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Guitar Foundation






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The Guitar Foundation of America



1.--------the 1
QUILA12 founOation
of amepica

. 7-44

AUG 1976


Quarterly Newsletter

Table of Contents

Reflections on Classical Guitar Technique - John C. Tanno


The Devil's Advocate - George Warren


Communication from Germany: A New Guitar Catalog

- Juergen Libbert

. .43

In Memoriam




Works in Progress/Completed - Thomas Heck


Invitation to Contributors - General Editor


Guitar Chamber Music - Matanya Ophee


The Carmel Classic Guitar Festival - Ephran Younger


Letters to the Editor


The Featured Facsimile


GFA Archivist's Report, Financial Statement, and Treasurer's Report


Publications Received, Reviews


Current Discography - John W. Tanno


Report from Venezuela - Richard Stover


Checklist of Concerti for Guitar (Lute) and Orchestra

Compiled by Abel Nagytothy-Toth




COPYRIGHT 1976 By The Guitar Foundation of America, Inc.


PAUL W. COX, Dept. of Music, University of Illinois, Urbana, Ii. 61801
PETER DANNER, 604 Tennyson Ave., Palo Alto, CA. 94301
HECTOR GARCIA, Dept. of Music, University of New Mexico, Albuquerque,
New Mexico 87131
ABEL NAGYTOTHY-TOTH, P.O. Box 851, Stn. B, Montreal, H3B-3K5, Canada
FREDERICK NOAD, Dept. of Music, University of California, Irvine, CA. 92664
SOPHOCLES PAPAS, 3222 Wynford Drive, Fairfax, VA. 22030
AARON SHEARER, Peabody Conservatory, Baltimore, Maryland 21210

RONALD C. PURCELL, 15035 Greenleaf St., Sherman Oaks, CA. 91403
MARTEEN LEE POORT, 11021 Meads Ave., Orange, CA. 92669
JIM FORREST, 6538 Reefton Ave., Cypress, CA. 90630
THOMAS F. HECK, Department of Music, Chapman College, Orange, CA.92666
JOHN W. TANNO, University of California, Lie Library, P.O. Box 5900,
Riverside, CA. 92507




Thomas Heck - Jim Forrest - John Scammon

The Guitar Foundation of America (GFA) was established in 1973 as a

non-profit organization incorporated in California. Our specific and
primary purposes are set forth in the GFA Charter:
"To cultivate, promote, foster, sponsor, and develop understanding,
taste, and love of the musical arts and especially to promcte interest
in the classic guitar and similar string instruments; to foster the
study of the classic guitar in private studios and at the elementary,
secondary and college levels, and to encourage the development of
innovative curricula in support of these ends; to promote the guitar
as an ensemble instrument particularly with other string instruments;
to encourage composition, arrangements, and publications of ensemble
music involving the guitar; and to support scholarly research into
the guitar's history and literature; all of the foregoing purposes
being limited to non-profit educational, cultural, scientific and
charitable ends."


by John C. Tanno

Each serious student, after a sound foundation in the art of

classical guitar playing, eventually will become a selfcontained innovative experimenter in the techniques and
methods of attacking the strings of the guitar in order to
enlarge and improve the tone of his instrument. He might
also contribute to the growing literature of the guitar.
Without a sound technique one cannot give meaning to music.

Independence of fingering in the left hand is fundamental to

good technique. This must be practiced every day. Practice
slowly at first, then gradually come up to tempo. If the
playing is not perfect, and also if there is any feeling of
fatigue, reduce the speed. Think, concentrate on your exercises and music. Unless one concentrates, pratice of exercises is of little value.

The true concept of technique is bifurcated and includes

both technical and interpretive aspects. They should be
developed together and not as separate entities. Smooth,
refined technique, sensitive fingering and dynamic control
are required for interpretative musicianship.

Repetition is the essential ingredient of left hand fingering. Progress is founded on persistent, thoughtful repetition of a specific passage, section or exercise, at a steady
tempo and eventually success will prevail. All notes must
be heard and each given its proper value. Nothing should be
omitted. Tones should be round and beautiful.

All the components of guitar technique should be properly

learned and coordinated before one can begin to feel free in
playing and interpreting. It is necessary to relegate the
technical elements of guitar playing to our subconscious
mind, which in reality, is the heart of our reflex memory.
The rhythmic values, including the rests, the legato and
staccato, the tonal volume and intensity, the touch are
essential parts of the interpretive technique. The type of
composition, its meaning and character will determine the
technical tools that must be employed to bring about esthetic
interpretation: apoyando stroke (supported stroke), tirando
(free stroke), glissando, vibrato, legato, staccato, pizzicato, tremolo, the use of nails of the right hand and other
embellishments, like harmonics, rasgado of the thumb and
fingers of the right hand.
The physical or mechanical components of guitar playing are
the tools that technique employs to produce the music.
These are the: finger (tips, pad and nails), the knuckles,
the wrist, the hand, the elbows, upper arms and shoulders.
These in turn are attached to tendons and muscles and nerves
by which the brain activates this marvelous mechanism.
These, to a degree, must be trained to bring about endurance,
rapidity and the sense of touch, all necessary adjuncts to
the art of music interpretation.
The basic foundation of a sound guitar technique rests essentially on the daily practice of scales and arpeggios. Observe that the third finger of the right hand is the weakest
and requires special attention. Provision for frequent use
should be made. Prior to the advent of Francisco Tarrega
(1852-1909), the third finger was used sparingly (chiefly
for full chords and arpeggios). The old masters employed the
little finger on the bridge or top to support the hand making
it virtually impossible to use the third finger, while the
thumb and first and second fingers were used to pluck the
strings. Julian Arcas (1832-1882) was the first to make full
use of the third finger. However, it was Tarrega who organized and established its use in the technique of the guitar
to a very high degree. It was he who really freed the third
We are aware then, that technique is closely associated with
correct fingering. It is based on an accurate and systematic
application; otherwise untrained fingers will tend to get in
each other's way. Careful observance of the finger markings
will soon train the fingers so that they will function correctly, automatically. There must be nothing haphazard in
digital technique. The student must constantly strive to the
utmost to produce the beautiful, rich vibrant tones lying
dormant in his instrument. Actually, the conscientious
guitarist remains a student for the rest of his life. Segovia once said: "The key is in the fingering, in the choice
of strings to be used to produce the note and what place to
strike. You must know what notes are to be kept sounding
and arrange the fingers to bring this about."

Music that is learned with understanding through thorough

analysis and concentration--slowly, doggedly--is more likely
to be remembered. Practice scales first in order to give
the fingers flexibility and to stimulate the mind to correct
thinking. Play scales in every conceivable manner--forward,
backward, loud, soft, different rhythms, dotted notes, slowly
at first, then more rapidly. Use your imagination. Keep
the fingers curved, use the tips of the fingers of the left
hand. Develop habits of enthusiasm, imagination, accuracy,
and discipline in the coordination of mind, muscle, eye and
ear. Strive for economy of motion in all aspects of guitar

Other Considerations

Cultivate the sense of hearing; differentiate between the

melody and harmony.


Be diligent in your practice of scales and arpeggios and

other exercises. Precision and thoroughness are requisites of artistic performance; be very glib with finge -,


Consider all scales and drills as music and capable of

telling a story--they have a message to convey--you are
the interpreter.


It is not necessary to press hard on the strings with the

fingers of the left hand, as it tends to interfere with
the softness and elegance required in certain passages.
Of course, in more difficult positions you may have to
press a little harder in order to bring out clear tones.
By the way, slur exercises greatly aid the left hand.

5. Practice with energy and strive to bring out all the tone
your guitar and technique is capable of. Practice in a
slow deliberate manner. You will be pleasantly surprised
by the increased tone volume as a result of judicious and
systematic practice.
6. Arpeggios should sound like rippling cascades of harp
tones. The tones must be strong and clear. Arpeggios
should be practiced in all major and minor keys with
varying dynamics until mechanically perfect. Then the
guitar will begin to live and you will be able to express
your true feelings.
7. The following may be helpful in developing your technique:
a. Aguado, Dionisio (1784-1849). 24 Studies & Ten Scales
(Fritz WOrsching edition); his Guitar Method.


Carcassi, Matteo (1792-1853). Caprices and Etudes;

25 Studies (M. Llobet edition); his Guitar Method.

on the trebles. Still others (of the Tarrega School) prefer

to use urn, or other formulas, on all strings, thus enriching
the development of the right hand fingers. Alternating use
of the thumb and index finger of the right hand, on the
bass strings, if properly used, may result in great speed.

24 Preludes for the

c. Carulli, Fernando (1770-1841).
right hand; his Guitar Method.

Coste, Napoleon (1806-1883).

Concert Etudes; his

Sor Method.

Remember: Repetition isthe solid food of technique.

pretation is the dessert. Enjoy your musical dinner!

e. Giuliani, Mauro (1781-1829). 120 Studies for the

Right Rand (Bobri edition); Studi per Chitarra
[80 studies & etudes] (Ruggero Chiesa edition);
his Guitar Method.


f. Legnani, Luigi (1790-1872).



Sagreras, Julio (1879- ? ). Tecnica Superior de

Guitara [scales and technical exercises]. Very
Segovia, Andres (1893 -



by George Warren

Diatonic Major &

That "Weber" Minuet

Minor Scales; Estudios.

i. Sor, Fernando (1788-1839). All his Etudes. 7
Books of Studies and Etudes (Carl Dobrauz edition); 20 Studies for the Guitar (Andres Segovia
edition); his Guitar Method.

In the writing trade, the choice that faces you is usually

uncomfortably simple: you write either for the scholar or
for the dollar. It's a question of which is to survive:
your name on the one hand, your wife and family on the other
Our awareness of the difficulty of reconciling the two goals
increases our appreciation of the rare labor of love and sacrifice--Chrysander's Handel edition, for one--as much as our
appreciation of the rare writer of music who, writing for
money, gives us Art for lagniappe (do I hear a fellow Joseph
Wechsberg fan out there in the crowd?).

Tarrega, Francisco (1825-1909). Doce Composiciones,

revised by Isaias Savia; Pascual Roch "A Modern

Method" Tarrega School of Guitar in 3 Volumes.


Villa-Lobos, Heiter (1887-1959).

ludes; his Choros.

12 Etudes; Pre-

Nevertheless, both roads can lead to Parnassus. On the

writing-for-money side, we can point to such Grub Street,
paid-by-the-line hacks as Robert Schumann, Hector Berlioz,
and Bernard Shaw, all of whose works are still in print and
still read with great interest anywhere from three quarters
of a century to a century and a half after they were written.
On the other side we find such sturdily reliable nuts-andbolts scholars as H.L. F. von Helmholtz and F.W. Jahns.

The following finger exercises have been devised and used

by the writer to develop strength, accuracy and speed in
the left hand fingers which should be well rounded so that
the tips are directly above the string and just back of the
respective frets. The fingers should be spread or separated. You may also develop your own left hand stretching
1. Place the 1st finger on the 6th string, 1st fret. Use
i finger of the right hand to pluck string.

Helmholtz we know--or ought to--as the author, among others,

of On the Sensations of Tone. But Jahns? What would an
obscure name like that have to do with the scientist who
mathematically formulated the law of conservation of energy,
did basic work in thermodynamics, and invented the ophthalmoscope?

2. 1st finger on the 5th string, 1st fret, pluck with in

3. 1st finger on the 4th string, 1st fret, pluck with i


Well, for one thing, both of them wrote scholarly books

which have--and this borders on the miraculous--lasted over
a century without being superseded. Helmholtz wrote the
book on musical acoustics; Jahns wrote a thematic catalogue
of the works of C.M. von Weber. The dates were 1875 and
1871, respectively. And a hundred years of subsequent
scholarship and study have resulted in nothing more threatening to either project than footnotes, most of which, in
the case of Helmholtz, were written a few years later by
himself. And both are in print to the present day. That's

1st finger on the 3rd string, 1st fret, pluck with in


5. 1st finger on the 2nd string, 1st fret, pluck with i

6. 1st finger on the 1st string, 1st fret, pluck with in
Repeat going back to the starting position. Then move up
to the 2nd fret. Repeat above. Continue to 12th fret and
return. After each fret completion, change the formula of
the right hand: im, mi, ma, am, ia, ai, etc. Use your
imagination. Make use of apoyando and tirando strokes.
Now do all of the above with each finger of the left hand.

Let's leave Helmholtz for now and concentrate on Jahns. He

has plenty to say to us as guitarists, given Weber's intense
interest in the instrument and copious production of compositions for it. And his authority is so unimpeachable, even
now, that I, for one, have been trying to knock a tiny hole
in one page of his book for years, and may have to settle
for a very minor footnote.

Repeat the above process this time using the two-finger

scale. (Fingers 1 & 2). The same with fingers 2 & 3; 3 &
4; progressing by 1/2 steps to the 12th fret and return.
Now repeat this with the (1 & 3) fingers (note 3 fret span)
then the (2 & 4) fingers; and finally the 1 & 4 fingers.
You may follow these with the four-finger chromatic scales
on all strings.

The emendation concerns the incidental music Weber partly

wrote, partly arranged or adapted, for Moreto's Donna Diana,
a comedy first staged in October 1817 but restaged in 1821
with Weber's musical additions. These do not, incidentally,
include the Donna Diana Overture familiar, back during the
fifties, to fans of the popular "Challenge of the Yukon" radio show; that was written a generation - or so later by a man
named RezniCek.

In scale passages some use the alternating thumb and first

finger on the bass strings and the alternating im fingers

What they do contain includes the following: (1) a Solo

[sic] for Two Guitars, very probably Weber's own work; (2)
two songs by Adalbert Gyrowetz in which the guitar figures;
(3) a Romance for guitar and, quite probably, harp, also
probably from Weber's hand (and included as a kind of second
strain to the above Solo in the O.B. Noetzel edition of 1961,
recently recorded by Takashi Ochi and Siegfried Behrend on
DGG 139377; (4) a Ceremonial March of uncertain origin; and-more to the present point--(5) a Minuet and Trio for flute,
viola and guitar.


by Juergen Libbert

In Volume II, No. 4 of this journal (page 64) there appears

a very informative article by John W. Tanno, "Locating
Guitar Music." The author raises some of the many problems
that a guitarist seeking special literature, music, or source
material must confront. The bibliographies, handbooks and
catalogs cited by Tanno certainly will provide a useful service to many Soundboard readers.

This last piece has caused a certain amount of controversy

already. Jahns, whose instinct seldom failed him in matters
of authenticity, says its origin is "much to be doubted."
The reason: Weber left behind unusually copious information
as to time and place--sometimes even the hour--of composition of most of his work, and supplemented this with seventeen years of diary entries ending in 1826. Any piece lathe
Weber Nachlass which lacked, as our Minuet and Trio did,
place and date, and which resulted in no entry in the composer's daybook, drew Jahns's almost automatically skeptical

As one of several GFA members in Europe, I would like to

bring to the attention of interested subscribers, as an afterthought, an important work which was not mentioned, and which
will effectively complement the items already listed:
Moser, Wolf.


Hamburg: Verlag Joachim

Trekel, 1974. [May be ordered from the publisher, D-2000 Hamburg, Tangstedter Landstrasse
201, Germany. 42 DM.]

Not everyone has been so skeptical. Two editions (Noetzel

N-3262 and Doblinger GKM 51) exist, each attributing the
piece confidently to Weber. On the basis of this Dr. William B. Ober, writing liner notes for the Luise Walker
recording of the piece (Turnabout TV 34171S), contented
himself with guesswork: "Probably it has been arranged from
Weber's Trio for flute, 'cello, and piano, Op. 63 (1819)."
Other references of varying merit seem to have waffled somewhat; ultimately we are sent back to Jahns and his cold-eyed
comment: "Elie nicht bestimite Beweise fr sie [i.e., the
Ceremonial March and the Minuet and Trio] ale Arbeiten W. '8

The author writes in his preface that, due to the abundance

of material, it is impossible to claim completeness in this
catalogue. But he has tried "to give a survey of the works
which are currently available to the guitarist or to the
person interested in the guitar." The result, called "Part
I," is 280 pages long and comprises around ten thousand
titles; it is to be followed by Part II soon.

vorliegen, sind sie ale solche sehr anzuzweifeln."

The author divides the field of guitar music into fifteen


The answer? It's a little surprising it hasn't turned up

before this. The original source of the piece was in print
until quite recently, and available from C.F. Peters, New
York. Our Minuet and Trio turns out to be the fourth movement (Menuetto II) of the Nocturno, Op. 89, of Leonhard von
Call (here styling himself "Leonardo de Call" after a thencurrent Viennese fashion), reprinted apparently in the mid1920s by Chr. Fr. Vieweg GMBH, Berlin. The complete nocturne follows a familiar pattern for Viennese divertimenti
of the time (Andante - Menuetto I - Adagio - Menuetto II Rondo) and breaks no new harmonic or formal ground; it has
Call's usual shallow charm and forgettable quality, and the
excerpt Weber used is by far the best of it.

I - Solo guitar: 1. Studies and performance pieces

2. Collections
3. Methods
II - Guitar Duos
III - Guitar Trios
IV - Guitar Quartets
V - Guitar Quintets
VI - Guitar Ensemble
VII - Guitar and Recorder
VIII - Guitar and Flute
IX - Guitar and Voice
X - Guitar and Piano
XI - Guitar and Violin, Viola, etc.
XII - Guitar and Various Instruments
XIII - Chambel music
XIV - Guitar and Orchestra
XV - Flamenco

Plagiarism? Perhaps not; or, at least, no more so than Marvin Hamlisch's score for the film The Sting, which used not
only Scott Joplin's music but Gunther Schuller's and Joshua
Rifkin's recordings, both--like Weber's use of Call--without
attribution. Hamlisch, perhaps, looks a trifle better than
Weber here, having at least paid Schuller and Rifkin for
their contributions to his award-winning score.

Gitarre nrusic, em n internationaler

1. Teil.

One can readily see from this overview that the catalog is
very clearly subdivided to facilitate locating titles. Each
entry is organized in the following manner:

Joplin and Call, of course, went a-begging. Which brings up

the question: can it have been Call--the lesser talent,
after all--who borrowed from Weber instead of the other way
around? Not likely. All the evidence seems to point to
Weber's "composition" of the piece in September 1821. Call,
meanwhile, had died in 1815...

1. The composer, in alphabetical order.

2. The publisher, abbreviated (BE - Berben; R - Ricordi;
3. Title of the work.
4. Arranger, editor, or transcriber, if applicable.
5. If known, the level of difficulty and the list price.
6. Finally, the order number.

(Continued nn page 50)

This catalog was evidently compiled primarily for music dealers. But it serves very well as a bibliographic tool, and
helps in locating even very obscure works. Unfortunately,
the catalog has many typographical errors and some substantive mistakes. But in view of the size and scope of this
endeavor, these problems remain minor.


Since this work was compiled on the basis of publisher's catalogs from throughout the world, it could not possibly be
complete. Furthermore, there is no way that one person could
(Continued on page 50)


Bellow loved jazz, and was most fond of Duke Ellington. He

was an ardent cultivator of living things, especially trees
and wild animals. He was a skilled craftsman, with an Engineering degree from Moscow University. At his death, he had
published close to one hundred compositions, primarily with
Hansen Publications. The latter instituted "The Alexander
Bellow Award for Guitarists" in his honor at the San Francisco Conservatory of Music. In a letter of condolance to the
family, a student worte that Alexander Bellow taught him
"not just love of music and the technique of the guitar, but
a philosophy and approach to life and the people around us
which [the student] is now passing on to his children."
Compiled with the help of Natasha Bellow
by the Soundboard Editorial Staff

ALEXANDER BELLOW, noted teacher, author, composer, researcher, artist, musician, guitarist, and human
being, died in Sherman, Connecticut, on March 12, 1976.
Born in Moscow in 1912, he studied painting, conducting, and
engineering in his fatherland. He was shipped to a labor
camp by the Germans in World War II, but survived and succeeded in emigrating to New York in 1949 with his wife, Mura,
and daughter, Natasha. Segovia advised him to become a
guitar teacher, which he did rather than follow his own
inclinations to concertize. With the help of the New York
Society of the Classic Guitar and friends, he assembled a
fine guitar ensemble and arranged much literature for it.
In 1965, the family settled in Sherman, Connecticut, where
Mr. Bellow taught guitar (at Western Connecticut State
College, Danbury, and at Sarah Lawrence College), composed
many pieces, and authored The Illustrated History of the
Guitar (New York: Colombo, 1970). Besides the guitar, Mr.

Ida Presti, Alexandre Lagoya, Alexander Bellow

Basil Gural died in Louisville, Ky., on March 31, 1976. He
was an ardent champion of the classical guitar, and leaves
many friends in Louisville and its environs saddened by his
departure. Through his work in a private studio and at the
University of Louisville, he developed a strong following
for the guitar in his region. He brought many fine guitarists to Louisville in concert. Basil had suffered from a
heart condition in recent years. He had undergone surgery
in March and appeared to be recovering well, but later in
the month experienced complications which required a return
to the hospital. His devotion to the guitar was constant
and honest. We have lost a loving aficionado.
Clare Callahan

First U.S. Guitar Orchestra in New York, under the direction

of Alexander Bellow, with visitors to rehearsal Andres
Segovia and Olga Coelho.


Oscar Ghiglia and Ruggero Chiesa will hold similar courses at

the Accademia Chigiana in Siena from August 9th through September 3rd. For information, write: il "Fronimo," Presso le
Edizioni Suvini Zerboni, 20138 Milano, Via Quintiliano 40,

Mr. Bernhard BrUchle has begun to prepare a new bibliography
of bibliographies for all music instruments. "It will be an
annotated listing of bibliographical books, articles, dissertations, etc., on music literature for specific instruments
or for instrumental ensembles (except symphonies)." Those
of you involved in bibliographic projects should write Mr.
BrUchle: Willi-Graf - Str. 19, D-8000 Munchen 40, West Germany, regarding your work.

El Camino College has announced its 1976/77 Music for Guitar

October 8, 8 p.m.:
Anget Romero
October 17, 7 p.m.:
Alice Artzt
November 20, 8 p.m.:
Sergio add Eduardo Abreu
December 12, 7 p.m.:
John Mills (Subscribers to the
series will be given free tickets
to this concert)
January 21, 8 p.m.:
Manitas de Plata
March 5, 8 p.m.:
Manuel Barrueco
March 26, 8 p.m.:
Omega Quartet

Chelys: Monthly Journal of the New England Society for the

Plucked String has just begun publication and is edited and
published by Walter Spalding. Its title stems from the word
the "Renaissance humanists used.. .to mean the lute." The
editors define their scope thusly: "Although we might concern ourselves from time to time with such relatively exotic
instruments as the koto, the sitar, the angelica or the
orpharion, we will concern ourselves mainly with the guitar,
in its modern and historical forms (such as the vihuela and
the baroque five-course guitar), the lute and its derivated
instruments (renaissance lute, pre-baroque and baroque lutes,
theorbo, chitarrone or arch-lute, etc.) and the harpsichord,
and the harp." Thomas Greene, Richard Provost and Walter
Spalding are the Contributing Editors for the guitar. Subscription rates are $12.00 a year and can be placed at
Chelys, R.R. #2, Exeter, N.H. 03833.

For tickets or information, write: Ticket Office, El Camino

College, via Torrence, CA 90506.
For the first time in the history of the Eastman School of
Music, they offered a comprehensive week-long workshop for
guitar teachers, music educators and aspiring professional
guitarists. This workshop took place August 2nd through the
6th and featured classical guitarist Ramon Ybarra, jazz guitarist Gene Bertoncini, guest artist Charles Duncan, and
Professor William Schmid.

Federico A, Cordero, noted Puerto Rican guitarist and President of the Sociedad Puertorriqueaa de la Guitarra gave
several concerts and lecture-recitals in Switzerland and
Spain in May and June. On May 25th he played a concert at
the Kursaal-Casino in Lugano, Switzerland under the auspices
of the Spanish-Latin American Cultural Society. On May 26th,
he played a house concert at the residence of Fran Friedi
Deubar in Zollikofen, Bern, Switzerland. On May 28th, he
presented a lecture-recital sponsored by the Circle of
Friends of Spain, Portugal and Latin America. On May 29th,
he played a concert in Windisch, Switzerland, and on June
3rd, he played at the Cultural Center of Neuchatel. On June
7th, he played a concert in Granada, sponsored by the Caja
General de Ahorros de Granada. Sr. Cordero received wide
critical acclaim from these programs. He began studying the
guitar on his birthday, August 18, 1936, and has been concertizing for forty years. During the rest of the summer
he will be active presenting concerts and lectures in Puerto



The San Francisco Early Music Society was founded on January

27, 1976. The purposes of the society are: "to encourage
and sponsor performances of early music in San Francisco; to
provide educational facilities for teachers and students; to
acquire a loan collection of period instruments for use by
students and performers in the Society; to create a lending
library of early music editions for use by members; to edit
and prepare for publication performance editions of medieval,
renaissance, and baroque music; and to act as a clearinghouse for the exchange of information relevant to the growth
of early music in our community. Dues are $12 a year, and
includes the Society's Newsletter, and free admission to a
bi-monthly series of lectures on early music. Interested
persons may write: The Secretary, San Francisco Early Music
Society, 162 Hickory St., San Francisco, CA 94102.

At the October 1975 meeting of the GFA Board in Cleveland, a

resolution was unanimously passed awarding lifetime honorary
membership in the GFA to Vahdah Olcott Bickford, founder of
both the American Guitar Society (1923) and the Guitar Foundation of America (1973). In this photograph, taken early in
1976, Mrs. Bickford is shown accepting the certificate, presented by GFA President Ronald Purcell. Mrs. Bickford continues to reside in Hollywood and to serve as President and Musical Director of the American Guitar Society. The Society
has held monthly meetings in the Los Angeles area for over
fifty years, and has stimulated the talents of many young,
aspiring guitarists. Vahdah Olcott Bickford is the acknowledged First Lady of the guitar in the United States.

Oscar Ghiglia will conduct courses for the guitar at Gargnano

September 5th through the 19th of this year. This series will
be accompanied by a course in transcription and interpretation
of tablature for the lute and the guitar, with particular reference to the Italian Renaissance, held by Ruggero Chiesa with
the artistic assistance of Gianluigi Fia. An international
competition will be held in conjunction with the course with
a first prize of 500,000 lira (ca. $600). Registration for
participants is 30,000 lira (ca. $36); for auditors, 20,000
lira (ca. $24), and includes registration for the competition.
Interested persons may write: Incontri Chitarristici Di
Gargnano 1976, 25084 Gargnano, Lago di Garda, Italy.


T.F. Heck

7. (Cf. III/1) Dr. Roy Petschauer, Dept. of Music, Washington State University, Pullman, WA 99163 is in the final
stages of preparing an English translation of the "lute"
through "guitar" sections of Wolf's Handbuch der Notationskunde (Leipzig, 1919). Please inform others who may be working on the same project of a potential duplication of effort.
Please do not write to Dr. Petschauer to request xerox copies
of this translation. Notice of its availability will be
carried in a later issue of Soundboard.

Compiled and edited by Thomas Heck

Scholars and researchers seeking rare books or music or

otherwise seriously embarked on a project are welcome to insert a notice of thier current research or activity in this
column. Address communications (until further notice) to
T.F. Heck, c/o Dept. of Music, Chapman College, Orange, CA
92666 by the deadlines of Jan, Apr, Jul, or Oct 15. Some
repetitions will occur in this section in order to keep new
readers abreast of continuing projects. Reinsertions are
identified with their first listing in parentheses.

8. (Cf. 11/2) Elena Machado Lowenfeld, 5776 Palisades Ave.,
Riverside, NY 10471, has completer her M.A. thesis, City
College of the City University of New York, entitled "Santiago de Murcia's Thoroughbass Treatise for the Baroque Guitar
41714)." The work is published on demand by University Microfilms, order no. M-7910, under the terms stated on the inside
back cover of Soundboard.

In Progress
1. "An International Catalog of Guitar Music [in Print]"
has been undertaken by Wolf Moser for Verlag Joachim Trekel,
Tangstedter Landstrasse 201, D-2000 Hamburg, W. Germany, as
reported in Juergen Libbert's article elsewhere in this
issue. Part I is complete, Part II is in progress. Publishers of guitar music should send news of their publications
to this address on a regular basis. Libraries may purchase
the catalogs for DM 42.

9. John W. Duarte, 30 Rathcoole Gardens, London N8 9NB, has

published his recommendations on standardized modern guitar
notation in il 'Fronimo' no. 14 (Jan 1976). His proposals
embrace symbols for the fingers, the strings, barre positions,
portamento, harmonics, legato, trills, crescendo and decrescendo, and etouffee.


2. Scott Hambly is undertaking a doctoral dissertation on

.mandolins in the Department of Folklore and Folklife, University of Pennsylvania, Philadelphia, PA 19174. The title of
the work is "Mandolins in the United States: a Social History Since 1879." Subjects to be treated include mandolins
-in social contexts, the development of mandolin making, and
the instrument's popularity at various times and among various musical cultures in the U.S.

10. Joaquin Rodrigo's "Invocation and Dance," recorded by

Alirio Diaz on RCA LSC-2717 (1964), is currently being
sought by Thomas T. Bertch, 7787 SW 86th St., Apt. E 104,
Miami, FL 33143. He requests that anyone having access to
the score in any form correspond with him.

3. (Cf. 111/2) The GFA is publishing through Belwin-Mills

the following works: (a) Giuliani's Variazioni, Opus 112, a
facsimile of the first edition (available free to voting members of the GFA as the 1976 giveaway). (b) The six Rossiniaria of Giuliani, Opus 119-124, facsimiles of the first editions. (c) A large historical Anthology of American Guitar
Music, edited by Peter Danner. (d) A Nocturne by Carulli for
Vl. & G, critical ed. by Peter Danner. (e) A Boccherini
Sinfonia with guitar, critical edition, and (f) a Sussmayr
Serenade with guitar, edited my Matanya Ophee. Items (a)
and (d) have already appeared. Arrangements will be made
for GFA members to order any or all titles at special members' rates through our Secretary later this year. They
should be available commercially also.


The editors of Soundboard would like to encourage our readers

to contribute to the newsletter. Articles and information on
all aspects of the classic guitar will be considered for publication. Historical, pedagogical, bibliographical, musicological and informational topics related to the guitar are of
interest. Other subjects include but are not limited to the
construction, repair and care of the guitar, the use of guitar in ensemble and orchestral music, biographies of guitarists and guitar composers, the aesthetics of the guitar and
the relationship of the guitar to the other arts.

4. This writer is seeking copies of Schubert Lieder published by the following Viennese firms in versions for voice
and guitar: Cappi & Diabelli, Sauer & Leidesdorf, Pennauer,
Diabelli & Cie. Please write if you have such works or if
you know where they might be located.

Contributions should be sent to the General Editor. Those of

you who would be interested in writing reviews of books,
music and recordings should also correspond with the General

5. (Cf. 1/2) A biographical data bank on guitarists who

have recorded, concertized, or published is being compiled by
Lowell D. Thornton, 3927 Irving St., Denver, Colo. 80211.
It is hoped that some method can be found to publish the
fruits of this labor: Contemporary Guitarists: A Biographical Project in Loose Leaf Format. If anyone has suggestions
or experience in this regard, please come forward. Potential
biographees are requested to correspond with Mr. Thornton and
include a b&w photograph.

Typescripts must be double spaced with margins of at least

one ince all around. Good bond paper, 84 x 11 inches should
be used. Footnotes, tables and captions must be typewritten
separately, with double spacing. Glossy positive photographs
must be supplied for illustrations. Musical examples must be
written on separate sheets with proper captions, if any are
necessary. Soundboard generally follows the University of
Chicago Press A Manual of Style, 12th ed. for bibliographic
citations and details of style.

6. (Cf. I/1) "The Development of Classic Guitar Technique

as Reflected in Methods and Tutors of c.1780-1850" is a doctoral dissertation in progress for Indiana University. Persons having rare material of potential relevance should contact Paul Cox, Dept. of Music, University of Illinois, Urbana, IL 61801.

John W. Tanno



By Matanya Ophee
By a deeper apprehension, and not
primarily by a painful acquisition
of many manual skills, the artist
attains the power of awakening
other souls to a given activity.
Ralph Waldo Emerson

(Essay on History)
The word "Amateur" in the present discussion derives from the
concept of love. It is my love for the guitar, not my relative position in the hierarchy of guitar professionals, that
prompts the present essay. I have been intimately involved
with the guitar over the last twenty years, at times earning
my livelihood with it, at times relegating it to a secondary
role in my commerce, other means being more profitable. Always, however, the guitar claimed a very large portion of my
waking hours, and frequently of my dreams as well. It is with
this spirit in mind that I claim to be the INDISPENSABLE
AMATEUR, as defined by Jacques Barzun.
I fervently hope by these presents to instigate an exchange
among guitar "Amateurs," whether amateur or professional,
that will bring about a careful examination of the guitar's
present status, so as to prevent the debacle predicted by the
eminent scholar and composer, John W. Duarte, in the April
1975 issue of ii "Fronimo." His warning is very pertinent,
and I hope that it will be given wide notice in American
guitar circles.
According to Mr. Duarte, the guitar may disappear again from
the musical scene, unless it comes to age and is accepted as
the equal of other instruments by the public at large and
music critics in particular. Unless we adopt certain measures and assume different attitudes, the guitar may very well
descend once more into the abyss of oblivion. I agree enthusiastically with the points raised by Mr. Duarte, and his
various suggestions must be given serious consideration. It
seems to me though, that Mr. Duarte was not forceful enough
in describing the isolation in which guitar players find
themselves. I would like to suggest some additional means
by which guitars, guitarists and their music might be treated
more fairly not only by the public and critics, but also by
the people on whose cooperation we must depend if the guitar
is to achieve some degree of respectability, i.e., other
The Problem
What can we offer the young person in the way of a musical
future or career, when he or she comes to us for instruction? The problem is of similar nature whether we teach
privately, in a studio/music store, in a high school or in a
degree program at a college, university or conservatory.
When the student has finally arrived at the particular goal
we have defined for him, when the instrument is mastered and
the literature learned, and when we confer upon our student
a diploma, degree or whatever privately contrived laurels we
can think of, then what?
The international solo concert stage is a very busy place.
It is still occupied to some degree by people who should have
retired years ago. The young generation of virtuosos is
struggling to carve for themselves a slice of the present
leftovers; they find the spoils very dear to come by. There
is not much room left for any new recitalists. If our
protege were a string or wind player, or even a percussionist,
we could show him the way to obtain employment and earn his
livelihood as a member of an established orchestra. If he
were a piano or organ player, we could always encourage him

This article will be serialized

over the next few issues of Soundboard

to become an accompanist or a music director in any one of

the thousands of churches in this country. Of course, we
could encourage our student to become a teacher, and the demand for good teachers is great. But very few teachers are
secure enough in their own mind to be able to encourage their
own students to enter into competition with themselves, and
some people are simply not capable of teaching, however competent they maybe as performers.
Looking toward the forseeable future, one sees no easy solution. There will not be any room for guitar players in symphony orchestras. Mr. Biberian and friends' efforts in this
direction nothwithstanding, 2 the repertoire of symphony orchestras is very well defined by general public tastes. Although we do find from time to time a music director that
will take an innovative approach to symphony programs and
introduce a new piece that requires unconventional instrumentation, the repertoire is composed of well-tried and true
warhorses with very little room for anything else. Moreover,
in the United States orchestras are not supported by the
Government, as is the case in many European countries; they
are more interested in their survival than in hiring a whole
new breed of players. The orchestra members themselves will
hardly agree to make room for a whole new section when their
own economic survival is many times in doubt, particularly
when they find it so difficult to negotiate their own contracts with the orchestra management.
Thus, the prejudice against the guitar in the symphonic
environment is very well entrenched indeed. Guitarists are
always very fond of quoting Berlioz's contention that unless
one is a guitarist himself, one cannot write well for the
instrument. We do know today that this is not true, and we
have Ponce, Tansman and Castelnuovo-Tedesco to prove it.
What guitarists fail to read in Berlioz is his contention
that the sound of twelve guitars in unison is almost ridiculous. 3 I have never heard twelve guitars in unison, and I
don't know how true this contention is. I find four guitars
in unison incongruous enough. It makes very little difference
whether the prejudice was coined by Berlioz himself or he was
merely echoing prevailing attitudes. What matters is that
his Treatise on Instrumentation, as revised by Richard
Strauss, is still used in many conservatories as a teaching
tool, or at least as a reference work. I am afraid that from
the point of view of providing our student with a future, the
symphony orchestra is a dead end.
The same problem seems to exist with the school orchestra or
band. At a recent conference of the New Hampshire chapter of
A.S.T.A., a great deal of the discussion was centered upon
the importance of the string band as an incentive for the
young person. The appreciation of their peers, even in the
early grades, is a very powerful element in the total formation of the young musician. String teachers are very much
aware of this. They are also very much aware of their own
limitations in inspiring the young person, and im penetrating
with their music a sometimes hostile home environment. The
school band or orchestra is something the young person can
look forward to, a very strong moral support that can sustain
him in his practice, when the urge to participate in other
youthful, non-musical activities is great. This wonderful

outside the mainstream of the current musical scene. I well

remember that concert in 1965 or '66 in Town Hall, New York,
when we all went to hear Julian Bream with the Melos Ensemble, playing the Giuliani Concerto, Op. 30. The program
opened with the Gervais de Peyer, and the celebrated Brahms
The Solution
Quintet for Clarinet and strings. This was a unique opportunity for guitar enthusiasts to be exposed to one of the
To paraphrase the aforementioned article by Jacques Barzun,
world's leading exponents of the clarinet, and to a piece
no form of art, no instrument for that matter, can survive
of music that is considered by many to be one of the most
the ravages of time, without the support of a wide and popular base of dilettantes. A concert artist, however devoted difficult to perform, and at least in this writer's opinion,
one of the greatest compositions of all times. One rememand capable, cannot support a whole musical culture solely
bers with deep regrets the painful expression of boredom on
on his good wishes and technical prowess. There must be
the faces of the many guitar aficionados preseot, and the
also a great number of people who are interested enough in
the instrument to buy the music, buy the tickets to concerts, increased level of coughing and sneezing while the Brahms
was in progress, as compared to the silence and rapt attenbuy the instrument itself, and devote thousands of hours to
tion accorded by the audience to the guitarist. Of course
the practice of music, for the sole purpose of a personal
both performances were absolutely superb, and the Giuliani
and private gratification. Chamber music used to serve this
purpose; the term Hausmusik is still synonymous with it. On Concerto does not need any apologies. But by any yardstick
of current taste in chamber music, it is simply not in the
the other side of the same coin, the so called Chamber Music
same league with the Brahms. Probably the only piece of
Concert constitutes an important slice of the available musguitar literature that comes even close to the sheer draical pie. It attracts more audiences today than was ever
matic and emotional impact of the Brahms Clarinet Quintet,
possible when it was the sole province of the nobility and
is the Castelnuovo-Tedesco Quintet for Guitar and Strings.
the wealthy middle classes. A guitarist who ignores this
How many concert performances or recordings of it one can
fact denies himself a large potential audience, and does the
find as compared to the cloying abundance of performances
guitar a great deal of disservice.
and recordings of a second-rate piece like the Concierto de
Aranjuez by Rodrigo? This is really a very sad state of
The state of New Hampshire boasts of a population of 800,000
affairs. The question remains to be answered: how many
people--fewer than most modern cities. During the summer
guitarists, professional and amateur alike, are actually
there are at least five important chamber music festivals
aware of what is happening in the world of music today?
in evidence, plus several teaching workshops for chamber
music of various persuasions. Aside from my own participaThe simple fact is that we need the cooperation of other
tion in the Center for Chamber Music at Apple Hill's workmusicians, in order to promote the guitar as a chamber
shop, the only time I was able to hear a guitar player in
instrument. String and wind players have existed long
any of these programs last summer was the the Strawberry
without the guitar, with no ill effects whatsoever, and
Banke Festival in Portsmouth, N.H., when a young man gave a
will continue to exist without us, whatever we do. So it is
selection of guitar solos in the middle of a program deincumbent upon us to examine the literature, and weed from
voted to Mozart and Weber. Although the program, as adverit those pieces that attract ridicule in musical circles,
tised, promised a whole sonata by Paganini (which I naively
and promote those pieces that enhance not only the personal
expected to be one of the Violin and Guitar Sonatas), we
glory of the solo performer, but rather the concept of
ended up with the usual pieces, or what Jack Duarte calls
ensemble playing and team effort as it is practised today.
"International Interchangeable Programming." What a pity!
What we must also do is to promote methods of teaching that
will enable our student to sit down and read music on sight,
This brings me to my basic premise in this discussion,
in much the same way other musicians do. Nobody is really
namely that chamber music can, and must be used for the dual
interested in any excuses about the difficulty of reading
purpose of widening the popular base of amateurs, and for
music on the guitar, and nobody will allow us time to
enlarging the field into which talented young guitarists can
"decipher" our part. The dependence on a visual contact
enter, upon completion of their course of study. In the
with the finger-board must be overcome. The ability to
process, it will also provide the young student, even in the
recognize melodic and harmonic patterns on sight, and formearly grades, with a means to express themselves in the
ulate the fingering for them automatically, must be developed.
school environment, and a chance to win the appreciation of
their teachers and peers.
opportunity has not been available to the guitarist! It's
as simple as that, unless he can also play the french horn
or something.


Guitar Chamber Music Today

One must admit that there is actually quite a lot of chamber
music for guitar heard on the international concert stage
and on current recordings. Unfortunatley, most of it is
devoted to pieces that provide the guitarist with a solo
role, with the usual muted strings. This is fine, but it
does not make for good chamber music. Of course, when one
is a famous concert artist, with a box-office conscious
manager, one is able to simply hire any number of musicians
for any purpose. But when one is a musician that must win
the approval of other musicians in order to play with them
for fun or profit, one must select music that is equally
attractive to all the musicians in the group, even if sometimes the guitar part is not very prominent. As extensive
as the guitar chamber music repertoire actually is, we must
not forget the overwhelming amount of chamber music that
does not include the guitar. Moreover, chamber musicians
are accustomed to deal with music of a very serious nature,
and of high artistic worth--from the more obvious Beethoven
Quartets, Schubert Quintets, etc., to the less obvious
Bruch Clarinet Trios and the Britten Fantasy for Oboe and
Strings. Guitar players have too long sequestered themselves in the narrow boundaries of guitar societies, guitar
recitals and guitar publications, and thus have remained

1 Jacques Barzun, "The Indispensable Amateur,"

Juilliard Review, 1, no. 1. (Reprinted in Guitar Review,

no. 18 (1955): 17.)

2 As reported in the August 1975 issue of Soundboard,

official organ of the Guitar Foundation of America, 6538
Reefton Ave., Cypress, CA 90630.
3 Hector Berlioz, Treatise on Instrumentation.
Enlarged and revised by Richard Strauss. Translated by
Theodore Front. New York: Edwin F. Kalmus.

[This article will be continued

In the next issue of Soundboard]



by Ephran Younger
productive by-monthly meetings with financing achieved initially through benefit concerts given by board members and
later, through additional help from local merchants and
private donations, the Carmel Classic Guitar Festival became
a reality.

The Monterey Peninsula--a beautiful stretch of wooded California coastline already famous for its Carmel Bach Festival
and the Monterey Jazz Festival--has given birth to yet another major musical event: The Carmel Classic Guitar Festival. Established as an annual event, the new festival premiered at Carmel's Sunset Cultural Center on February 21-22,
1976, with two full days and nights of spectacular guitar
activity including exhibits of new and antique guitars,
lecture-performance demonstrations of the various guitar
genres, special films, workshops, round-table discussions
and two exceptional evening concerts.

L to R: Gregg Livernois, Teresa Broadsley,

Terrence Farrell

The event officially got under way at 10:30 a.m. Saturday

morning with what was probably the largest collection of rare
antique guitars ever to be displayed in the United States.
There were two parts to the presentation. The first con- .
sisted of a brief, but informative description of the history
and craftsmanship of the more important instruments along
with a demonstration of their unique tone qualities. Later,
the audience was invited to inspect the guitars at close
range in a tastefully arranged wall and table display with
attendants on hand to answer questions. Among the exhibited
instruments were several beautifully preserved Lacote guitars
dating from 1834 and an 1835 C.M. Martin which had been
carried through the American Civil War. There were also some
fine examples of the famous de Torres guitar and many other
Spanish and Italian instruments too numerous to mention.

Guy Horn and Ron Purcell

Composer-guitarist Guy Horn, the festival's founding director, explained the idea that started it all: "After many
years of involvement with the classic guitar, I came to see
that it would take more than isolated concerts by individual
touring artists to do complete justice to the instrument and
its infinite possibilities. What was needed was a consolidation of events that would give concert goers a unique
opportunity to experience the many facets of the guitar and
also provide a stimulating setting for an exchange of knowledge and ideas between those who are directly involved with
the instrument."

After a break for lunch, the festival resumed with a showing

of two guitar films, one featuring the grand master Segovia
and the other, guitar virtuoso John Williams. From the
aficionado's standpoint, the films were excellent entertainment because of their rich musical content. For the guitarist, however, they held an added attraction: rarely observed
closeups of both left and right-hand techniques.

Although the festival notion came to Mr. Horn over five

years ago, it was not until mid 1974 that he was able to
implement his plan. As Horn recalled: "It all began at a
dinner gathering of students and friends where I decided to
present the idea in an informal talk. As soon as I explained the project, the whole room began to crackle with
creative energy. Everyone offered their help and suggestions as to how it might be done. Since this was at least
a year prior to the guitar festival held in Toronto, Canada,
we really had nothing to serve as a model and literally had
to start from scratch. Yet, the thought that it couldn't be
done never entered the discussion."

Immediately following the films, guitarist Peter Evans gave

a first-rate flamenco program. Evans, an RCA recording artist who at one time lived among the Gypsies in Spain, skillfully combined a lecture of flamenco's art and history with
a masterful performance of the major flamenco forms.
Rounding out the day's events were a guitar forum where
visiting players had an opportunity to perform for the public
and a problem solving clinic for guitar students, led by Guy

Horn's concept of a guitar festival sparked such an enthusiasm for involvement that a Board of Directors made up of
students, teachers and professional performers was formed
the same evening. Two major purposes were also established:
First, the festival would not only further the appreciation
of the classic guitar in solo performance, but would also
promote its future as an ensemble instrument. Secondly, the
event would provide professional outlets for unknown accomplished young artists as well as the recognized masters.

The Saturday evening concert presented a rare two-part program showcasing the guitar in chamber music and in solo performance. The ensemble played works by Faure, Scarlatti,
Ravel and was comprised of guitarist Dorothy De Goede, a
distinguished chamber music artist whom Segovia trained on an
individual basis, mezzo-soprano Linda Purdy, winner of many
prestigious awards including runner up in the regional Metropolitan Opera Auditions and Raymond Fabrizio, first flutist
with the Monterey Symphony Orchestra. The second half of
the evening featured guitar soloist Vincenzo Macaluso. A

The greatest stumbling block for the group was, of course,

money and how to raise it. But, after a year and a half of


organized event.

recording artist with Klavier Records, Macaluso is considered

by many to be America's foremost exponent t the ten string
guitar. Most notable in his performance was a rendition of
Paganini's Moto Perpetuo in which Macaluso sultained such an
amazing degree of technical virtuosity that the entire house
was brought to its feet with shouts of bravo!

In answer to the overwhelmingly positive response, next

year's festival (scheduled to take place early in May of
1977) will be expanded to four days of activity. Tentative
plans involve the formation of a string quartet to accompany
the guitar in chamber works, a flamenco cuadro featuring the
guitar with singers and dancers, a possible Brazilian or
jazz program and an exhibition of guitars by modern luthiers.

Sunday morning festivities began with a repeat showing of

the guitar exhibit and the two films.
This was followed in the afternoon with a lecture-demonstration by Richard Stover illustrating the guitar as played in
South America. Stover, a professor of guitar at the University of California at Santa Cruz, had just completed an
extensive research project in Latin America gathering information on the area's guitar virtuosos and collecting unpublished music. Stover has become one of the leading authorities on the South American guitar genre and his scholarly
presentation included rare recordings and slides in addition
to an authentic and very sensitive live performance of
representative works.

In the future, the Festival Board hopes to organize and

support a small orchestra. Another of their primary objectives is to set up a Guitar World Center on the Monterey
Peninsula. The center would house workshops, a library, rare
instruments, and serve as a nucleus of research into all
things relating to the classic guitar.
Anyone wishing to be on the Festival's mailing list may
write to the Carmel Classic Guitar Festival, P.O. Box 977,
Carmel CA 93921.

A recital and lecture by guitarist Byron Tomingas was next

on the agenda. Recently featured as soloist with the Reno
Symphony Orchestra, Tomingas offered guitar music in the
classical style and spoke on the subject of scale theory and


(Continued trom page 43)
have overcome all the editorial problems involved in this publishing venture. And yet, the first volume is already in its
second edition, the second in preparation. When both are
fin 4 qhed, this will be the most comprehensive bibliography of
guitar music in the world--an incomparable achievement.

.Daytime activities wound up with a round-table discussion

consisting of a lively question and answer period between
visitors and a select panel of board members, festival artists, and special guest, G.F.A. president Ron Purcell.

(Translation by T. F. Heck)


(Continued from, page 43)
Those "Comprehensive" Caprices
Luigi Legnani, in his 36 Caprices dans tous lea tons majeurs
at mineurs, Op. 20, gave us the nineteenth century's only
complete tour of the major and minor keys for the guitar
Or did he?
A careful scan of Op. 20 shows how sLuobornly inclusive
Legnani was: only seven keys are repeated at all in the set.
And, like Mario Castelnuovo-Tedesco in the first volume of
his Appunti, Legnani shows us how thoroughly he enjoys a
real challenge to his compositional talents. Tedesco wrote
his most ravishingly lyrical sketches on the "dissonant"
intervals (the one on fourths is a lovely little art-song);
Legnani gave us his most delightfully idiomatic etudes in
the more remote keys (even if, as in his B-flat minor caprice, it involved modulating briefly to a more guitaristic
key--D major--to accomplish this). But has Legnani given
us, as advertised, a caprice for every key, major and minor?
Well, yes. But only barely. And enharmonically. Going
through the book (a task which may prove more difficult than
the brevity of the pieces might imply, as well as more rewarding than their relative obscurity might indicate), we
find that Caprice No. 35 has been set in E-flat minor, not
the D-sharp minor we might expect.

Glenn Tinturin
Sunday evening, the festival drew to a close with an appearance by the talented Tinturin brothers (Lenny, winner of
numerous piano competitions and Glenn, a Horn student who
won the Young Musicians Foundation Award of Los Angeles).
In the opening of the program, Lenny assisted his brother
in a piano-guitar duet of the Tedesco Concerto in D. After
intermission, Glenn returned with an exciting selection of
standard repertoire pieces including the Bach Chaconne and
Granados Danza No. 5. The audience's applause called forth
three encores and a magnificent weekend of music concluded.
Measured by any standard, the Carmel Classic Guitar Festival
was a smashing success. Over 800 visitors attended the well-


is raises a question: has anyone written a good tune for

the classic guitar in D-sharp minor? Does anything worth
playing exist in this key for the guitar? The only things
I've been able to find in my own library have been an inoffensive, but uninteresting little prelude in chords by
Carcassi and a thoroughly boring exercise by William Foden.
I await with whetted interest the arrival of Moshe Levy's
new book of guitar pieces "in all keys, major and minor."
Maybe the peripatetic Mr. Levy will finally get around to
dropping that other shoe that Legnani forgot, a century ago

Mr. Magula Responds to Mr. Stearns.


I must confess to not fully understanding Mr. Stearns' criticisms. Perhaps because it appears that Mr. Stearns did not
fully understand my original points. Allow me to attempt to
bridge the chasm by clarifying the points in question.

It has been a continuing pleasure to receive the WA Soundboard, and it is very rare when I find something in it which
is not either enjoyable reading or of the highest informational calibre. However, a recent article by Mr. George
Magula entitled, "The Guitar Concertos of Mauro Giuliani,"
(Vol. III, no. 2) gives rise to some questions in my mind
about the clarity of certain of his findings.

To facilitate matters let me first explain my use of the word

"psychological." Music plays with expression and emotion.
These qualities do not exist outside of the human mind and
may therefore be labeled as "psychological." I am charmed by
the music of Giuliani in the same way as I am charmed by that
of J. C. Bach. My emotional reaction to both is very similar
and therefore to me the music is of the same psychological

At one point, Mr. Magula states that, "The real problem

(regarding criticism of Giuliani's concerti) may lie in the
manipulation of the drama inherent in the sonata form of a
concerto." The author continues by imputing dramatic weakness to concerto writing which employs lengthy orchestral

Psychology is also important in the production of drama. Mr.

Stearns and myself are in complete agreement that "the first
moment of drama in the concerto is the entrance of the soloist
after the initial orchestral exposition." (Quoted from my
article.) The problem for the composer, then, is what to do
with the initial orchestral section if the listener is really
only waiting for the solist to enter. Giuliani fails to
solve the problem--his expositions, because of their excessive length and somewhat banal content, cause no psychological build-up to the first moment of drama, but rather cause
the soloist's entrance to cease to be dramatic.

By this, Mr. Magula seems to me to equate the commonly

accepted meaning of drama inherent to the sonata allegro
form with a broader and very distinct sense of drama in the
concerto itself; his failure to distinguish between the drama inherent to harmonic stress and resolution (principally
between tonic and dominant) in the sonata allegro form and
that drama of a sequential nature (such as interplay of
orchestra and soloist) is very confusing.
Even if one allows the broader definition of "drama," Mr.
Magula's position still appears debatable. He associates
lengthy opening tuttis with "weak drama" and adds that this
"...is par for the course in a great many classic concertos
..." This view is directly opposed by many authorities who
feel, as does Cedric Thrope Davie, in his Musical Structure
and Design (Dover reprint, 1966), that, "...the entry of the
solo part [in the concerto], itself [is] the first dramatic
stroke." Are we then to believe that, according to Mr.
Magula's view, Mozart's concerti, which no less an authority
that Alfred Einstein calls, "...the peak of all his [Mozart's]
instrumental music, at least in the orchestral domain," are
"par for the course" in their "weak drama," simply because
they have extended expository tuttis--many of which are as
lengthy as those of Giuliani?

My reaction to the soloist's entrance is one of relief from

the oppressive introduction. This is the wrong type of dram.
Mr. Stearns seems to have missed this point and I apologize
for any ambiguity on my part.
As to Mr. Stearns' last point, let me reiterate that I thirik
Giuliani was a GOOD, second-rank composer. There is other
music of higher QUALITY. Yet Giuliani's music may (and
almost must) be analyzed using the same musical criteria
applied to Mozart or Beethoven. The compositional problems
are the same, only the quality of the solutions is slightly
Finally, I wish to thank Mr. Stearns for reading my article
and the Soundboard for this opportunity to respond. I did
not expect such a harmless article to arouse such controversy.
I hope that I have clarified my position to Mr. Stearns.

Moreover, Mr. Magula's stance appears to ignore an important

aspect of concerto growth and evolution: that being its
structural synthesis, by Mozart's time, of the heritage from
the J. S. Bach concerto which employed a ritornello format
and that of the sonata allegro form. Thus, even in context,
the author's statement that, "...the soloist begins from
nothing, the drama of the orchestral exposition having clearly been resolved" seems at best misleading.

George Magula

Neither have I been able to ascertain fully what Mr. Magula
itends to convey when he describes the quality of Giuliani's
work as, "...a charming lyricism, a psychological style much
akin to that of J. C. Bach." What, may I ask, is this
"psychological style?" One is immediately reminded of references to 20th Century Viennese expressionists such as
Schoenberg (with his Erwartung) or Berg (and Wozzeck).
Doubtless there is much of the "psychological" to be found
elsewhere in music, but the galant style embraced by postJ. S. Bach composers could hardly be described as "psychological" without laying groundwork.

The editor would like to express special appreciation to

Wendee Loessin for preparing camera-ready copy for this
issue of Soundboard.

Finally, I think that it is unfortunate that an obviously

knowledgeable writer should find it necessary to resort to
the time worn apologia of so many who deal with the guitar
or guitar composers--that which so graciously discounts the
validity of comparing the lesser to the greater (in this case,
Giuliani to Mozart and Beethoven), but which so often relies
on just such mainstream comparison to achieve valid results.
Roland H. Stearns





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Submitted by Thomas F. Heck, Contributing Editor

Continuing our bicentennial series of facsimiles of early American guitar music, we present
an 1850 imprint of "Annie Lawrie" arranged by E. Blessner, for voice and guitar, published
in Philadelphia by A. Fiot, and evidently sold also in New York by W. Dubois.
Although precious little is called to mind by the names of the persons responsible for this
edition, somewhat more is known about the origin of the melody and poem. According to the
"Annie Laurie" entry in James J. Fuld's Book of World Famous Music, Revised and Enlarged
Edition (New York, 1971), the poem centers on the figures of William Douglas and Annie Laurie,
lovers who, A la Romeo and Juliet, belonged to rival Scottish clans at the dawn of the 18th
century. The first known edition of the poem is in a privately printed Ballad Book (Edinburgh,
1823). The music was evidently composed by Lady John Scott in 1835, and included in Vocal
Melodies of Scotland, Vol. III, New Edition (Edinburgh, 1838). Hence the present American
imprint appeared within twelve years of the Scottish first edition. Copyright was apparently
not a problem in those days.
Incidental observations: a "brae" is a hillside, and her "e'e n (stanza II) is her eye. The
guitarist was supposed to use the thumb of the left hand in executing the low F, measure 2 of
the third system.
SOURCE: Huntington Library, San Marino, California, whose gracious cooperation is acknowledged.





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An _ nie

lay me donne and

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Her brow is like the snow drift,
Her throat is like the swan;
Her fake it is the fairest
That e'er the sun shone on,
That e'er the sun shone on.
And dark blue is her e'e
And for bonnie Annie Laurie
I'd lay me donne and dee ..



will still be welcome, but requests for mail-order xeroxes

of material may not be responded to with customary dispatch
for logistical reasons. Mail will continue to reach the
Archivist through Chapman Collge, however a new address will
be announced with the November Soundboard.


New Acquisitions
1. La Sentinelle, Die Schildwache, pour le chant, pianoforte, violin, guitars ou violoncelle concertants at contrebasse ad libitum, composge a Mademoiselle Eugenie Silny par
J. N. Hummel, Oeuvre 71...Ce morceau a 9t9 executg avec beaucoup de succes aux soirges musicales donnges par Hummel,
Giuliani at Mayseder. 2d edition. Vienne: Chez Tobie Haslinger. Plate number T.H. 2327. Xerox copy-flow, legible,
33 exposures. Gift of Matanya Ophee. This is, as the title
pages states, a joint compositional undertaking of Hummel
(pianist), Giuliani (guitarist), and Mayseder (violinist).
Parts are provided for tenor (German or French), piano,
cello, violin, another cello ad libitum, terz guitar, bass
ad libitum, and optional chorus of two tenors and a bass.
This is an incredibly romantic, sentimental French "romance"
arranged in a manner calculated to "bring the house down."
See my dissertation, Vol. II, p. 182, for a commentary. The
edition dates from 1816. Price: $3.50.

Please note: Duplications are reckoned at 10 per exposure

plus postage. Minimum order is $2.00. Members need not send
payment in advance.



Fiscal Year Ending June 30, 1976

(from duplication of Archival material)


B. Expenses
(cost of duplicating, mailing, lab work)

2. Paganini, N. Trois Quatuors pour Violin, Alto, Guitars

et Violoncelle, dedigs aux Amateurs par N. Paganini, Oeuvre
4, No. 1. Paris: Richault, plate number 2677R. Xerox copy-

$ 22.84

Thomas F. Heck
c/o Dept. of Music
Chapman College
Orange, Ca. 92666

flow, reasonably legible, 25 exposures. Gift of Matanya

Ophee. Contrary to what the title page states, this is only
one quartet. A fine modern edition of the same is available
from Edizioni Southern Music. GFA Archive price: $2.50
Plus postage.
3. Tessarech, Jacques.



ENDING JUNE 30, 1976

Evolution de la Guitars, Douze

pieces et Trois Etudes.

Paris: Henry Lemoine & Cie, 1923.

Plate number 21,595 HL. This work has often mistakenly been
cited as a history of the guitar; it is rather a remarkable
collection of original compositions by a Corsican guitarist
contemporary with Tarrega. Gift of George Warren. 57p.
$5.70 for a xerox copy.
4. Tessarech, Jacques.


La Guitars PoZyphonique, faisant

A. Income
Membership dues (new members and renewals)
Advertisements in Soundboard
Miscellaneous (bulk-mail subscriptions and
archival material)


Paris: Henry Lemoine & Cie, 1929.

Plate number 22,220 HL. This consists of transcriptions of
Mozart, Beethoven, and folk music for guitar. It is anything
but polyphonic. Gift of George Warren. 67p. $6.70 for a
xerox copy.
5. Music by Jacques Bosch [Jaime Felipe Jose Bosch Renard],
b. Barcelona, 1826 - d. Paris, 1895:

- Dix pieces faciles pour guitars.

Paris: A. Leduc, 1923.


- Etoiles et Fleurs, reverie, Op. 12.


B. Expenses
Postage, telephone, reprints, printing of
forms, art work, stationery, miscellaneous
Printing of Soundboard
Bank charges
Franchise Tax Board
Canadian duty for export of Soundboard
to Toronto

Paris: Lemoine, plate



no. 9153 HL. 2p.

- Fantaisie dramatique, Op. 14.

Ibid., plate no. 9155 HL.


- Celia, Jota valse, Op. 13.


Ibid., plate no. 9154 HL.


- Brimborion, romance sans paroles, O. 11.

Ibid., plate


Loss for Fiscal Year



no. 9152 HL. 3p.

- Retraite espagnole, Op. 16.

Ibid., plate no. 9157 HL.


Balance June 30, 1975

Loss F.Y. ending June 30, 1976
Surplus June 30, 1976


- Meditation, Op. 18. Ibid., plate no. 9159 HL. 2p.

- Ballade, Op. 19. Ibid., plate no. 9160 HL. 2p.

Jim Forrest

Here is a collection of virtually unknown guitar music of

decided 19th-century flavor leaning toward the Spanish idiom.
The Retraite espagnole calls for a scordatura tuning:
E -A-A-e-a- c#. Gift of George Warren.

New Duplication Policy and Schedule

The mail order services of the Archivist will not be available
between the date of appearance of this Soundboard (August)
and the next issue (November). During this period, donations




Publishers wishing to have their publications listed in this

column are invited to send their recent titles relevant to
the guitar to the General Editor. Reviews will be solicited
from competent and knowledgeable teachers, guitarists, and
Carulli, Ferdinando. Sei Andanti, Op. 320 for Guitar. Edited by Ruggero Chiesa. Milan: Edizioni Suvini-Zerboni.
Clarke, Nicholas. Left Handed Guitar.
Strummer, c1974. 28p.

. The Well-Tempered Guitar.

New York: Bold

Book 1. New York:

Bold Strummer, c1975. 38p.

Alternative Approaches in Contemporary Guitar

Learning Programs: A Teacher's Manual. New York: Walter

Gagner, Fred.

Kane Publications, 1975. 24p.

Giuliani, Mauro. Rossiniana, no. 1, Op. 119 for Guitar.
Edited by Ruggero Chiesa. Milan: Edizioni Suvini-Zerboni.

. Variazioni, Op. 62 for Guitar. Edited by

Ruggero Chiesa. Milan: Edizioni Suvini-Zerboni.

Knuth, Alice M., and Richard C. Berg. Learning Music with

the Guitar. Belmont, California: Wadsworth Publishing
Company, 1976. 150p.
Here is a spiral-bound, simple, basic, clear text for the
raw beginner--the novice at music and the guitar. . Designed
by persons at the Oregon College of Education who obviously
had no preconceived idea of what this kind of book ought to
be, Learning Altaic with the Guitar starts your student (or
your class) with the D chord as the sole accompaniment to
"Row, Row, Row your Boat." From there it advances to an A 7
and "Bury Me Not."
After the left hand has learned a few things (the right hand
strumming all the while), the authors introduce the "pluck
strum" technique. While using conventional staff notation,
they nevertheless naively adopt an anglocentric "t-i-m-r"
system for designating what the rest of the world calls
"p-i-m-a." It's enough to make one scream. No, shudder.
So by lesson 25, your kids will be learning the "t-i-i-i
strum." If you can resign yourself to this notational
travesty, you will find this book to have a happy and plentiful selection of folk songs with guitar accompaniments
(some of which are written out fully as arpeggios). And it
is nice to have parallel concepts of intervals, chord inversions, keys and notation presented. This text should easily
keep beginning students busy for a semester.

. Variazioni Concertanti, Op. 130 for TWo Guitars.

Thomas Heck

Edited by Ruggero Chiesa. Milan: Edizioni Suvini-Zerboni.

Purcell, Ronald C.

World of Guitar.

Andres Segovia: Contributions to the

New York: Belwin-Mills, 1975. 42p.

. Classic Guitar, Lute and Vihuela Discography.

New York: Belwin-Mills, 1976. 116p.
Sharpe, Linda. Calisthenics for Guitarists.
Bold Strummer, 1975. 7p.

New York:

Introduzione e Variazioni su l'aria "Malbroug," Op. 28 for Guitar. Edited by Ruggero Chiesa.

Sor, Fernando.

Milan: Edizioni Suvini-Zerboni.

. Introduzioni e Variazioni su l'aria "Que ne

suss-de la fbngere," pp. 26 for Guitar. Edited by Ruggero
thiesa. Milan: Edizioni Suvini-Zerboni.

Holl, Adelaide. Sylvester, the Mouse with the Musical Ear.

Illustrated by N. M. Bodecker. New York: Golden Press, 1973
The guitar has found its way into children's books! But,
alas, it has once again been relegated to that age-old role
of "cowboy's sidekick!" Sylvester the mouse is the guitarist
and, most happily, he is endowed with an ear for music. He
finds his home inside a guitar when he is rudely rousted
from his country home in the meadow (by none other than that
creature, man, ,7ho turns Sylvester's dirt roads into highways,
his lovely woods into tract homes, his cornfields into
shopping centers and his silver, gurgling brooks into more
Eventually Sylvester's "home" is bought by a cowboy and he
and Sylvester become great friends when Sylvester discovers
that he has once again returned to the country and that he
will be able to keep his home inside the guitar.

Recorder and Guitar Duets from the Baroque (Guitar and Alto
Recorder). Edited by Bernard Hopkins. BM 203.
Pour Bach Works for Alto Recorder and Guitar. Edited by
Bernard J. Hopkins. BM 201.
Zach, Jan. Trio Sonata, TWo Alto Recorders and Guitar.
Edited by Bernard Hopkins. B 3002.
The foregoing editions, published in 1974 and 1975 by Musics
Sacra et Profane, P.O. Box 481, San Lorenzo, CA 94580, are
sure to provide welcome and wholesome musical recreation to
recorder and guitar lovers everywhere. The publisher (MSEP)
is a society for devotees of medieval, renaissance and baroque music. Their catalog already boasts better than sixty
editions of such literature, mainly for recorders, voices
and viols, although some lute music and now these three
arrangements for guitar are also available. The editions
are essentially lithographic reproductions of music carefully penned by hand, printed on heavy paper' (9 x 12 inch)
and sold so inexpensively as to make xerox copying of them
not only illegal, but pointless. After an initial $5 membership (a one-time only proposition), one can buy these editions at $1.60 apiece. Most MSEP editions sell for under

The works under discussion have informative, even loving
forewards by the editor, who conscientiously identifies his
Bach selections by their BWV numbers and sets forth his editorial policy, while not neglecting to explain titles or to
provide some historical background. Guitarists of strong
musicological bent may be disappointed at the lack of precise identification of the particular editions on which
these arrangements have been based, or from which they have
been derived, i.e., bibliographic source citations are
lacking. But as far as playability and suitability to
recreational music-making are concerned, these pieces are
excellent. They are easily within the reach of intermediate
Thomas Heck

The colorful, large and charming illustrations and minimum

text makes this an ideal book for the youngest readers who
will find a little about ecology and a lot about love of
music. It's a pity, though, that Sylvester's home could not
have been bought by a classical guitarist!
D. Valencia


Segovia, Andres.
Macarena. ($2)
Two Pieces. ($2)

Melville, New York: Belt-

Compiled by John W. Tanno

Lessons No. 11 & 12. ($2) Mills Publishing Corporation,

Five Anecdotes. ($3)
Manufacturers wishing to have their classic guitar
recordings listed in this column are asked to submit
them to the General Editor. This column will include
both domestic and imported recordings of interest to
the guitar world. Future discographies will include
reviews of selected recordings as well.

These are original compositions for the guitar by Segovia

himself. The title page of each booklet informs us that
they come from "Follies of my youth," (Le Peche De Ma
Jeunesse). Several of these works were printed in the earliest issues of the Guitar Review. They are now available
to the public, and are well worth having.


A complete review of each of these pieces would take more

space than is allowed here, however, a brief summary will be


ORION ORS 76229. Music for Two Guitars. 1976.
GUILIANI: Sonata for Two Guitars, op. post.; Two
Rondos for Guitar & Terzguitar, op. post. SOR:
"L'Encouragement," op. 34; Divertimento, op. 55.
FOLKWAYS FTS33902. New American Music, v. 2: New
York Section, Composers of the 1970's. Contains
two works for the guitar: FULKERSON, J.: Patterns
KLAVIER KS 552. The 10 String Guitar Plays Spanish
Classics. 1975. ALBENIZ: Cadiz; Seville. GRANADOS:
Spanish Dances nos. 4, 5, & 10. RODRIGO: Sonata
Giacosa. TARREGA: Danza Mora; Preludio; Sueno.
TITANIC Ti 5. Baroque Guitar and Lute. 1975. For
the guitar: d'ANGELETERRA: Carillon G Major.
CAMPION, F.: Pieces in D Major. VISE: Suite
in D minor.
ANGEL S 36093. Angel Romero: Classical Virtuoso
Masterworks for guitar. 1976. GIULIANI: Grand
Overture, op. 61. MUDARRA: Fantasia, Gallarda.
NARVAEZ: Variations of "Guardame las vacas." SANZ:
Suite espaftola. SCARLATTI, D.: Sonatas, L.83, L.352,
L.423, & L.483. SOR: Variations on a Theme by Mozart.
ANGEL S 36094. Angel Romero: Spanish Virtuoso Romantic
Music. 1976. ALBgNIZ: Cordoba, op. 232, no. 4; Tango,
op. 163, no. 2. GRANADOS: La Mala de Goya. ))RENO
TORROBA: Madrofios. RODRIGO: Fandango. TARREGA: Adelita,
Maria, Marieta, Mazurka, Preludes nos. 2 & 5. TURINA:
Fandanguillo, Garrotin, Rafaga, SolearesSEGOVIA, ANDRb
RCA ARL1 -1323. The Intimate Guitar, v. 2. 1976.
ALBgNIZ: Capricho Catalan. BACH, J.S.: Selections
from the Anna Magdalena Notebook. MOLLEDA. Variations on a Theme. SAMAZEUILH: Serenade. SAN
SEBASTIAN: Preludios Vascos: Dolor. SOR: Introduction and Variations of "Malbrough s'en va -t -en
guerre;" Sicilienne in D Minor.

The Mcarena is a delightful, melodic piece, and one thinks

of Segovia after playing through only the first few measures.
It is a blend of the romantic, modern, and traditional, and
can be played by the intermediate student.
The work entitled Two Pieces contains the Giga Melancolica
and Neblina, (a Olga). The Giga begins with some tantalizing imitative counterpoint, which later becomes more freeform. There is a mild but piquant dissonance in this piece,
making it quite enjoyable. The second piece, Neblina, is
much more chromatic, more difficult to read, and more dissonant. There is some confusing notation near the end,
yiz., "harm. VIII." What is meant is "harm. 8," or octave
harmonics. The latter is used later, compounding the confusion. A playing of the music will reveal what is meant,
however. Not so easily deduced (I never did come up with
an answer) is the use of an "X" above the last three notes,
being played as octave harmonics. A tie line is also
Lesson No. 11 is dedicated to Dorothy de Goede. Indeed, a
less gifted guitarist will have troubles with this piece,
but it is a lesson. Some difficult fingerings and shifts
will cause one to spend some time studying and practicing
with this piece. CX, with a box around the "X" will cause
momentary confusion, especially if one tends to think this
should be a bar on the tenth fret. The notes are found on
the ninth fret. Harmonics are indicated in yet a different
way here than in the work mentioned above. The small diamond-shaped notes are used in this work. A harmonic on the
fifth-string B is indicated with a "bar. XIV" while a harmonic on the first string B is indicated by a "bar. 8" instruction. Both are correct, of course, and understood by
guitarists, but why two systems on the same page? Lesson
No. 12 also has its share of "typos" but is a good study
for reading chromaticism, and for left hand development.
The Five Anecdotes would make a very nice suite for performance. These are probably the most difficult of these
newly-published works, and some typos and misprints don't
help matters any. Unfortunately, I didn't have time to give
these pieces justice. Oscar Ghiglia or David Grimes could
probably sight-read these pieces and make them sound impressive. Find out for yourself what you think of these
five, but be prepared for a bit of work! One last thought:
there is a little gem in this group, namely the fourth,
entitled to Aparacio. It is short (22 measures) and simple,
ridiculously simple, but yet charming and captivating--the
sort of piece Segovia himself would play as a fifth or
sixth encore,wantirzto give his tired guitar a chance to
rest, leaving the audience satisfied and with a smile.

(Continued on page 58)

Jim Forrest



by Richard Stover
would take place. But Pierri played very well during the
first two stages of the competition, and I truly feel he
warranted the second prize money.

The Second Annual Alirio Diaz Classic Guitar Competition,

sponsored by the Ministry of Culture, was held April 26
through 30 in Caracas, Venezuela. The prizes offered were
as follows: 1st Prize: $4,651.00 (20,000 bolivares); 2nd
Prize: $2,324.00 (10,000 bolivares); 3rd Prize: $1,162.75
(5,000 bolivares). The adjudicators for the contest were
Alirio Diaz, John Williams, Leo Brouwer, Antonio Lauro, Rodrigo Riera, ROmulo Lazarde, Robert Vidal, and Flamina de Sola.

Aussel, a young guitarist of 21 years, a student first of

Maria Luisa Anido, and currently of Jorge Martinez Zerate,
played very cleanly with feeling. He has been playing for 16
years. In addition to the money, his first place also entitled him to play the Fantasia with the Caracas Symphony.

There were to this writer's great dismay only 6 guitarists

who presented themselves for the competition: Roberto Aussel
--Argentina; Juan Fraticelli Soroche--Puerto Rico; Jorge Alberto Madrigal Pereyra--Mexico; Roberto Olabarrieta--Spain;
Alvaro Pierri--Uruguay; Ruben Julio Riera--Venezuela.

Pierri, 23 years of age, has studied with Abel Carlevaro in


The competition was divided into three stages:

Stage 1: Aguado: Study #30 in E major (allegro)
Llobet: La Canco del Lladre

El Testamento de Amelia
El .Metre
Inocente Carefto: Suite para Guitarra (ed. by
Stage 2: Bach, J.S.: Suite #4 for Lute
A selection of the player's choice
Stage 3: One of the following concertos:
Rodrigo: Aranjuez or Fantasia
Villa-Lobos: Concerto
Castlenuovo-Tedesco: Concerto in D
After Stage 1, Pereyra and Olabarrieta were eliminated.
Stage 2 included as personal choices: Aussel playing Prelude,
Sarabande and Scherzino from the Cavatina by Tansman; Sorroche
playing Giuliani's Grand Overture; Pierri playing the Sonatina
Lennox Berkeley; and Riera playing his father's composition
Canci6n y Golpe al Diablo de Carora. All but Aussel and
Pierri were eliminated in Stage 2.

Richard Stover and John Williams

Williams: "Are you sure? A damp.. .here?"
Stover: "Ahh...ummmm....hmmmmmmmmm....
For this writer it was certainly the most amazing week of my
life for the guitar. It isn't often one gets to attend night
after night intimate gatherings in which one can hear first
Alirio Diaz play, then pass the guitar to John Williams, who
after playing some Bach and Barrios, hands the guitar to
Antonio Lauro who interprets so beautifully his own waltzes
named for his daughter and wife, respectively (Natalia alias
No. 3 and Maria Luisa), who then gives the guitar to Leo
Brouwer who offers us his Canci6n de Cuna, Danza Caracteristica and Zapateado after which he hands the guitarra to Rodrigo Riera, who interprets a tango for us, later to be joined
by Alirio whenein they engage in a fantastic duet version of
Natalia Vale #3, the evening ending with the powerful playing
of the young Venezuelan virtuoso player/composer Remulo Lazarde, who, among other pieces, left us astounded with his
unique composition entitled Experiencia Sonora/Acstica (Sonorous/Acoustic Experience). What a week!

Aussel played nearly flawlessly the Fantasia para un Gentilhombre for the third stage. Pierri, not feeling quite well
due to the fact that the vaccination he had before coming to
Venezuela was taking, did not play the Castlenuovo-Tedesco
Concerto in D flawlessly, however in this writer's opinion he
did play it well enough to warrant more than the 3rd place
they awarded him, giving first to the Argentine Aussel. A
twinge of the feelings that occured last June at another
international guitar contest passed through me when I understood what had taken place: even though there were 2 finalists, there was not a one-two finish as one might assume

With so much money involved and with such illustrious personnel acting as adjudicators, it was truly surprising that no
more than 6 guitarists showed up. Lack of effective publicity
must be seen as the cause of this. My advice to guitarists
everywhere: go next year and make some money! For further
information, write:
Secretario General Jose Vicente Torres
Direccien Nacional de Artes Auditivas
Consejo Nacional de Cultura
Caracas Apartado 50995

Winners--left, Alvaro Pierri of Uruguay; loberto Aussel of

Argentina. "well, we did it. We got the bread!"




(Continued from page 56)



("Fandango -Quintett"). SCHNABEL: Quintett C-Dur.
Siegfried Behrend with the Zagreber Streichquartett.

ODEON PMES 568. SJoBERG, BIRGER: Fridas Visor: Smast adsvisor om Frida och naturen, om doden och universum.
Sung by Ingvar Wixell, accompanied by 2 violins,
viola, cello, bass, and guitar.

HISPAVOX HR (S) 10-331. WEISS: Suite en la Mayor.
BACH: Suite en el sol Mayor.
HISPAVOX BHS )9-450. "Encores." 1975.
DECCA 7316 (France. Quadraphonic). La Renaissance en
Europe, guitare 10 cordes. 1975.
DRUM 8087. The Bennelong Trio: Bach & Others - -Benne long Style.
BhRBEN DIMS 0074. Angelo Gilardino Plays Haug, Wissmer,
Duarte, Tansman, Berkeley. (Series of Contemporary
Guitar Music).
HARMONIA MUNDI MU 427. Flute a bec, Luth & Guitare.
With Rend Clemencic, recorder. A delightful album.

Leo Brouwer
"Stover, remember the lens cover:"

SUPRAPHON 111 1585. Compositions by J. S. Bach. 1974.

ALPHA SP 6007. Guitare Flute et Cordes le Collegium
Novarum. Chamber music fans should enjoy this disc.

ORYX ORPS 50. Guitar Virtuoso (1800)

EURODISC 89427 KK. Meister der Spanischen Gitarre/The
Art of the Spanish Guitar, v. 4. 1975.

ARION ARN 38 311. Antonio Vivaldi Concerto en La Majeur.
(Includes concertos for violin and cello, harp, and
violin and harpsichord).


641936. Niccolb Paganini Violine &

v. 2. 1975. With GyOrgy Terebesi,
641995. Niccolb Paganini Violine &
v. 3. 1976. With Gyorgy Terebesi,

ERATO STU 70913. Musique Bresilienne. 1976.
(Florilbge de la guitare, 20)


Antonio Lauro playing his Ramirez

"How was that fingering I had on this again?"

SAGA 5426. Timothy Walker Plays Baroque Music.

L'OISEAU-LYRE DSLO 5. Hans Werner Henze: Kammermusik;
In Memoriam: Die Weisse Rose. 1975. Philip Lang ridge, tenor; Timothy Walker, guitar; The London
Symphony Orchestra conducted by the composer.

Antonio Lauro playing his Ramirez

"How was that fingering I had on this agaia?"

Occasionally import recordings are listed in this column

even though they may not be "current" in terms of their
foreign release, but may just have become available in
the United States. The compiler welcomes any additions
or corrections readers find.



Compiled by Abel Nagytothy-Toth
*Works in the possession of the author.
BECERRA-SCHMIDT, Gustavo 1925Concerto No. 1.
Concerto No. 2.

ABSIL, Jean 1893-1974

Concerto. Ancona, Italy: Berben.
ADAME, Rafael 1906Concertino (1933).

20th c.
Deuxieme Symphonie concertant. Doblinger.

ALFONSO, Javier 1904*Suite (Fr. Campion). Basel: Symphonia.

BENGUEREL, Xavier 1931*Concerto (1971). Moeck.

AMBROSIUS, Hermann 1897Concerto No. 1 & No. 2.

BE NNETT, Richard Rodney 1936Concerto (1970). Universal.

ANELLI, Giuseppe 19th c.

Concerto (A).
Concerto (G).

BIBERIAN, Gilbert 1944Concerto (1975).

BIRNBACH, Josef Benjamin Heinrich 1793-1879

APIVOR, Denis 1916*Concertino op. 26. Schott.

El silencio ondulado op. 51. Berben.

17th c.
Concerto da camera.

ARNOLD, Malcolm 1921Concerto op. 67. London: Paterson's Publ.

Concerto No. 2.


17th c.

ASSAFJEW, Boris Vladirowitch 1884-1949


BLUHME, Johann 18th c.

4 Concerti.

AUBER, Daniel Francois Esprit 1782-1871

Concertino (La Sirene).
Concertino (Lestocq).

BOCCHERINI, Luigi 1743-1805

*Concerto (E) G-479. Schott.
*Sinfonia a grande orchestra G-523. Roma: Lorenzo Del

AZPIAZU, Jose de 1912*Concerto baroque (A). Symphonia.

*Suite Elisabethaine (J. Dowland). Symphonia.

BONDON, Jacques 1927*Concerto de Mars (1966). Max Eschig.

BACARISSE, Salvador 1898-1963

Concertino op. 72. Barcelona: Ed. Armonicos.

BOZZA, Eugene 1905Concertino da camera (1969).

BAERVOETS, Raymond 1930*Concerto. Amsterdam: Metropolis.

BRAND, Friedrich 1806-1874

Russische Hymne mit Var. Polacca.

BALADA, Leonardo 1933Concerto. General Music Publ. Co.


BRANDO, Jose Domingo 1904*Concerto Lusitano. Max Eschig.

BARATI, George 1913Suite (1970).

BRENTNER, Joseph Johann Ignaz, 18th c.


BARBI, Matteo 18th c.


BRESGEN, Cesar 1913Kammerkonzert. Schott.

BARBIER, Rene 1890Concerto. Amsterdam: Metropolis.

BROUWER, Leo 1936Tre danze concertante (1958). Berlin: Verlag Neue Musik.

BARBIERI, Mario 1888-1968

Fantasia da concerto.

BUENAGU, Jose 1936Concierto Llano.

BARROSO, Sergio-Fernandez 1946Concerto (1970).

CALCAGNO, Elsa 1910Concerto.

BARRY, John 20th c.


CAMERLOHER, Placidus von 1718-1782

Concerto No. 1.
Concerto No. 2.

BASTON, John 18th c.

*Concerto (C). Berlin: Bote & Bock.

CARLEVARO, Abel 20th c.

Concierto del Plata. Buenos Aires: Barry Ed. Corn. Ind.

BATTIOLI, Francesco d. 1830

Concerto op. 3.
BAUMANN, Herbert 1925Concerto. Sikorski.
Concerto Italiano. Berben.

CARULLI, Ferdinando 1770-1841

Concerto op. 8.
Concerto op. 140 (Petit concerto de societe).


CARULLI, continued
2 Concerti op. 207.
Variation op. 219
*Concerto (A). Symphonia; Berben; Sikorksi.
Concerto No. 4.

FALti, Eduardo 1923Suite Argentina.

CASANOVA, Andre 1920Concertino.

FERANDIERE, Fernando 18th c.

6 Concerti.

CASELLA, Alfredo 1883-1947


FERSTL, Erich 1934Sol y sombra. Munchen: Modern.

Concertino. Munchen: Modern.

FASCH, Johann Friedrich 1688-1758

*Concerto (d). Zerboni; Amsterdam: Metropolis.


Capriccio diabolico (1945) op. 85b.
*Concerto (1939) op. 99. Schott.
*Serenade (1948) op. 118. Schott.
*Concerto No. 2 (1953) op. 160. Schott.
Concerto (2 guitars) op. 201. Berben.
Musique de cour. Universal.

FOX, Victor 1929Concerto.

FRANCO, Johan 1908Concerto lirico No. 5. Berben.
FRIEDRICH, (Markgraf) d. 1771

CERF, Jacques 20th c.

Concerto capriccioso (1972).

FURSTENAU, Wolfgang 1928*Ommegang. Nijmegen:-Van Teeseling.

CESANA, Otto 1899Miniature Symphony.

GIULIANI, Mauro 1781-1829

*Concerto op. 30. Symphonia; Sikorski.
*Concerto op. 36. Zerboni.
*Concerto op. 70. Zerboni.

CHARPENTIER, Jacques 1933*Concerto No. 2. Paris: Leduc.


20th C.
GNATTALI, Radames 1906Concertino No. 1 (1951). Brazilliance.
Concertino No. 2 (1953).
Concerto No. 4. Brazilliance.
Concerto de Copacabana. Brazilliance.
Concerto Carioca No. 1. Brazilliance.
GOULD, Morton 1913Troubadour Music (1968). G & C Music Corp.

CHOBANIAN, Loris 1933Concerto.

CIMAROSA, Domenico 1749-1801
Concerto (D).
COSENTINO, Ivan R. 20th c.

GOWERS, Patrick 20th c.


CROUCHER, Terence 1944Concerto.

GRAU, Eduardo 1919Concerto.

DAVID, Thomas Christian 1925*Concerto (1963). Doblinger.

GUACCERO, Domenico 1927 Iter Inverso.

DEROSIER, Nicolas 18th c.

Concerto (Suite).

HAGEN, Joachim Bernhard 18th c.

2 Concerti.

DODGSON, Stephen 1924Concerto (1956) No. 2.

HALFFTER, Cristobal 1930Partita. e

DOISY-LINTANT, Charles 1758-1807

Grand Concerto.

HANDEL, Georg Friedrich 1685-1759

*Concerto op. 4 No. 6 (guitar and harp). Symphonia.

DUARTE, John William 1919A Tudor Fancy (1972) op. 50. Berlin.

HARTIG, Heinz Friedrich 1907-1969

*Concertante Suite op. 19. Berlin: Bote & Bock.

DURANT, Paul Charles 18th c.

Concerto (C).
Concerto (F).

HAUG, Hans 1900-1967

*Concertino (1952). Berben.
Doppelkonzert (flute & guitar).

DURANTE, Francesco 1684-1755


HAYDN, Franz Joseph 1732-1809

*Concerto No. 2 (G) (2 guitars). Symphonia.
Concerto No. 3 (G) (2 guitars).

ESTEBAN, Julio 1906Suite Flamenca.

HEER, Hans de 1927*Concerto (1966). Nijmegen: Van Teeseling.

FAHRBACH, Joseph 1804-1883

FALCKENHAGEN, Adam 1697-1761
Concerto op. 4.
6 Concerti op. 9.
Concerto (Bb).
Concerto (F). Amsterdam: Metropolis.

20th c.
HOFFMANN, Wolfgang 20th C.


MARQUEZ, Antonio 20th c.

Concierto Criollo (1959).

HORN, Guy 20th c.

Concerto (2 guitars).

20th C.

MARTINEZ, Ariel 20th c.


ISHIDA, Syun 20th c.


MEDINA, Francisco de 20th c.

Concierto Vasco (4 guitars).
Concierto Anadaluz (4 guitars).

IVANOV-KRAMSKOI, Alexander 1912-1975

Var. on a Russian theme.


JEMNITZ, Sandor 1880-1963


20th c.

MIGLIARDI, Mario 1919Rapsodia flamenca (1965).


JoRNS, Helge 1941*7 Formen (1973) op. 15 (flute, guitar & cemb.). Simrock.

MORENO-TORROBA, Federico 1891*Concierto Castilla (1959). Sikorski.

Homage g la Seguidilla (1962).
3 Nocturnos (2 guitars).
Dialogo (a).

KLEINKNECHT, Jacob Friedrich 1722-1794

Concerto (C).
KOHAUT, Carl 1726-1782
*Divertimento No. 1 (Bb). Universal.
*Concerto (Bb). Metropolis.
*Concerto (F). Metropolis.
Concerto (D). Metropolis.
Concerto (A). Metropolis.
*Concerto (E). Universal.
*Divertimento (Bb). Metropolis.

MOUTER, Christian
NERUDA, Jan Jiri 1707-1780
Partita (D).
NOBLE, Ramon 20th c.
*Concierto mexicano (A). Ricordi.

KOVATS, Barna 1920Concertino.

*Concerto (1963).

NOGUEIRA, Theodoro 20th c.


KREBS, Johann Ludwig 1713-1780

*Concerto (F). Zerboni; Metropolis.
*Concerto (C). Zerboni; Metropolis.

OHANA, Mauricio 19153 Graphiques (1950).

Concerto (1950). Wiesbaden: O. June; Paris: Amphion.

KROPFFGANSS, Johann 17082 Concerti.

OYANGUREN, Julio Martinez 1905Cancion del Alba.

PALAU, Manuel 1893*Concierto Levantino (1948). Madrid: Ed. Musicales.

KROPFREITER, Augustinus Franz 1936Concerto.

PASTOR, Segundo 1916Suite de Flandes. Madrid: Union Musicales.

LASALA, Angel 1914Concerto (2 guitars)

PATACHICH, Ivan 1922Concertino.

LAURO, Antonio 1917Concerto Venezoleano (1956).

PFEIFFER, Johann 1697-1761

Concerto (Bb). Metropolis.

LEGNANI, Luigi 1790-1877

Var. Brillantes.
*Legnaniana (flute & guitar) op. 23. Zimmermann.

PINKHAM, Daniel 1923Concertante. New York: Peters.

LETELIER, Alfonso 1912Concerto.

PIZZINI, Carlo Alberto 1905*Concierto para tres hermanas. Italy: Zanibon.

L'HOYER, Antoine 18th c.

Concerto. Madrid, Ed. Musicales.

PONCE, Manuel 1882-1948

*Concierto del Sur (1940). Peer.

LUNA, Adolfo V. 20th c.


PORRINO, Ennio 1910-1959

*Concerto dell' Argentarola (1953). Symphonia.

MAKAROV, Nikolai 1810-1890

Concerto No. 1.
Concerto No. 2.

PORRO, Pierre Jean 1759-1831

Concerto No. 1.
Concerto No. 2.


20th c.

PREVIN, Andre 1929Concerto. New York: Schirmer.

MARCELLO, Alessandro 1684-1750

Concerto No. 2 (d) (2 guitars).
20th c.
Concerto. Paris, Billaudot.

REMACHA, Fernando 20th c.



TRUHLAR, Jan 20th c.

Concerto (flute & guitar).
Scherzo, Romance.

RODRIGO, Joaquin 1902*Concierto de Aranjuez (1939). Bote & Bock.

*Fantasia para un gentilhombre (1954). Schott.
Concierto Andaluz (1967) (4 guitars). Salabert.
Concierto Madrigal (1968) (2 guitars).

3 Concerti Grossi.

RUGE, Filippo 1725-1767

RUIZ-FIFO, Antonio 1934Tablas.

VALLS, Manuel 1920Concerto (1965).

SAMARAS, Spyros 1861-1917

Ghitarrata (1885).

VARGAS, Darwin 20th c.


SANDI, Louis 1905Las Guarecitas (2 guitars).

VAUGHAN-WILLIAMS, Ralph 1872-1958

Fantasia on a theme by Thomas Tallis.

SANTORSOLA, Guido 1904Concerto (guitar & Cembalo).

Concerto (1966) (2 guitars).
Concertino (1942). Peer.

Concerto No. 1 (D).
VILLA-LOBOS, Heitor 1887-1959
*Concerto (1951). Max Eschig.
Mod inha.
Introduction de Choros.

SCHOLZ, Bernd 1911Japanisches Konzert. Frankfurt: Zimmermann.

SEEGNER, Franz Georg 19th c.
Var. Concertantes.

VIVALDI, Antonio 1678-1741

*Concerto (D). Doblinger; Symphonia; Max Eschig; Sikorski;
*Concerto (d) (Viola D'amore & guitar). Ricordi; Zimmermann; Doblinger; Symphonia.
*Concerto (A). Schott; Max Eschig.
*Concerto (G). Symphonia.
*Concerto (C). Symphonia; Max Eschig.

SEIXAS, Jose Antonio Carlos de 1704-1742

*Concerto (A). Max Eschig.

SELBY, Philip 1948, Concerto.

From the fountain of youth.
SHAND, Ernest 1868-1924
Concerto op. 48.

VLAD, Roman 1919Ode super "Chrysea Phorminx" (1964). Universal.

SNIT-SIBINGA, Theodor Henry 1899-1958

Concerto (1958) (D). Henmar; Holland: Donemus.
Concerto de Angelis.

VUATAZ, Roger 1898 Concerto.

STAAK, Pieter Van Der 20th c.

Concertino No. 2. Holland: Broekmans Van Poppel.

WALTER, Fried 1907Reflexe. Zimmermann.

STANDLMAIR, Hans 1929Concerto.

3 Poems.

SUSUKI, Iwao 20th c.


WATKINS, Michael Blake 1948Double Concerto (after Psallein) (oboe & guitar).
London: Novello.

TAILLFERE, Geramine 1892Concerto (2 guitars).

20th c.

WEISS, Johann Sigismund 1690-1748

Concerto (C).
*Concerto (d). Symphonia.
Concerto (d).

TANSMANN, Alexandre 1897Concertino.

Homage a Manuel de Falla.
Musiche di corte.(R. de Visee). Universal.
Concerto (2 guitars).

WEISS, Silvius Leopold 1686-1750

Concerto (Bb).
Concerto (C).

THORNE, Francis 1922Sonar Plexus (1968). E.B. Marks Music Corp.

WERDIN, Eberhard 1911Concertino. Kln: Gerig.

TOESCHI, Carlo Giuseppe 1724-1788

Concerto (F).

WHITE, Michael 1931Concerto.

TOMASI, Henri 1901-1971

Concerto (D).
*Pastorales Provencales. Paris: Leduc.

WISSMER, Pierre 1915*Concerto. Paris: P. Noel.

WOLF, Alois Joseph Anton Balthazar 1775-1819

TORELLI, Giuseppe 1660-1708

*Concerto (d). Symphonia.
TRIEBENSEE, Joseph 1772-1846

WOSTHOFF, Klaus 20th c.

Collagen. Zimmermann.

ZANI de FERRANTI, Marco Aurelio 1802-1873


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