]. 2
This suggests that Mauro Giuliani (misspelled "Giuliano" in the
original) was of high birth, or a "Don". He must have moved from his
home town of Bisceglie (misspelled "Bisceglia" in the original) some
22 km. to Barletta when he married Donna Maria Giuseppa del Monaco.
They had to secure the permission of the pastors of their respective
parishes to baptise their son at the Church of Santa Maria.

Giuliani's Birth
Rev. Lionetti travelled next from Barletta to Bisceglie to look for
the baptismal record of Mauro Giuliani. He was able to find it, despite
(See Page 6)
OCT./DEC., 1971 GUITAR N EWS 5

PLATE I - Baptismal act of Michel Giuliani, son of Mauro,

born in Barletta, 17 May 1801.

PLATE II - Baptismal act of Mauro Giuliani,

born in Bisceglie, 27 July 1781.
6 GUITAR N EWS OcT./DEc., 1971

its not being indexed, in the archive of the Church of Sant' Adoeno.
It translates:
Today, 28 July 1781

Mauro Giuseppe Sergio Pantaleo, legitimate and natural son of

Michele Giuliano and of Antonia Tota, spouses, born here on the
27th of this month, has been baptised by Don Francesco Saverio
Palanusio of Genosa, with permission. The godfather was Signor
Don Riccardo Tupputi.
Canon Mauro Palumbo, Coadiutore. 3
The same Rev. Lionetti reports that there were two churches (Sant'
Adoeno and St. Matteo) and a cathedral in Bisceglie in the 18th century.
The cathedral is named for Saints Mauro , Sergio and Pantaleo. Hence
it is easy to see that these patrons directly inspired our guitarist/composer's
string of Christian forenames. Similarly, Mauro's brother, Nicholas,
who went to St. Petersburg in the early 19th century as a voice teacher
and composer of Italian operas, probably derived his Christian name
from none other than Saint Nicholas, whose bones lie in the cathedral at
nearby Bari, Italy. Incidentally, Bari was for this reason a site of frequent
pilgrimages by pious Russians in the 18th century.
There can be no doubt that this document is, in fact, the one which
music historians (and guitarists in particular) have been seeking for over
a hundred years. The generations from father (Michele) to so n (Mauro)
to grandson (Michel), represented by both registers taken together, com-
plement perfectly the letters and other primary documents which have
come down to us. Thus the riddle of Mauro Giuliani's birth place and
date is finally solved. He was born in Bisceglie, Italy, on 27 July 1781.
Credit for unearthing these baptismal writs, and the gratitude of all of
us who have sought this proof heretofore in vain, must go to Rev. Donato
Lionetti, a priest of the town of Barletta, Italy.

Giuliani' s Death

After a successful career as a composer and guitarist in Vienna,

1806-1819, Mauro Giuliani travelled to Rome. From there he moved to
Naples, and the patronage of the court of the Kingdom of the Two
Sicilies, in 1823. Reports of his concerts in and around Naples appear
OcT./DEc., 1971 GUITAR NEWS 7

in the official Giornale de! Regno delle Due Sicilie between 1823 and 1828.
Then there is no mention of Giuliani until 14 May 1829, when the Giornale
carries the following death notice:
On the morning of the eighth of this month [May 1829] Mauro
Giuliani , the famous guitarist, died in this capital. The guitar was
transformed in his hands into an instrument similar to the harp,
sweetly soothing men 's hearts. He is survived by a daughter of
tender age [Emilia], who shows herself to be the inheritor of his
uncommon ability- a circumstance which a lone can assuage the
sadness of this loss. 4

NOTES
1 These traditions are exhaustively traced to their sources (Schillings' Encyclopiidie and
lsnardi 's article in L' Omnibus of Naples, 30 April 1836, respectively) in my dissertation , "The
Birth of the Classic Guitar and its Cultivation in Vienna, Reflected in the Career and Com-
positions of Mauro Giuliani (d . 1829)," Yale University, New Haven, CT., 1970.
2 All translations are the author's. The original document , reproduced in Plate 1, is
found on p. 11 7 of the baptismal book for the year 1801 , Church of Santa Maria, Barletta.
3 Mauro Giuliani's baptismal act, reproduced in Plate 11 , is taken from p. 112 of the

baptismal regi ster for the years I 776- 1784, Church of Sant'Adoeno, Bisceglie.
4
Op. cir., p. 444: " Nella mattina degli otto del corrente trapasso in questa Capita le
Mauro Giuliani , famoso suonator di ch it arra , che si trasformava nelle sue ma ni in un istru-
mento emulo dell'arpa , dolcemente molcendo i cuori. Egli ha lasciato una figlia di tenera
eta che mostra di essere erede della sua abi lit a non comune; circostanza che sola puo rattem-
perare ii dolore di questa perdita. " As far as this writer knows , the late Romolo Ferrari was
the first man to discover Giuliani 's death notice. Shortly before his own death in 1959,
Ferrari is reported to have published it in L'Arte chitarristica. Then Bruno Henze supposedly
picked it up and incorporated it into the foreword of his edition of a Giuliani concerto. Next
J6zef Powrozniak published it in his book , Gitara od A to Z , in 1966. This writer learned of
Giuliani's 1829 death not ice through Powroiniak , and then located the source for confirmation .

JULIAN BREAM

T H E major new work in Julian Bream's programme at the Queen

Elizabeth Hall , London, on May 16th was "Fantasia opus 107'' by
Malcolm Arnold, written twelve years afte r his "Guitar Co ncerto".
The composer has undoubtedly been experimenting with the resources
of the guitar though in a strictly musical way without spoiling the cohesion
of the work. The m ovements are prelude, scherzo, arias, fughetta, march
and postlude .
Together with Fricker's Paseo and Three Tientos by Henze this made
up a very substantial offering of modern music played with expert artistry.
Other items in this distinguished programme were by Silvius Weiss,
R . de Visee, Diabelli, R odrigo (Invocation et Danse) and Granados, with
Villa-Lobos as encore music.
8 GUITAR N EWS OcT./ DEc., 1971

DIMITRI FAMPAS

T HE Guitar Festival of Beverwijk, near Amsterdam, Holland, opened

on May 29th and lasted four days. Dimitri Fampas played a
recital of guitar solos at the inaugural meeting of the Festival before
an audience of 500 people at the Sporthal and a second recital at the Hall
of the School of Music. He also gave instruction to beginner guitarists
each day of the Festival. The Duo, Lisa and Evangelos, also took part in
this Festival.
On June 3rd he gave a recital at the famous Concert Hall- Concert-
gebouw, where many of the greatest musicians of the world have
performed.
Two days later he was in London with his pupils Paul and Dimitri
Cavouras for a recital at Wigmore Hall. These promising young guitar-
ists, aged 16 and 14 respectively, are already well-known in Greece for
their recitals and a series of seven broadcasts of music for two guitars on
television.
They opened the programme with a Divertimento by Sor, Chaconne
in G with 21 variations (Handel), Prelude and Fugue Elegiaca (Castelnuovo-
Tedesco), Fantasia in C minor (Fampas) and Variations Concertante
(Giuliani).
The technique and co-ordination of this young duo won praise from
audience and critics who also appreciated their phrasing and tone-colour,
especially in the more modern music.
The second part of the concert consisted of solos by Dimitri Fampas,
whose mature artistry and musicianship was at its best in Bach's Fugue
in A (from Sonata No. I). The Times critic, Max Harrison , wrote " A
Bach Fugue was delightfully clear and buoyant, also, and here was a guitar
recital in which one actually wished for more, not fewer, transcriptions
from Johann Sebastian." The other solos in the Fampas recital were the
Sor-Mozart Variations, R. de Visee's D minor Suite (8 movements),
Torroba's Sonatina, Pujol's Guajira and Greek Suite No. 4 in D by
Fampas. The audience insisted on more, so they were asked what pieces
they would like to hear. The requests were "Recuerdos de la Alhambra"
(Tarrega), Prelude No. 1 by Villa-Lobos and something by Turina. The
latter was requested by a very young lady but she had to be content with
Menuette by Rameau instead.
Oc T./D Ec., 1971 GUITAR N EWS 9

PATRICK GAMBLE MEMORIAL CONCERT

HE Parish Church of the Cotswold village of Randwick was filled to
T capacity (140) on the last Saturday evening in June for a tribute in
music to the memory of Patrick Gamble, linguist, guitarist and for
many years president of the committee of I.C.G.A.
Mr. Gamble lived at Randwick and not long before his death had
played a concert of guitar music in the Church with his friend Harold
Dench. Naturally Mr. Dench was one of the soloists at the memorial
concert. Other soloists included Mr. Gamble's eldest daughter, Elizabeth
Conteur (piano), Elizabeth Baker (soprano), sister-in-law, Christopher
Smith (violin), Pamela Presland (clarinet), Yvonne Dyeball (piano),
Haydon Sutton (baritone), Ronald Morrison (organ) and Florence
Blackmore (piano).
The guitar was heard in solos by Bach, R. de Visee, Granados and
Tarrega, al so in Weber's songs with guitar; Telemann' s Sonata in Canon
and Scheidler's Sonata for violin and guitar. Other music included a
Prelude and Fugue by Bach, Fantasia by Schumann (piano) and Schubert's
" Shepherd on the Rock" for voice, clarinet and piano.

LIFE-COLOUR
a collection of th irty poems including a special section of verses
relating to the guitar, by

Wilfrid M. Appleby
As naturalist, guitarist, educationist and petrologist Wilfrid
Appleby is well known in a variety of different fields, but
although he has been writing poems for many years, and a
large number have been included in magazines and anthologies
throughout the world, Life-Colour is his first published collection .
Give your friend a copy for Christmas or Birthday.

Bound in cloth, 60p. U.S.A. and Canada $2.00 (including postage)

THE MITRE PRESS

52 Lincoln's Inn Fields, London, WC2A 3NW
10 GUITAR N EWS Ocr./DEC., 1971

PURLEY GUITAR SOCIETY

T HE June meeting of the Purley (England) Guitar Society began with

some interesting and varied contributions from the following mem-
bers; Raymond Love and Peter Barratt (duets), Peter Martin,
William Rhys, John Finn, John Canning and John Frazer. After an

Chery[ Grice
interval for refreshments, Gordon Crosskey, who was a founder member
of the Society, presented the last guest artiste of the season, Cheryl Grice,
OCT./DEC., 1971 GUITAR NEWS 11

who has been his pupil ever since she took up the guitar at the age of nine.
On this occasion her programme was as follows :- Melancholy Galliard
and My Lady Hunsdon's Puffe (Dowland); Study No. land Prelude No. 2
(Villa-Lobos); Prelude (Bach); Introduction and Allegro (Sor); Alman
(Johnson); Mounsiers Almain (Batchelar); Study in A and Tremolo Study
(Tarrega) and Fandanguillo (Turina). In playing each item Cheryl
demonstrated a strength of technique and an intelligence of interpretation
well beyond her years.
It was indeed a performance to remember, and all who heard it will
look forward with confidence to her success in her chosen career as a con-
cert guitarist.
Cheryl is now in her first year at the Royal Manchester College of
Music where she is continuing her studies with Gordon Crosskey. Al-
though only seventeen, Cheryl has already given many full length recitals
throughout the North of England , including a recently highly successful
performance of Rodrigo's "Fantasia for a Gentleman" with the West
Riding Orchestra. An extract from one of her recent broadcasts was
selected for inclusion in the radio programme "Pick of the Week" .
- P. J. S . Bromley-Barratt

NEW CLASSIC GUITAR MUSIC

CO 178 Harris, Sonatina $2.00
CO 183 Duarte, For My Friends $2.50
CO 185 Gomez-Crespo, Nortena $1.00
CO 175 D ebussy-Zarat e, Clair de Lune (2 Guitar s) $1.50
CO 182 P once-Zarat e, Five Pieces (2 Guitars) $3.00
CO 181 Concerto in D-Vivaldi
Adapted fo r Guitar Solo by Charlie Byrd $2.00
CO 184A V ol. I and CO 184B V ol. II each volume $2.50
Nine Sonat as by D ominico Scarlatti
Transcribed for Guitar by Carlos
Barbosa Lima.
All nine sonatas have been recorded by Mr. Barbosa Lima on A /DT 20005
Price of record $5.95

COLUMBIA MUSIC CO.

P .O. Box 19126, Washington , D .C ., 20036 USA
12 GUITAR NEWS OCT./DEC., 1971

GUITAR MUSIC
Carey Blyton
To guitarists the word BREAM instantly brings to mind the name
Julian Bream, world-famous guitarist, but it is also the name of a village
in Gloucestershire and the name of a fish. Isaak Walton in "The Compleat
Angler" called fresh-water bream "a large and stately fish." There is also
a sea-bream, which is a quite different species of fish.
When, in 1967 Carey Blyton composed a guitar solo for Julian Bream
he punningly chose for its title "The Bream" , quoting Isaak Walton's
description. Moreover, the music is reminiscent of the stately fish- "slow
and majestic" , "steady and smooth" etc. being among the indications of
expression.
Carey Blyton was born at Beckenham, Kent, in 1932. His first
interest, science and zoology, was gradually overtaken by an increasing
interest in music. He entered Trinity College of Music, London in 1953
and during four years there won all three college diplomas (Associate,
Licentiate and Fellow) plus the Sir Granville Bantock prize for
composition.
Jn 1957 he obtained a B.Mus.(London) degree and won a scholarship
for 10 month's special study at the Danish Conservatory, Copenhagen.
Since June 1963 he has been on the professional staff of Trinity College
of Music and has freelanced as composer, arranger, lecturer etc.
"The Bream" was entered for the 10th International Guitar Com-
petition (1968) of ORTF, Paris. Although no prizes were awarded by
the jury "The Bream" was given " la premiere mention". It was first
performed in Paris on October 17th, 1970 by Turibio Santos, who also
gave its British premiere at the Purcell Room , London on November 2nd
1970.
It has been published by Editions Max Eschig, Paris.

Barna Kovats
MinutenstUcke for Gitarre consists of six one-page movements of
guitar music in modern style, published by B. Schott's Sohne, Mainz,
Germany.

Hector Quine
Oxford University Press has published a collection of eight pieces
of "Modern Guitar Music" by British composers in one volume edited
by Hector Quine. They are Arlecchino (Martin Dalby), Saraband
OCT./DEC. , 1971 GUITAR NEWS 13

(Stephen Dodgson), Bagatelle (Sebastian Forbes), Ghetto Song (Joseph

Horovitz), Toccata (Wilfred Josephs), Waltz (Bryan Kelly), A Sad
Humoresque (Phyllis Tate) and Pastoral (Richard Stoker). A very interest-
ing and welcome album.
Hans Eklund
"5 Pezzi per chitarra"- Five pieces for guitar solo have been com-
posed by Hans Eklund of Sweden , edited by Ulf G. Ahslund and pub-
lished under one cover by Reuter and Reuter, Stockholm. Interesting
but not too difficult music.
Dimitri Fampas
"Valsa de Brasilia", an entertaining solo for guitar by the Greek
guitarist-composer has been published by Ricardi , Sao Paulo, Brazil.

Arthur Passos
The same publisher has produced "Danr;a Exotica" by Arthur
Passos. Both these solos are dedicated to Ronoel Simoes.

Santiago Navascues
The publishers Biblioteca de la Guitarra, W. Germany, have pro-
duced a number of items for guitar solo transcribed and edited by
Santiago Navascues. fn the case of transcriptions from vihuela and
other instruments the original is given line by line with the transcription.
Moreover there are informative introductory notes in Germany, English,
French and Spanish.
The series includes Pavanas 1, 3 and 6 by L. Milan; Fugue, Praludium
- both from lute- by J. S. Bach; Asturias (Leyenda) from piano-
I. Albeniz; also items by Sor and Tarrega revised and fingered by
Navascues.
Miguel Abloniz
Two transcriptions for guitar solo by Miguel Abl6niz have been
published by Berben, Ancona, Italy. They are the famous piano solo
"Sevilla" from the Spanish Suite by Isaac Albeniz and (separately) a
graceful Adagio by Alessandro Marcello from his concerto for Oboe
and string orchestra.
Angelo Gilardino
It would be impossible to even list all of the items of music for
guitar which the industrious Angelo Gilardino has revised and fingered
14 GUITAR NEWS OcT./DEc., 1971

for Edizioni Musicali Berben , 1taly. There are more than 40 waiting
to be reviewed , but space permits only a few of them to be mentioned
in this issue. Readers interested in obtaining others should write to
Berben for a list which contains also guitar music by other arrangers
and composers. Here are some of the composers whose music appears
under the direction of Angelo Gilardino: Castelnuovo-Tedesco (Caprichos
de Goya etc.), Coste (Studies), H. Ambrosius, A. Ruiz-Pi po, G. Santorsola,
G. Rosetta, N . P. Bert, Hans Haug, H. Baumann, A. Tansman, D.
Apivor, J. Abril, F. Margola- and many others.
An original composition by Angelo Gilardino is "Abreuana" com-
posed in 1971 for the Brazilian guitarist, Sergio Abreu.
Carlos Barbosa Lima
Eighteen of Domenico Scarlatti's Sonatas have been transcribed
for guitar solo by Carlos Barbosa Lima and published in two volumes
(9 in each) by Columbia Music Co., Washington, D.C. This is a very
welcome addition to the transcription music of the guitar for there
can be no doubt that Domenico Scarlatti was subconsciously influenced
by the guitar even if he did not actually play it.
Carlos Barbosa Lima was born in 1944 at Sao Paulo, Brazil and the
success of his first tour of North America in 1967 led to his studying
under Segovia first at Santiago de Compostela and later for private
instruction in Madrid. He has recorded a Scarlatti Recital for ABC-
Dunhill.
John Boda
"Quatres Etudes Byzantines" (4 Byzantine Studies)-a suite of
solos for guitar was written in 1969 by John Boda. It has been fingered
by Mario Abril and published by Columbia Music Co. in their Con-
temporary Guitar Series. Jt is not so difficult as some other contemporary
guitar music.
Evert Taube and Gunnar Hansson
Two pieces of Evert Taube's music have been transcribed for guitar
solo by Gunnar Hansson who has written a 'pre-study' before the second
piece, a Nocturne. These pleasant little pieces have been published
(together) by Anderssons Musik, Malmo, Sweden.
Karl Scheit
Four items of solo music for guitar by Silvius Leopold Weiss (1686-
1750) have been edited by Karl Scheit for publication by Universal
Edition. They are "Angloise ', "Tombeau" (Comte d'Logy), "Fantasie" ,
OcT. / DEc., 1971 GUITAR NEWS 15

"Menuet-Sarabande-Menuet". Karl Scheit has also edited an album

of "Complete Technical Studies" of Francisco Tarrega, and two items
by Ferdinand Sor, "Menuetto" and "Four Easy Pieces from op. 35"-
all published by Universal Edition.

Guitar and Piano

Here are two welcome items for piano and guitar. The pianist
should in both cases realise that at the time they were written the piano
was a much less powerful instrument than its modern counterpart and
it is necessary for him to respect the dynamic possibilities of the guitar
if a balanced rendering of the music is to be achieved. The items are
Divertimento op. 38 by C. M. von Weber and Sonatine by Anton Diabelli,
both arranged by Karl Scheit and published by Universal Edition.

Music for Two Guitars

Those who like playing the guitar in duo will be glad to know that
more music for duo is being published . 'Divertimento for Two Guitars"
by Miguel Abl6niz is based on the 17th century English song: "Early
One Morning". The melody line is well divided between the two players.
Published by Berben, Ancona, Italy.
Jorge Martinez Zarate has transcribed Five Pieces by Manuel Ponce
for two guitars- Scherzino Maya, Arruladora Mexicana, Intermezzo,
Scherzino, Scherzino Mexicano. Also, he has transcribed Debussy's
"Clair de Lune" for two guitars. The latter item has a cover designed
by Vladimir Bobri. Both items are published by Columbia Music Co.,
Washington D.C., U.S.A.
Three pieces of music by John Bull have been arranged for two
guitars by Hector Quine and published by Oxford University Press.
The items are Alma, Gigge and Bull's Goodnighte-all in one cover.
Some of Herman Strategier's Ten Short Pieces for one or two
guitars are very elementary but the last few pieces for two guitars are
more suited to average accomplished guitarists. The album is published
by Harmonia-Uitgave, Hilversum, Holland.
Karl Scheit with Erwin Schaller are responsible for the delightful,
but not too difficult arrangement for two guitars of Mozart's Waldhorn-
duetten from K.V.487. This is published by Doblinger, Munich, Germany.
Other arrangements by Karl Scheit, published by Universal Edition
include Duo for Two guitars, op. 34, by Ferdinand Sor and Sonata D-dur
by Ch. G. Scheidler which can be played on two guitars or violin and
guitar.
16 GUITAR NEWS 0CT./DEC. , 1971

CLASSIC GUITAR SOCIETY OF AUCKLAND

NEW ZEALAND
N June 20th Denis Vulinovich gave a solo recital as follows: Six
O Lute Pieces (trans. Chilesotti); Prelude in D minor (J. S. Bach);
Four Etudes (Nos. 1, 5, 14, 17) Sor; Prelude, Mazurka (Tarrega);
Sonata in E minor (Scarlatti); Prelude No. 1 and Etude No. XI (Villa-
Lobos); Preludes Nos. 6 and 4 (Ponce); Arada, Fandanguillo from suite
Castellana (Torroba); Tonadilla on the name of Segovia (Castelnuovo-
Tedesco); Asturias (Albeniz).
On July 18th another solo recital was given by Martin Caheigh.
He included Three Lute Pieces (Chilesotti); Andante Largo (Sor); La
Alborada and Capriccio Arabe (Tarrega); Prelude, Sarabande and Bourree
(J. S. Bach); Preludes 3 and I and Etude No. 8 (Villa-Lobos); Jdillio
(Sainz de la Maza) ; Venezuelan Waltz (Lauro); Sonatina (Torroba). On
October 17th James Loomes will be the recitalist.

"ROMANCERO GITANO"- AND A NEW GUITARIST

HEN Mario Castelnuovo-Tedesco composed his "Romancero
W Gitano" for choir and guitarist he must have realised the tremen-
dous difference in volume between grouped voices and a single
guitar, so, while agreeing with the perfectionists that the guitar is heard to
best advantage without amplification, there are occasions when the
microphone is absolutely necessary even if some of the more delicate sound
has to be sacrificed.
The Auditorium of the Sao Paulo Museum of Art was completely
filled (500) on May 10th for the first performance in Brazil of this work
given by the Choral Group of the Jtalian- Brazilian Institute, with guitarist
Dagoberto Linhares Jr., under the direction of Prof. Walter Lourenc;ao.
The audience accorded a standing ovation to the successful perfor-
mance and the critics of the press advised further performances of this
music and , if possible, a recording.
The guitarist, Dagoberto Linhares won special praise from a leading
critic, Dr. Jose da Veiga Oliveira who wrote that "There can be no doubt
about the brilliant future of this young guitarist, because he is a born
artist."
Dagoberto, who is now seventeen , began his study of music at the
age of nine und er Maria Livia Sao Marcos, the well-known concert gui-
tarist. He is now continuing his studies under the guidance of her father,
Manoel Sao Marcos.
OCT./ DEC., 1971 GUITAR NEWS 17

DAGOBERTO LINHARES

PUPILS' CONCERT
concert of guitar music was given by pupils of Abel Nagytothy-Toth
A at the College of Music, Sainte-Croix, on April 25th. Works by
Logy, Weiss, Bach, Moretti, Sor, Villa-Lobos and Albeniz were
performed by L. Begin , J. L. Boudreau, A. Cote, N . Demers, M. Giroux,
P. Lepine, G. Pinard and J. L. VanVeeren.
18 GUITAR N EW S OcT./DEC., 1971

FOR THE GRAMOPHONE

ERATO (Panorama de la Guitare- 8) Stereo STU70647
Les Baroques- Konrad Ragossnig.
Record No. 8 in a series of records of guitar music, all being produced
under the direction of Robert J. Vidal, includes music by Frescobaldi ,
Froberger, Purcell, Rameau and Handel. Most concert guitarists play
early music, but few have the depth of feeling and innate sensibility for the
nuances which lift the performance to a level that can be considered near
perfection. The degree of sensibility shown by Ragossnig rates him, at
least on wax, in the same musical perspective as Julian Bream. If live
performance confirms the standard shown in this recording, here is truly a
fine guitarist.
Two further recordings of Ragossnig are :-
ERATO (Panorama de la Guitare- 3) Stereo STU 70504
Luth, Guitare et Orgue- Konrad Ragossnig, and Hanni Widmer (organ)
Guitar and organ- unusual, to say the least, but surprisingly well
recorded. The organ is 'carefully' played by Hanni Widmer. Musically,
an interesting record .

HARMONIA MUNDI Stereo HM 30 327 I

Flote & Laute in Renaissance und Barock- Konrad Ragossnig
Hans-Martin Linde
(recorder)
An unfortunate title for a record that has a great deal of guitar and no
actual flute playing. Even so, words can hardly express the delightful
musicianship and flawless recorder playing of Hans-Martin Linde. This,
combined with the sensitive playing of Ragossnig, will please all who have
a liking for early music. Composers include Dowland, Johann Jacob Van
Eyck, Telemann, Bach, Handel and anonymous composers.
ERATO (Panorama de la Guitare- 5) Stereo STU 70566: Turibio Santos
Villa-Lobos: Concerto for Guitar and Orchestra
Sextour Mystique for flute , oboe, saxaphone, guitar,
celesta and harp
Complete Preludes.
ERATO (Panorama de la Guitare- 1) Stereo STU 70496: Turibio Santos
Villa-Lobos : Twelve Studies for Guitar
The accredited interpreter of Villa-Lobos, Turibio Santos, records on
OcT./DEC., 1971 GUITAR N EWS 19

these two discs all the guitar music of Villa-Lobos with the exception of
Choro No. I, and Suite Populaire Bresilienne. The Concerto is well
recorded, and the remaining items on the record are carefully performed.
Possibly the twelve Studies will interest guitarists most. Nos. 1, 5, 7, 8
and LO are often heard, and comparison of interpretation easily made.
Nos. 2 and 3 are little played, and, though difficult appear simple when
played by Santos. Nos. 4, 6, 9 and 11 could well be offered for public
hearing more frequently. Study No. 12, though very simple in construc-
tion, is most exciting to listen to- perhaps the most under-rated study by
Villa-Lobos, and should certainly be heard more frequently. A thoroughly
excellent performance all through. NOMAD

PLAINFIELD NEW JERSEY

UTT AR students of Thomas Anthony presented a concert in North
G Plainfield, New Jersey on April 25th. Preceding the programme
plans were finalized for the formation of a guitar society. The
programme included: Barcarolle (Bellow) played by Louis Giddings;
Bouree (Bach) and Prelude No . l (Villa-Lobos), Mark Wehof; Spanish
Dance No. 5 (Granados), Sherid Bearder ; Prelude, Sarabande and Bouree
(J. S. Bach), Fandanguillo (Turina) and Prelude No. 4 (Villa-Lobos), Bruce
Donnehouer; Sonata in E minor (D. Scarlatti), Joe Zelman; Fantasie
No. 10 (Mudarra), Pavanne (Sanz), Suite Miniature and Five Diversions
(Bellow) and Leyenda (Albeniz), Michael Newman .

AMERICAN GUITAR SOCIETY

T a meeting in Long Beach, California, on August 7th, during an
A Evening of Serenades, guitar solos and duos were played. The
soloists were Robert G. Bennett who played Serenade in the Night
(Cherubini-Bennett); Jerry Anderson playing Serenata (Ferrer) and Choros
Typico (Villa-Lobos) and Robert Vaught who transcribed Serenade
(Daniel Gottlob Tilrk) and who also played Serenata Burlesca (Torroba).
The duo consisted of a classic and a terz guitar played by Vahdah Olcott
Bickford and Thomas F. Heck. They played the first American perfor-
mance of " Je pense toi" by Johann Kaspar Mertz.

TOWN HALL, BIRMINGHAM

On Tuesday, November 9th at 7.45 p.m. Julian Bream will give a
guitar recital at the Town Hall, Birmingham, (England).
20 GUITAR NEWS OCT./D EC., 1971

SOUTH TEXAS GUITAR SOCIETY

"AMIGOS de la Guitarra Clasica" was founded by Jeremy and Ruth
Mock at Edin burg, Texas, U.S.A. Members include Pan Ameri-
can University students. The purpose of the organisation is to
promote the classic guitar and chamber music through the classic guitar in
South Texas.
On July 3rd the music played by duo guitarists Jeremy and Ruth
Mock included Julio Sagreras Etudes; Preludio No. 15 and Lagrima,
Tarrega; Romance Antiguo, att. Cano; Estudio No. 18, Carulli; Sonata
D maj. , Scheidler arr. Scheit.
Chamber music with young guitarists from the age of five is held
daily. There are also classes for instruction. Ruth arranges quartets
from the Julio Sagreras method at the level of the children. A children's
concert was held on July 20th at which Melody Lynn Mock, aged five,
played Sagreras duos with her mother who had arranged the music.
Edinburg is just north of the Mexican border. Friends of the classic
guitar and those who like to play chamber music are invited to stop as they
travel to Mexico (see Members' Announcement).
RENE BARTOLI
ENE Bartoli, who made his London debut at the Wigmore Hall on
R July 6th, has been acclaimed as a leading French guitarist, yet he has
not been in a hurry to stake his claim to wider international fame.
He is already in his thirties, a Professor of the Conservatoire, a former pupil
of Segovia and the recorder of eight LP records of classic guitar music.
Richard Maylan (The Times critic) wrote of him : " ... the music
flows out through him in gentle masterly simplicity, a pure even tone grac-
ing everything. Never is there any intrusive ego, nor any sense of con-
sciously applied interpretation." His programme included works by
Galilei, Sanz, Dowland, Sor, Villa-Lobos and Albeniz.
There is room for the sincere artistry of the less extrovert guitarist,
and it is to be hoped that Rene Bartoli will give other lands the pleasure
of his music.
FORTHCOMING GUITAR CONCERTS
ROM the bulletin of the Seattle Classic Guitar Society we quote the
F following: "We envy the fortunate New Englanders who will be able
to take part in the series presented by Boston University. Among
other events no less than five classic guitar recitals: Andres Segovia, John
Williams, Christopher Parkening, the Abreu brothers and Julian Bream.
This is just one university in the Boston area."
OcT. / DEC., 1971 GUITAR NEWS 21
JIM FORREST

T HE California State College at Los Angeles (Music Department)

presented Jim Forrest in a Graduate Recital on May 23rd. He has
been studying the guitar under David Grimes and this recital was

presented in partial fulfilment of the requirements for the degree of Master

of Arts with major in music.
We understand that Mr. Forrest was the first person to graduate from
the California Institute of the Arts with a Bachelor of Music degree, with
a major in guitar; also the first Master's degree candidate in music at
California State College at Los Angeles to give a graduate guitar recital.
The programme opened with music by Luys de Narvaez and Gaspar
Sanz, with Preludes Nos. 4, 3 and I by Villa-Lobos. This was followed
by Suite in modo polonico (8 movements) by Tansman with Rumores de la
Caleta by Albeniz to close.
On June 12th Jim Forrest officially received his Master of Arts in
Music from the College and he has since been appointed instructor of the
guitar at El Camino College in the metropolitan area of Los Angeles.
The photograph shows the new M.A. guitarist at home in front of a
fig tree. He writes: "The figs are not very good but the avocado tree next
to it produces superb fruit. - Have you ever tried Guacamole?" (The
editor replies: No, but if it is as exciting as the name sounds, why not
compose a guitar solo with this title?- Anyhow, congratulations!).
22 GUITAR NEWS Oc T. /DEc., 1971

CONCERT BY CANDLE LIGHT

"Concert intime- a la chandelle" was given by Louise Myette
A (contralto) and Abel Nagytothy-Toth (guitar) in the Musee His-
torique of Vaudreuil, Canada, on June 5th. Voice and guitar were
heard in groups of songs by Schubert, Brahms, Granados, Ravel etc. as
we]! as guitar solos "Gagaku" by Twao Suzuki and Six. Preludes by Manuel
Ponce.

RATIONAL GUITAR TECHNIQUE

by Miguel Abloniz (Italy)
Part 30

ABOUT TUNING

Consonance is the blending of a higher with a lower tone. Dissonance

is incapacity to mix, when two tones cannot blend, but appear rough to the
ear. EUCLJD.
The ability to learn the intervals of music and at least to distinguish
the higher from the lower of two very near tones (we know the essentiality
of this determining in tuning, since it is not sufficient to think or feel that
two tones are not the same- and how often the difference is not of pitch
but simply of timbre) should increase with patient practice and good
guidance. Jn his fine book "The Background of Music" H. Lowery
quoting Arnold Small's "Music may wisely be the principal mentor for
the student's auditory development" adds: "This being so it follows that
the requirement from ear-training is not improvement of the organ as such,
but improvement in the use made of it."
A bitter truism : The guitarist who has not mastered the 'tuning opera-
tion' is bound either to play on a guitar which is more or less out of tune
or to ask somebody else to tune it for him.
Prerequisities: A musically trained ear and a guitar with a correctly
divided fingerboard mounted with correctly made strings . ..
JMPORTANT: Specifically in this article, for brevity's sake, natural
harmonic V means : touch lightly the string with a L. H. finger near fret V
and pluck it with a R.H. finger, allowing the string to vibrate in its entire
length; this will produce the fourth partial. Artificial harmonic XIX
0CT./DEC. , 1971 GUITAR NEWS 23

means: depress the string at fret V11 and produce with the R.H. a harmonic
at fret XJX; it will be a second partial. The distinction we make between
natural and artificial harmonics and their performance was explained in
Part 18.

The pitch of the 44 notes of the guitar gamut in Equal Temperament

9C 130.80 21 c' 261.61 33 c" 523.22
JO C# 138.58 22 c'# 277.16 34 c"~ 554.32
11 d 146.82 23 d' 293.64 35 d" 587.28
12 d~ 155.50 24 d '~ 311.10 36 d "# 622.20
IE 82.39 13 e 164.79 25 e' 329.59 37 e" 659.18
2F 87.29 14 f 174.59 26 f' 349.18 38 f " 698.36
3H 92.48 15 f# 184.97 21n 369.94 39 f "# 739.88
4G 97.98 16 g 195.96 28 g' 391 .93 40 g" 783 .86
5 G# 103.80 17 g# 207.61 29 g'# 415.23 41 g"# 830.46
6A 110.00 18 a 220.00 30 a' 440.00 42 a" 880.00
7 A# 116.54 19 a# 233.08 31 a '# 466.16 43 a"# 932.32
8B 123.46 20 b 246.93 32 b' 493.86 44 b" 987.72

1f in tuning one also takes advantage of the second and fourth partials
(i.e. I /2 and I /4 of the vibrating string segment), it should become possible
to tune almost perfectly an almost perfect instrument like the guitar. This
is not to suggest that those who do not employ such partials are unable
to tune their guitar satisfactorily. The use of these partials, however,
makes the tuning faster and more precise as it reduces to the minimum the
risk of accumulating small errors that are more or less corrected with
subsequent testings.
The only partials we can employ in tuning are the second and fourth
(the eighth is not practicable), because they are exact Octave-multiples of
the Prime or Fundamental; except the Prime (and its Octaves), the pitch
of all other intervals of the Natural or Just intonation (third, fifth, sixth
partial, etc.) do not serve us since they never coincide with any of the
Tempered intonation.
On trying to play on a presumably tuned guitar, as all guitar tones
are compound (i.e. contain partials), one may often find its 1st string
(e' 329.59) and 2nd string (b 246.93) slightly high; this is probably due to
the inherent Just Fifth existing as third partial on the 5th string open
(110.00 x 3 = 330.00) and 6th string open (82.39 x 3 = 247.17).
(to be continued)
24 GUITAR NEWS OCT./ DEC., 1971

MUSIC FOR PRACTICE

by Harold Dench (Britain)
Part V

Studies (Barre technique)

Of necessity barre technique occurs in the simplest solos, and has to
be contended with even when the left hand is in a very weak and under-
developed state. A word that could be considered synonymous with
barre is 'balanced'. Consider the beginner who, when applying barre, grip
barre is 'balanced'. Consider the beginner who, when applying barre,
grips with finger, thumb, forearm and biceps, and in so doing causes un-
necessary distortion to the music the moment barre is employed. To play
passages which require barre, a balanced muscular application is needed.
The guitarist who has a well developed left hand will normally be able to
apply barre unaided by excess pressure with his thumb, and certainly
without excessive movement of his left arm.
Flat keys in guitar music often employ barre to a proportionately
greater degree than the basic open string keys. The following studies
should prove helpful:-
Abl6niz (10 Studi Melodici) Study No. 10 (A minor)
A pleasant study containing many useful problems to practise.
Giuliani Op. 48 No. 15 (E flat major)
In bar 16 the technique of lifting the tip of the barre finger is
applied, thus allowing an open string to sound without completely
lifting the barre.
Legnani Op. 20 (36 Caprices, Book l) No. 10 (B flat major)
No. 14 (A flat major)
Reading- look carefully at bar 9 (Caprice 14), then play it first
time! It is clear that Legnani had a conception of the finger
board that was well ahead of his time. With careful selection,
the caprices by Legnani can improve the hands and reading
ability in a manner which will prepare the guitarist for the study
of advanced modern guitar music.
Sor Op. 29 No. 1 (B flat major) Segovia XlX
No. 11 (G major) Segovia XVI
These two studies are often heard as concert solos, and as such
can be considered a necessary goal in developing a reliable barre
technique.
Ocr./DEC., 1971 GUITAR NEWS 25

SOLOS
The Leaf-Stepan Urban
An attractive solo in which barre is applied 'gently .
Canzoneta- Mendelssohn
The middle section is very demanding, a good test of strength of barre
technique. The ninth bar of the middle section (Tarrega's rranscription)
requires the barre to lift momentarily in the opposite manner to the 'finger
tip' lifting as required in Giuliani Op. 48 No. 15.
Improving general reading ability
The Five Diversions by Alexander Bellow: No. 1 has an interesting
passage (bar 11) indicated to be played 'pulgar'. Nos. 2 and 3 are mainly
in 5/4 time. No. 4 is most charming-Mr. Bellow would appear to be
raising his hat to Grieg. The fifth and last is an interesting study in
arpeggios and harmonics.
Four pieces- just for the fun of it!
Undoubtedly Tarrega has overshadowed guitarist composers such as
Julian Areas and Antonio Cano. There are, however, some very playable
original pieces still available by these composers. These solos require
careful study and a degree of flamboyance to put them across. One such
piece is Los Panaderos/Bolero by Julian Areas.
Two entertaining solos of moderate difficulty are El Eco and Un
Recuerdo by Antonio Cano. A player with a good sense of style would
do well to add these to his 'party pieces'.
Lastly, a short and comparatively simple solo which may be played
with good effect, Chula by Duarte Costa. A very good 'piece for parties'.
(to be continued)

SPRING HILL COLLEGE, MOBILE, ALABAMA

T HE First Annual Classic Guitar Course directed by Manuel Lopez

Ramos was held at Spring Hill College, Mobile, Alabama from
May31sttoJune 18th.
The Second Annual Guitar Course will be held again at Spring Hill
College in June 1972. For information write to: Rev. Daniel A. Creagan,
s1, Spring Hill College, Mobile, Ala. 36608, U.S.A.
On June 13th Manuel Lopez Ramos gave a recital in Mobile Art
Gallery. This was his first performance in the City of Mobile. His
programme included works by Frescobaldi, Weiss, Haydn , J. S. Bach
(Chaconne in D minor), Castelnuovo-Tedesco, Gomez Crespo, Ponce,
Rodrigo, E. Granados and Turina.
26 G UITAR N EWS OcT./DEc., 1971

Made in
"SAVAREZ" France

RECTIFIED NYLON GUITAR STRINGS

No. Each Doz.
S21 E-lst, plain nylon $ .SS $10.20
S22 B-2nd, plain nylon .90 10.80
S23 G-3rd , plain nylon .9S 11.40
S28 B-2nd, plastic wound on nylon .. .9S 11.40
S27 G-Jrd, silver plated copper on nylon .9S 11.40
S29 G-3rd, plastic wound on nylon .. I.OS 12.60
S24 D-4th, silver plated copper on nylon 1.00 12.00
S2S A-Sth, silver plated copper on nylon I.OS 12.60
S26 E-6th , silver plated copper on nylon 1.10 13.20
When ordering single strings, please specify tensions desired
by the following letter code :
"B" WHITE CARD-LIGHT TENSION
"R" RED CARD-STRONG TENSION
" J " YELLOW CARD-VERY STRONG TENSION
"RZ" RED CARD-Golden metal wound basses (red card only)

SAVAREZ BY SETS:
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S20-B Ist, 2nd, 3rd plain, basses wound WHITE CARD S.BS
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basses silver plated copper on nylon RED CARD 6.00
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S20-J / R 3 treble plain YELLOW CARD, Basses wound RED CARD ___ S.8S
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VITALI IMPORT
5944 Atlantic Blvd., Maywood , California 90270, U.S.A.
co.
OcT./DEC. , 1971 GUITAR NEWS 27

MEMBERS' ANNOUNCEMENTS
Members' Announcements are intended for the use of MEMBERS only.

Prepaid announcements of up to 50 words (maximum) one insertion 25p One Dollar

USA. Series of 6 for the price of 5, £ 1.25 Five Dollars USA.

No advertisements for guitars or strings can be accepted as Members' Announcements.

USA GU [TAR LESSONS: Alfred Eric Street , French classical guitarist , experienced artist and
teacher, studied in Paris with Ida Presti and Alexandre Lagoya, will teach in Cambridge
Massachusetts (Harvard Square) . Call Monday- Friday 491- 6871 or 339- 2143 (a .c. 617)

HAS anyone a copy of the elusive No. 3 " Guitar News"? If so, please co mmunicate with
Floyd G . Summers , 95 I Maple Place , St . Louis , Mo. 63112, U.S.A.

SOUTH TEXAS new classic guitar Studio : Husband- wife team . Master's music. Taught in
Egypt, Mexico and New York . Students of Manuel Lopez Ramos . Accepting beginners,
advanced, teachers. Promoting chamber music-with guitar . Call or write: Jeremy and
Ruth Mock, 903 West Van Week , Edinburg, Texas 78539, U.S.A. Tel.: 512- 383--4735.

GUY B. SIMEONE, guitarist, 8 Ho Iborn Street, Milton, Mass. 02186 and 316 Hatherley Road,
Scituate, Mass. 02066, U.S.A.

PETER 0. CORRAL is accepting additional pupils of classical guitar, both beginning and
advanced students. 1456 Holbrook Street, Los Angeles, California. (Tel. 255-0815).

WALTER F. SPALDING, guitar instructor at University of New Hampshire, Durham,

N.H., Phillips Academy, Andover, Massachusetts ; accredited classes and private
instruction, accepting a limited number of classical guitar students. Beginners to
advanced, emphasizing technical perfection and discipline towards virtuoso study and
interpretation. R.F.D . No. I, Newmarket, N.H. 03857, U.S.A. (Tel.: 603-772-5462).

CLASSICAL GUITARIST has openings for students. Training will be in the tech-
nical and musical principles laid down by Aguado, Tarrega and Segovia towards
the mastery of the instrument. For information contact : Axel S. Kjellberg, Jr.,
4 Brattle Street, West Hartford, Connecticut 06110, U.S.A. (Tel. 233- 7487).

BLANCHE MUNRO, A.G.S.M., Professor of Guitar at the Guildhall School of Music,

accepts pupils, including beginners. at 35 Corringham Road . London, N .W.11.
Enquiries SPEEDWELL 7740.

WANTED: BACK ISSUES of Guitar News-Nos. I to 38. State price. Mr. J.C. Robertson,
96 Woodstone Avenue, Stoneleigh, Epsom, England.

WANTED: Guitar literature and records. Vaughan Aandahl , 1228 Jasmine Street, Denver,
Colorado 80220, U .S.A.

ROBERT A. WESTERBERG, formerly guitar instructor at the Pease Conservatory in

Sacramento is now guitar instructor at the Sacramento Fine Arts School , 2804 P Street,
Sacramento, California 95816, U.S.A. Tel. : 916-457-1911.

CHESNAKOY, A. Elements of music and harmony in the study of the Classical Guitar.
Theoretical and practical training in modern technique as a basis for development
of artistic playing and for elimination of faults, self acquired or instilled by wrong
teaching. Progressive, selected studies. 48a Cathcart Road, London, S.W.10.
(FLA. 4354.)
28 GUITAR N EWS OCT./ OEC., 1971

classic guitar construction

By Irving Sloane
Thi s unique , comprehensi ve book gi v es all the
information necessary for the building o f a fine ,
c lassic guitar . H andsome ly illustrated, it is an
indispensable guide for the no vi ce luthier, and
convey s much of the romance of the Spanish
classic guitar, gi ves a brief history and discussion
of guitar construction th e ory , and p ro vid es a picture
ga ll ery o f guitars by the great makers : including
T orres, H auser , Santos , E steso, Ari as, a nd Barbero .

Th e author' s method of co n str uc tion conforms to

classic gu itar- making principles a nd is superbl y
w e ll -suited for the amateur craft s m a n , Spe ci fic
diagrams a nd 125 clear , professiona l photographs
i llumin ate each step . A simp le w oo d 'sand w ich '
y ields the principle e lements of th e basic forms
necessary to build a g u itar : A mold , bending form, purfling for m s, and template .
The author tells one how to make hi s own c lamps , purfling c utter, and even t h e
rosette (th e sound hole mosaic inlay). H e explores each aspec t o f g uitar construc-
tion, and includ es a directory of suppliers for w ood, tools , a nd a ll guitar-making
accessories.

Dist ributed by :
Send me ... ....... copies of CLASSIC GUITAR VITALI IMPORT COMPANY
CONSTRUCTION by I r vin g Sloane at $7 . 50 5944-48 Atl an ti c Blvd .
each (inc ludes postage and handling) Maywood, California , 90270 , USA
OcT. /DEc. , 1971 GUlTAR NEWS 29
30 GUITAR N EWS OcT./DEc., 1971

Nothing has been left to chance

• Scientific research and testing ;
• Trained technicians and skilled labor.

As a result : Excellence
Accuracy. True tone, rich, fine and
delicate tonality, enjoyed by the most
famous guitar performers the world over.

RECTIFIED NYLON

STRINGS
OCT./DEC., 1971 GUITAR N EWS 31

Airs and Dances from Austr ia net .60

MUSIC Apostel , Seth Musiken, op. 25

Bach, J. S. 3 Easy Pieces
- Four little easy Pieces from the
Music Book of Anna Magdalena
net .60
net .SS

Bach net .◄ S
- Sara bande and Bourree from the
Partita in B minor for Violin solo net . ◄ s
- Fugue net .60

FOR Baroque A irs and D ances. Based

on an anon . tabulacure
Bartok, B. Duos for 2 Guitars from
the 44 Duos for 2 Vlns.
nee .55

net .85
Burkhart, Fr. Passacaglia nee .55
Canzonets and Dances. From the
16th century net .SS

GUITAR Carcassi , M . Studies of moderate

difficulty
Dowland , J . Two Galliards
- Air and Ga/liard
Guitar,
net .70
net . ◄5
net . ◄5
- 3 Songs (medium) with
E. G. net . ◄5
- Melancholy Galliard Alle-
and
mande net .45
- Air and Gigue net . ◄ 5
in - 4 Easy Pieces net .45
Easy Entertaining P ieces from the
18th Century net .60
Easy Pieces from the Age of
Shakespeare net .75
Giuliani , Mauro, op. 15 Sonata nee .60
Lechthaler, J . 9p. 49/2 Variations-

[E]
Suite net .SS
Logy, Joh. An t. Partita A minor net .SS
Marella, J . B. Suite A major for 2
Guitars net .60
Martin, Frank. 4 Pieces breves net .60
N eusiedler, H. Praeambulum and
Dance net .-45
Paganini, N . Romance from the
Sonata for guitar taken from the
violin sonata net .45
Renaissance Songs and Dances net .55
Robinson, Th . Allemande and Gall-
iard nee .45
- Toy, Air and Gigue net .45
- 5 Pieces net .45
- Belvedere net . ◄ 5
Scheit, K . Stud ies in tone formation
Edited by based on old tunes net .95
Sor, F. 12 Easy Pie ces from op. 60 nee .75
- Andante Largo op. 5 No. 5 net . ◄ 5
- Two Minuetcos nee .-45
KAHL SCIIEIT - Variations on a Theme by Mozart,
op. 9 net .SS
- op. 2, No. 3 Andantino net .45
Tarrega, F. Complete Preludes net .60
Visee, Robert de , Suite D minor net .SS
- Suite G minor net .55
Waissel , M . Fantasia and German
Dance net .45
UNIVERSAL EDITION
2/3 Fareham Street Please write for complete
London, II' I. J1 4Dlf guitar catalogue.
32 GUITAR NEWS OcT./DEc., 1971

FOR THE FIRST TIME IN THE HISTORY

OF THE GUITAR
A device for tuning the instrument so that it will compare in
"intonation practices" wifh the tuning of string instruments like
the violin, viola, cello. It is possible now to play true octaves,
etc., throughout the guitar.

GUITAR WITH MOBILE BRIDGE

D
PATENT PENDING Mobile Units
for Each
String
Invented by
MANUEL RODRIGUEZ
GUITAR MAKER
From MADRID, SPAIN

For more information write :

MANUEL RODRIGUEZ
8408 WEST THIRD STREET
LOS ANGELES
CALIFORNIA 90048, USA
OcT./DEc., 1971 GUITAR NEWS 33

-~ · · · · ·
SEGOVIA
TRANSCRIPTIONS FOR GUITAR
AGUIRRE Triste No. 4 30p
ALBENIZ Asturias - Leyenda - Preludio
(Suite Espanola) 60p
BEETHOVEN Minuet (from Sonata Op. 31 No. 3) 30p
CASTELNUOVO- Aranci in fiore 35p
TEDESCO Capriccio diabolico (Omaggio a Paganini) 50p
Tarantella 50p
HAYDN Minuet 30p
MENDELSSOHN Song without Words Op. 30 No. 3 30p
SCHUMANN Andante cantabile Op. 68 No. 26 with
Soldiers' March O p. 68 No 2 30p
Popular Song Op. 68 No. 9 with
Little Study O p. 68 No. 14 45p
SOR Allegro (from Sonata Op. 25 No. 2) 70p
Andante Largo Op . 5 30p
Sonata Op. 25 No. 2 75p
G. RICORD! & CO. LTD.
The Bury, Church Street, Chesham, Bucks.
Tel.: Chesham 3311 & 4427

TRINITY COLLEGE
OF MUSIC
PRINCIPAL - MYERS FOGGIN, HON FTCL, FRAM, HON RCM, HON GSM
DIRECTOR OF STUDIES - CYRIL CORK, B MUS, FTCL, LRAM, ARCM
The Classic Guitar is one of many instruments for which examinations are
regularly conducted in the United Kingdom and 34 other countries. There
are examinations in five Grades and also at Diploma level.
A syHabus a nd rfull detai ls will be sent on aipp.Jioaition .to the Director of
1

Examinations: Ernest Heberden, MA, Hon.FTCL, Trinity College of Music,

Mandevi1lle Blace, London, Wl M 6AQ. Telephone 01-935 5773

PIONEERS IN MUSIC EDUCATION SINCE 1872

34 GUITAR NEWS OcT./DEc., 1971

Special Nylon
guitar st rings
highest tonal
quality.

Write to :
Rifat Esenbel
35 Rue La Boetie
(75) Paris (Se)
France
I n Germany
H ermann
H auser
world famous guitar
CONCERTISTE maker
8386 Reisbach /Vils
NYLON
Postfach 10
cordes pour guitare classique
PARI S

GUITAR MAKERS' SUPPLIES

WOOD : Brazilian Rosewood , Cypress, Spruce, Maple, Mahogany.
FINGERBOARDS : Semi-finished Ebony or Rosewood .
Wood fibre Purflings, celluloid bindings.
Rosettes - black and white or colored.
Mother-of-Pearl Inlays.
Ivory for Nuts and Saddles.
GUITAR NECKS - BRIDGES - MACHINEHEADS
STRINGS : SAVAREZ, LA BELLA, AUGUSTINE ,
D' ANGELICO
GUITAR CATALOG MAILED UPON RECEIPT OF $2.00
Th is amount deducted from minimum purchase of $5.00

VITALI IMPORT co.

5944 Atlantic Blvd., Maywood, California, 90270, U.S.A.
 OcT./DEc., 1971 GUITAR NEWS 35

BIRMINGHAM BI 2LG
TELEPHONE : 021 -64 3 0088

NYLON STRINGS
" FISOMA"
These strings are the result of many years of patient research by
the makers, with 175 years of experience as string makers to the
World's Artists. "FISOMA" strings are used and recommended
by Luise Walker. We can supply 3 distinct types which are
specially designed for different tonal standards. Some instruments
will produce best results by using a mixed set of strings.
E 1st Nylon 0.13
B 2nd ., 0.15
G 3rd ,, 0.17
Alloy covered Bronze covered Pure silver covered
D 4th 0.17 0.31 0.37
A 5th 0.20 0.34 0.45
E 6th 0.22 0.45 0.55
G 3rd Nylon, covered with Tape-section nylon 0.29
Set with Alloy lower strings 1.06
Set with Bronze lower strings . . . 1.55
Set with Silver lower strings 1.83
Any set with covered G 3rd will be 0.12 extra to above
The Bronze and Pure Silver lower strings are finely burnished and
very highly polished.
Trade enquiries invited British Isles.

"AUGUSTINE" NYLON
Segovia's Choice
E 1st Nylon ... 0.14 D 4th covered silver colour 0.28 gold 0.29
B 2nd 0.17 A 5th 0.30 ,, 0.32
G 3rd ,, ... 0.18 E 6th ,, ,, 0.33 ,, 0.33
Per set silver colour 1.41 Per set gold colour 1.45

GUITAR MAKING
All parts and materials for the professional and amateur maker.
Please send for lists, post free .

..,_
 36 GUITAR NEWS 0 CT./DEC. , 1971

IN THIS ISSUE
Page
Konrad Ragossnig . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Angelo Gilardino . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
1972 Guitar Concours, Paris . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Mauro Giuliani, Birth and Death Dates Established ................ Thomas F. Heck 4
Julian Bream . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Dimitri Fampa·s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Patrick Gamble Memori<1 l Concert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Purley Guitar Society . . ... . . . .. . . ......... .. .. .. .. . .... . . P . J. S. Bromley-Barratt 10
Guitar Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Classic Guitar Society of Auckland , N .Z . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
" Romancero Gitano"- and a new guitarist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Pupils' Concert. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
For the Gramophone . .... ... .......... . .... .... .. .. .......... . . . .. . . . . NOMAD 17
Plainfield , New Jersey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
American Guita r Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
South Texas Guitar Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Rene Bartoli ................ .. .. . . . . ... . .. , . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Jim Forrest .. .. .......... . . .. . .. . .. . . ... ... .· .... : . ... . .. . . . ..... .. .... .. .... .. 21
Concert by candle-light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Rational Gui tar Technique, Par t 30 .... . . .... .. . .. ........... . .... . Miguel Abloniz 22
Music for Practice .. ... . ....... . . .......... .. . . . . . . ..... .. . .... ... Harold Dench 24
Spring Hill College, Mobile, Alabama . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
~embers' Announcemen ts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

THE INTERNATIONAL CLASSIC GUITAR ASSOCIATION

(A non-profit making Organisation)
President : Harold Dench: H onorary Treasurer: Mrs. Kay Appleby
Auditor : E . J. D a nce: Committee M ember: E. V. Ridge
H on. Organiser: Wilfrid M. Appleby, 47 Clarence Street, Cheltenham (Glos.), England,
to whom a ll payme nts should be se nt.
Membership Fees
Great Britain only
Fou ndation Member - £ 1.20 (6 iss ues)
Supporting Member - £ 1.00 (6 issues)
Ordinary Member - - £0.80 (6 issues)
All other countries (Overseas)
Foundation M ember - Five D ollars (6 issues)
Supporting Member - Four D ollars (6 issues)
Ordin ary Member - Three D ollars (6 issues)
or equivalent
US A payments a re bes t made in D ollar Bills or INTERNATI-ONAL Money Orders
which should be made payable to Wilfrid M . Appleby. Cheques require the ad dition
of 50 ce nts for bank charges.
' Foundation' an d 'Supporting ' mem bers subscribe the extra amounts to help maintain
the financial stability of I.C.G .A . a nd " Guitar News ".
Membership includes " Guitar News "- 6 issues, as issued.
" GUITAR NEWS" Hon. Editor : Wilfrid .M . Appleby. Business Editor: Kay Appleby.
Copyright reserved. ·
The Editors do n ot necessarily agre e wi th the opin ions ex pressed by con tributors.

Gloucester Printers Ltd ., Blacklriars Press, Ladybelleaate Suee1,, Gloucester.