PACOP~A

Paco Peria is one of the foremost flamenco guitarists in the world. He has
dedicated himself to conserve pure flamenco music, following in the footsteps of
great guitarists like Ramon Montoya and Sabicas.

His reputation as one of the outstanding exponents of flamenco guitar has spread and he has performed all
over the United Kingdom and in most of the European countries. He has also played in Canada, Japan,
made three highly successful tours of Australia and given a recital at the Hong Kong Festival.

Paco Peria appears regularly on British Television and has made several best-selling records for DECCA
and PHILlPS. He has played a season of Flamenco at Ronnie Scott's jazz club, and taken part in a concert
performance of Falla's La Vida Breve with Victoria de los Angeles at the Royal Albert Hall. His shared
recitals with John Williams have been a great success both in England and abroad.

Paco Peria uses D'Addario Pro Arte guitar strings exclusively.

For full

details of this year's

International Flamenco

Guitar Seminar

Write: Centro Flamenco

Paco Pena

Calle Reloj. No 7

Cordoba, Spain

CLASSICAL GUITAR
SEPTEMBER/OCTOBER 1982 Vol. 1, No. 1

5 Classical Guitar News - Colin Cooper

7 Concert Diary - Colin Cooper

9 Julian Bream, The Contribution - John W. Duarte

11 Los Romeros - Graham Wade

14 Scales - A Necessary Evil? - Neil Smith
16 Paganini and the Guitar - Harvey Hope
18 Harmony for Guitarists - John W. Duarte Julian Bream - page 9
20 Music Supplement - Edited by Neil Smith
31 Analysis of Prelude by J. S. Bach - Oliver Hunt
35 Music Reviews
39 Record Reviews
42 Concert Reviews
49 Classical Guitar Teachers

Features Editor: Martin Beaumont

Reviews Editor: John W. Duarte
Correspondence Editor: Graham Wade
Concert Diary Editor: Colin Cooper Los Romeros - page 11
Historical Editor: Harvey Hope
Music Supplement Editor: Neil Smith
Regular Contributors: Alice Artzt, Raymond Burley,
Mary Criswick, Prances Gray, Oliver Hunt, Chris Kilvington,

Ivor Mairants, Jorge Morel, David Russell, Charles Scott,

Maurice J. Summerfield, June Yakeley

Advertisements: J. Bell

ADVERTISEMENTS

All advertisements to be addressed to:

J. Bell, Classical Guitar,

Saltmeadows Road, Gateshead NE8 3AJ

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Paganini - page 16

3
EDITORIAL . . . . . . . . . . . . . . . . . . . . . . . . . ._

This is the first issue of the only magazine in Britain to be
devoted entirely to the interests of players of the classic
guitar. The exclusion of guitars of other kinds, except where
they are relevant to our main interest, does not mean that
we disapprove of them; it does mean that we are not in the
business of providing classic guitarists with half a magazine
- or, if you put it another way, with one whose real cost is
twice the cover-price. What you may expect to find in our
pages is spelled out elsewhere and need not be repeated
here; it's more or less what you might expect and our first
concern will be to maintain a high quality and level of
interest. Though we shall have our own, regular writers our
pages are open to anyone with something worthwhile to
communicate, whether in the form of articles, news, music
or a simple letter to the Editor. This will be your magazine
in every good sense of the word.
Just as important is what you will not find in our pages.
They will be closed to cheap sensationalism, politics
(professional or amateur), personal attacks and feuds, and
all matters that might give employment to the legal profes
sion on either side of a case of libel. Those who, like the old
ladies who knitted at the foot of the guillotine in 18th
century France, revel in such things will have to seek them
elsewhere. Neither will we print bad language with the
excuse that it is 'telling it like it was' or preserving the
'flavour' of the interview.
If this is a policy that appeals to you, read on - and
carry on doing it. Your suggestions for the improvement of
the magazine will be welcomed and, where practicable,
acted upon. It remains only to say 'Welcome to our pages
- and help up to keep them worthwhile, live and clean'.
MARTIN BEAUMONT
(Features Editor)
The review pages will cover records, sheet music and books;
among these will be a proportion of outstanding issues from
other countries which may be difficult (or even impossible)
to buy in Britain. In these latter cases we shall give the
addresses from which they may be obtained. From time to
time we shall publish reviews of records that are not new
issues, since all readers will not be familiar with everything
available, and comparative surveys of recordings or printed
editions of particular music. In the case of concerts we plan
to cover the majority of those given in London and, in addi
tion, a selected number of events in the provinces. In short,
we shall try to give maximum coverage of what is on ofTer.
JOHN DUARTE
(Reviews Editor)

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4
 CLASSICAL GUITAR NEWS
Tsuyoshi Horiuchi with Andres Segovia
Tragic echo
The Segovia International Guitar
Competition at Leeds Castle last
October generated a fitting euphoria
that has been sadly muted by a subse
quent event, surrounded by less
certainty than even the more
responsible media reports have
suggested.
It concerns the winner, Tsuyoshi
Horiuchi. At the end of the television
programme based on the Competition
it was stated, with fitting solemnity,
that, five months after the event,
Horiuchi had suffered permanent
damage to his left hand and would
never play again.
That statement is precisely true.
However, rumours and 'from the
horse's mouth' reports had preceded
the official statement by quite some
time and, together with reports in the
national press, created a confused
impression. Having investigated the
matter as fully as possible, we have
established that after the Competition
Horiuchi was delighted by his success
and was looking forward to the
prospect of making the recording and
fulftlling the numerous concerts that
were a part of it. He took a brief
holiday in Japan at Christmas and
returned to England early in the new
year, after which his attitude seemed
to change. Sometime during February
he suffered the loss of the first one or
two phalanxes of his left-hand little
fmger; shortly after that he returned
finally to Japan, his career obviously
brought to an early and tragic end.
by COLIN COOPER
These are only the clear facts of
the matter; anything else remains an
area of speculation and is likely to
continue to be so, no matter how
tempting it may be for reporters with
a taste for sensationalism to enter it.
In the end it does not matter
whatever the circumstances, what
would almost certainly have been a
brilliant career was brutally ter
minated before it could take flight.
There the matter should be allowed to
rest decently.
Re Cycles
At the Harrogate Festival in August
Carlos Bonell gave the first perfor
mance, with soprano Margaret Field,
of a song cycle by Douglas Young. A
setting of verses by James Joyce, the
work comprises about twenty songs
in all, with a total duration of some 35
minutes - a substantial work by any
standards. The BBC are recording it
later this year.
Success for one song cycle; only
the promise of it for another, as yet
unwritten. Composer Oliver Hunt,
attending the first performance of his
guitar trio Circles Around a Still
Centre, was so impressed by the tenor
voice of Sergio Martinez in a group of
Italian songs that he there and then
announced his intention of writing a
song cycle for the Martinez-Dunlea
duo, probably to verses by Pablo
Neruda. Thus Martinez, who has
sung here in English, Italian and
German, may at last be given the
opportunity to sing a substantial work
in his native Spanish.
Britten's Songs from the Chinese
may have opened one or two doors
that had remained closed for too long.
It would seem that composers are
becoming more aware of the
possibilities in the voice-and-guitar
form. Indeed it is somewhat surpris
ing, in view of the generally
acknowledged suitability of the guitar
as an accompanying instrument, that
there have not been more song cycles
for voice and guitar in recent years.
Cheryl Grice Master Class
Players and observers from various
parts of the country converged on
Shrewsbury for Cheryl Grice's
Master Class in June, writes John
Dodd. Works by Bach, Sor, Villa
Lobos, Carcassi and Torroba were
studied, and guidance was given in
technique, even to the extent of some
pretty basic right hand positioning.
The proceedings were conducted in a
relaxed and informal atmosphere, as
might be expected. Cheryl is to give
another class there next year, and
early booking is recommended.
Long run
The series of broadcasts on BBC
Radio 3, The Classical Guitar, began
with a programme in June 1973 given
by Alirio Diaz; its long continuity
was broken after the programme of
last May, by Monika and Jiirgen Rost
(East Germany) and it was succeeded
by a new programme 'Music for
guitar' which began with a 'Summer
season' of six programmes that were
edited repeats of earlier ones from the
original series. The Classical Guitar
resumed its pilgrimage on 17 July
with the first of nine programmes; the
last of these, by Julian Bream, seems
certain to mark the end of the
marathon. This does not however end
the guitar's years of benefit in terms
of air-time for, in mid-September, a
new series begins, retaining the title
'Music for guitar' and scheduled to
run well into 1983 - beyond which
there is as yet no decision; as it is not
impossible that the wishes of listeners
may be taken into account, your
letters of appreciation to the BBC
might pay dividends. The original
series had its weaknesses and its
critics (who on the whole offered
nothing of constructive substance for
the improvement of the programme)
but its span of more than nine years
and its accomplishments within that
period were considerable. In the next
issue of Classical Guitar we will give
an overview of the series as an
appreciative postscript. The new
series of 'Music for guitar' will follow
the pattern of the series it replaces in
that it will include programmes by
both domestic and visiting guitarists,
recorded in a variety of venues, but its
programme-length will be a uniform
30 minutes and there will be no con
versation between the artist and an
anchor-person - only music.
5
Star in west
Admirers of Vladimir Mikulka, one of
the players for whom the epithet
Vladimir Mikulka
'brilliant' is no mere advertiser's hype,
will be pleased to know that he is now
living permanently in Paris. His
improved accessibility takes
immediate effect in the form of a
Wigmore Hall concert on 3 October,
a bold recital of premieres of works
by East European composers that
promises to be one of the events of the
year.
Obituary
The name of Martha Nelson (b. 1922)
first appeared in the Guitar Review
(published by the Society of the
Classic Guitar in New York) No. 21
(1957) as 'Brazilian Editor', later as
'Contributing Editor' and finally as
"Associate Editor' in No. 34 (1971).
In reality her devotion to the Society
and to the journal was total, and their
interests absorbed her waking life; the
organization of some 270 guitar con
certs represented only a part of her
contribution. During the last two
decades her work on behalf of Guitar
Review was essential to its wellbeing,
as it was selflessly given. Her gentle
and leisurely speech proclaimed her
place of origin as the Deep South, to
which she withdrew at the end to die
of cancer in Atlanta, Georgia, on 7
November 1981. In every way she
will be sadly missed by her countless
friends, all those - from the world
famous to the humble amateur
who knew her, and, for what she gave
to the world of the guitar, by even
more who never knew her except by
name. We are all the poorer for her
passing. This brief tribute does not
represent stop-press news but, as this
is our first issue, it is one we must
pay, however late in the day.
6
International contest
The 25th Concours International de
Guitare under the direction of Robert
Vidal has been announced. Works
required for the selection tests in
interpretation are: Sarabande, Gigue
and Double from the 2nd Lute Suite
(Bach); Fandanguillo (Turina);
Impromptus for Guitar (Richard
Rodney Bennett).
Full details from 25" Concours
International de Guitare, France
Musique, 116 Avenue du President
Kennedy, 75786 Paris-Cedex 16,
France.
Early Guitar seminar
Harvey Hope
For the fourth year in succession the
Baroque guitar exponent Harvey
Hope has organised two one-day
courses on the early guitar, on
Sunday 31 October and Sunday 7
November. Players may bring either a
classical guitar or a five-course guitar,
although a number of Baroque guitars
will be available for those who attend.
The courses cover repertoire, playing
styles, tablature, technique and the
history and development of the instru
ment. Some remarkable guitars from
Mr Hope's collection will be
displayed, among them instruments
by the 17th century makers Voboam,
Tielke and Platestainer, as well as
18th and 19th century guitars by
Pages, Panormo, Lacote, Stauffer and
others. The course fee of 12 includes
a 'ploughmans' lunch with wine.
More details from The Guitar Study
Centre, 64 Ashmore Grove, Welling,
Kent DA16 2RY.
Nonsuch contest
Two new competitions have been
announced by the Nonsuch Guitar
Society, one for players and one for
composers. The winners will be
chosen at the Nonsuch Guitar
Festival 83 at Ewell Court House,
Surrey, on 13 and 14 May 1983.
Prizes include an Asturias guitar,
money, a Wigmore Hall recital and,
for the winning composition, a first
public performance by Raymond
Burley. The adjudicating panel
includes John Mills, Reginald Smith
Brindle, John W. Duarte, Raymond
Burley, Michael Doughty,Gareth
Waiters and one or two others. The
terms of both competitions appear to
imply solo work only, but further
information can be obtained from
Terry Pamplin, Little Critchmere,
Manor Crescent, Haselmere, Surrey.
Please enclose a stamped addressed
envelope.
Chester Guitar Circle
One of the main functions of the
Chester Guitar Circle is to encourage
the members, particularly the younger
ones, to perform to a live audience,
writes Charles Scott. The members'
evening on 7 July found no shortage
of enthusiasts willing to play. From a
wide age range, they included Philip
Holt, Dawn Jenks, Ian Powick, Roy
and Rebecca Crosby (father and
daughter), Adam Crook, Dave Sharp,
John Pardoe, Brian Hewitt, Tom
Davis, Chris Birtles, Peter Thorne
and our own Charles Scott himself,
who took the opportunity of
announcing the impending launch of
Classical Guitar. Chester Guitar
Circle must be one of the very few to
draw its members from more than
one country; some come from as far
afield as Bangor-on-Dee and Cefn-y
Bedd, in Wales.
Rebecca Crosby was con
gratulated on achieving entrance to
the Royal Northern College, where
her ability will fmd opportunities for
development and advancement.
Next meeting: first Wednesday in
September (Members' evening).
October: recital by Katy Caws, with
high calibre programme of Dowland,
N arvaez, Brouwer, Walton, Lauro,
Smith Brindle and Rodrigo.
 CONCERT DIARY

September
14 Thursday
29 Friday
6 Monday
Aldenham:
London: CAROLlNE
London: MARC ONGLEY
OMEGA GUITAR QUARTET
McCAUSLAND
Wigmore Hall, 7.30 pm
Herts College of Higher Education,
(Songs with guitar)
7.30'pm
Wigmore Hall, 7.30 pm (Songs of the
7 Saturday
Country and of the Sea)
Salisbury: HILL/WILTSCHINSKY
Exeter: HARVEY HOPE

GUITAR DUO
(ring 0392 78396 for details)
Preston: HILL/WILTSCHINSKY
Salisbury Festival - Medieval Hall,
GUITAR DUO
Salisbury, 7.30 pm
15 Friday
Preston Poly Arts Centre, 7.30 pm
London: MANUEL BARRUECO

10 Friday
Wigmore Hall, 7.30 pm
30 Saturday
Lewes: HARVEY HOPE
(Bach, Cimarosa, Sor, Gonzalez,
Lincoln: HILL/WILTSCHINSKY
(Baroque Guitar)
Granados, Rodrigo j
GUITAR DUO
All Saints Art Centre, 7.30 pm
Lincoln Guitar Society, 7.30 pm
Wells: OMEGA GUITAR

QUARTET

11 Saturday
Wells Centre, Wells next the Sea,

Sawbridgeworth: DAVID and

Norfolk, 7.30 pm
GUITAR APPRECIATION SOCIETY
RACHEL BURDON (Guitar, violin,
OF
oboe)
NORTH EAST ENGLAND
16 Saturday

The Old Malthouse, Knight St.

proudly present
Sawbridgeworth: KATY CAWS

(Tel: 0279 722318) 8 pm

The Old Malthouse, 8 pm
GRAHAMWADE
Oxford: OMEGA GUITAR
17 OCTOBER
14 Tuesday

Hull: HARVEY HOPE

QUARTET

Feren Art Gallery, 7.30 pm

St Edwards School, 7.30 pm
BARNEV KESSEL
31 OCTOBER
21 Thursday

October
London: THE LUTE GROUP
HARVEVHOPE
2 Saturday
Wigmore Hall, 7.30 pm (Pacoloni,
21 NOVEMBER
Coventry: CARLOS BONELL
Milano, Dowland, Valderrabano,

Cothedge Theatre, The Butts

Mudarra, Besard, Hume)
PEOPLE'S THEATRE - 8 pm
NEWCASTLE UPON TYNE
Sussex: CARLOS BONELL

3 Sunday

Gardner Centre, Sussex Univ.,

London: VLADIMIR MIKULKA

7.45 pm
Wigmore Hall, 7.30 pm (Rak,

Koskin)

22 Friday

BARBICAN CENTRE

London: LUIS ZEA

SILK STREET

6 Wednesday
LONDON EC2Y 80S

Chester: KATY CAWS

Wigmore Hall, 7.30 pm (Bach,

Lauro, Duarte, Barrios, Holborne,

Chester Guitar Circle, 8 pm

(Brouwer, Walton)

Morley, Milano) -

Nottingham: CARLOS BONELL

NEIL

7 Thursday

Coleraine: CARLOS BONELL

Coleraine Univ., N.I., 8 pm

Nottingham Guitar Centre.

Guest appearance

(for venue and details: 0602 622709)

SMITH

WITH THE
8 Friday
23 Saturday
LONDON CONCERT

Derry: CARLOS BONELL

Kettering: CARLOS BONELL with

Derry Univ., N.I., 8 pm

ENGLISH SINFONIA
ORCHESTRA

(Rodrigo, Carulli. Further details:

PLAYING THE
9 Saturday
0602 43653)

Omagh: CARLOS BONELL

'CONCIERTO DE

Omagh Arts Festival, 8 pm

26 Tuesday
ARANJUEZ'

Camden: HILL/WILTSCHINSKY

10 Sunday
GUITAR DUO
by

Salisbury: HARVEY HOPE

Camden Festival - Shaw Theatre,
JOAQUIN RODRIGO

St Edmunds Guitar Festival

London, 1.05 pm

13 Wednesday
TUESDAY 26 OCTOBER 1982
28 Thursday

Tiverton: HARVEY HOPE

Bangor: CARLOS BONELL
at 1.00 pm
East Devon College, 7.30 pm
Bangor Univ., N. Wales, 7.30 pm

7
8

 JULIAN BREAM

The Contribution

by JOHN W. DUARTE
THE Julian Bream I first met in the 1940s was a small boy
in short pants; when playing he was virtually obscured by
his guitar, face and arms appearing on its perimeter like
those of a musical Mr Chad. By the time this appears in
print he will, incredibly, be in his 50th year. His fame is now
such that he could, if it were in his nature to do so, join
Segovia in adopting a surname-only billing. We so naturally
accept his presence and stature that we are in danger of
taking him for granted; it is perhaps a good moment at
which to survey the path that has led him to his position of
well-deserved eminence as, in a worthwhile sense, Segovia's
truest successor.
In relation to the guitar itself as a musical medium,
Segovia's principal achievements were:
(i) The establishment of the instrument on concert
platforms around the world, to a hitherto undreamed-of
extent.
(ii) The winning of respect from other musicians for the
guitar and its potential in high-quality music-making.
This had a variety of consequences, one of the most
important of which was his persuasion of non-guitarist
composers to write for this humble and previously
undervalued instrument.
Technological advances - in jet-assisted air travel and in
creating the long-playing record - greatly enhanced the
spreading of Segovia's influence and strengthened the situa Julian Bream
tion of the guitar in the post-war years. At the same time otherwise at that time - but within half a decade he was
there were those who viewed the matter with some already moving away from that territory; he has of course
apprehension: if Segovia were for any reason to disappear never entirely deserted it but it now forms only a segment of
from the scene, what would happen to the instrument that his working stock. Segovia had lobbied the sympathetic
was virtually identified with him? Such thoughts may well composers of his youth on behalf of the guitar - Torroba,
have passed through Segovia's own mind at that time. Turina, Ponce, Villa-Lobos, Castelnuovo-Tedesco and
It was into this scenario that Julian Bream was the flrst others, some of whose music he found unacceptably
'young hopeful' with genuine talent to enter as the 1950s 'dissonant'. In his turn Bream had little difficulty in extract
unfolded. To all intents and purposes a self-taught guitarist, ing new works from a galaxy of composers - Bennett,
as Segovia was, he acquired a formal musical education Berkeley, Britten, Arnold, Fricker, Rawsthorne, Searle,
(which Segovia did not) at the Royal College of Music in Walton, Davies and Henze are names to conjure with in the
London though, in a haughty establishment where he was wider world of music; many of these works, like those to
requested to carry his guitar in through the back door, there which Segovia acted as midwife, have become standard
was no-one to help him in developing his instrumental items in today's programmes.
studies with the guitar. His official debut, in London's The high reputation of many of those who wrote for
Wigmore Hall, was in 1950 and announced his long Segovia now rest heavily on their guitar works and, indeed,
awaited arrival - his reputation had preceded him in the some are currently represented in the record catalogue by
guitar-musical world. Through the 1950s it became little else. It is difficult to believe that a like fate will befall
'fashionable', not least among the politically motivated, to many of those on Bream's 'list', though time alone will tell.
acknowledge Bream's remarkable musicianship - but to That Bream has been so richly successful is in part owed to
express regret that his guitar playing per se left much to be what Segovia did, causing reputable composers to take the
desired. Such myopic carpings may have hurt his feelings at guitar seriously, but it is equally important that Bream's
the time but they did not retard his development (they may artistry has made it possible for their efforts to be reward
even have provoked its acceleration!) or the spread of his ing. If Bream has not so far embraced anything beyond the
reputation in the world. friendlier manifestations of 12-note music (a reaction shared
Since then he has continued to develop in his own way, by most contemporary audiences) his catalytic effect has
shaping his own path and attitudes, and contributing to the been greater than that of any other guitarist of his time; his
prestige and resources of the guitar to an extent unequalled contribution has been vital to the well-being of the guitar. It
by anyone since Segovia in the years of his most passionate has been just as important that it has been Bream who has
evangelism. At the beginning of his performing career done it: when an artist of his quality and reputation presents
Bream used what has come to be known as the 'Segovia new music guitarists listen - to his concerts and his
repertoire' - it would have been surprising had it been recordings - and learn, flrst to tolerate and then to

9
 understand, love and perform the music that at first
sounded uncomfortably strange, far-removed from the
guitar's traditional 'image'. This in turn helps talented, but
less influential, performers by creating a climate in which it
is more readily accepted that guitar music, like any other,
inhabits an evolving rather than a static area.
Today there are other guitarists whose musical educa
tion and technical prowess at least match Bream's but,
though working in the favourable ambience he has done so
much to foster, none is so universally respected as he is, a
musician's musician. He has worked with others in a variety
of fields but, though he possess skills in the 'lighter' forms of
music (he is, for instance, a deft improviser in the jazz of the
Django Reinhardt era), he has been careful to keep only to
those areas in which his abilities genuinely match his reputa
tion and standards. In no 'external' area has he been more
influential than in that of renaissance music, one for which
he has deep affection and which strikes resonances in his
own personality. He took to the lute for the simple reason
momentum that others can now maintain more easily
because of what he did; he created the climate in which they
can now work. Others may trumpet loudly about the things
they have done for the guitar, but a simple count of the new
music they play and a head-count of the composers whose
interest they have stimulated will easily sort the wheat from
the chaff. The world of lute music too owes him a debt that
is now more freely acknowledged than it once was. Five
men in the history of the guitar made different, key con
tributions to the progess of the guitar: Sor, Torres, Tarrega,
Segovia and Augustine, a list that should now be extended
to a total of six by the addition of Julian Bream. 0
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and not because he viewed it as an instrument with a NOW

developing future beyond that of re-creation. The revival of
interest in the lute had gained momentum before Bream's
involvement with it but the world of the lute was still an
esoteric one, inhabited by performers whose abilities were
technically ill-equipped to attract the affection of a nascent Blackburn Guitar Studio
public. Bream approached the lute with a guitarist's right Large selection of top quality instruments, for
hand and used his nails, a thing that was and still is the beginner to the concert artist. prices from
30 to 1,300. Strings, music, cases,
regarded with the same horror as would be the playing of personal service, P/X
the classic guitar with finger picks; he also used a lute that 47 PRESTON NEW ROAD, BLACKBURN, LANCS.
was far from 'authentic', with a single second course that Telephone: (0254) 665905
took root only in Dowland's last years - to mention only
one anomaly. Lutenists were so busy tut-tutting that they
tended to overlook the important point; their trees got in the
way of the wood. Bream had an instinctive feeling for the
music and posssessed the technique to present it with
burning conviction and the virtuosic fluency that purist GUITARES

lutenists then lacked; while they talked, criticized and

researched, Bream communicated with the public and by
opened its ears. There are now many lutentists of superb Michel Foussard
musicality and high (authentic) technique - most of them,
ironically, ex-guitarists - but Bream remains one of the
very few who can ftll a concert hall. Few are the diehards
who now refuse to acknowledge that Bream played a key
role in stimulating and accelerating public interest in lute PHOTOGRAPHS

music. BY

Within that same field the Julian Bream Consort MAURICE BERARD

virtually pioneered the revival of the Elizabethan broken

consort. Working with modern instruments and players
who, no matter how versatile, were not specialists in early
music, the Consort made a very great impact in concert and
on record. It was disbanded after the tragic, early death of
the violinist Olive Zorian but was revived in the 70s and is
now active once more, Bream the only member not qualify The most beautiful book on guitars as
ing for the medal of Authenticity - but who cares? He is works of art ever published . Text in
still the great communicator and that is what early music,
like any other kind, is about. English and French, 320 pages (12t" x
Julian Bream has been the most influential guitarist of 9f'). hard cover - textured paper.
the post-Segovia years, not merely because he is a mag Magnificent photographs illustrate th.e
nificent performer and consummate musician who has
earned the genuine respect of musicians of all kinds; his
book, and most of these are in colour.
influence has been much wider than that. Segovia Price 40.00 UK, post and packing
established the guitar within the musical world in which he 2.50. Available from Ashley Mark
himself de~~loped, that of Spanish and romantic (albeit late)
music, a massive achievement in itself. Bream gave a firm Publishing Company, Saltmeadows
bur affectionate push to a repertory that was severely in Road, Gateshead NE8 3AJ
danger of ossification and stagnation, imparting a

10
 LOS ROMEROS

by GRAHAM WADE

OVER the last three centuries many musical families have

aroused a special fascination. In recent years the names of
Dolmetsch, Menuhin, and Tortelier have represented on the
concert platform not only the patriarch but families of out
standing ability. That music definitely runs in families has
been demonstrated by the sons of J. S. Bach as well as by
Leopold and Wolfgang Mozart, the Lawes brothers, and the
Strausses of waltz fame including Johann I, II and Ill.
In instrument making, famous dynasties range from the
Stradivaris, the Amatis, and the Guarneris, to the Ramirez.
Famous family units of modern times include Len Williams
and son, Shostakovich and son, the Oistrakhs, Sir Lennox
Berkeley and composer son Michael, Waiter and Alexander
Goehr, and the amazing Abreu brothers.
Los .Romeros have established themselves over the last
twenty years as formidable exponents of the principles of
'music in the family'. In ensembles of various kinds, includ
ing quartets, quartets with orchestra, and duos, as well as
outstanding solo performances, Los Romeros have assilmed
a unique significance in the crowded world of the inter
national recitalists. For one thing, at a time when record
companies are distinctly discouraging to many guitarists
who deserve a wider audience, the Romero family between
them have made at least two dozen recordings with massive
international sales.
Los-Romeros consist of father Celedonio and his three
sons, Pepe, Angel, and Celin. As well as the unique renown
the family has achieved through their Guitar Quartet, the
reputations of Pepe (b. 1944) and Angel (b.1946) as
important solo recording artists specialising in both Spanish
and early 19th century music (including Boccherini, Sor,
and Giuliani) are now secure in the international hierarchy.
A constant stream of world-wide tours (Angel Romero is
visiting Britain this autumn) ensures that the esteem built up
by their albums is underpinned by frequent personal
appearances.
Moreover, at a time when leading Spanish players of
the classical guitar seem peculiarly thin on the ground, Los
Romeros have reasserted the Spanish identity of the guitar
and provided a necessary corrective to the abundance of
northern European and Anglo-Saxon viewpoints of the
guitar and its repertoire which have threatened to dominate
the commanding heights. It is essential that the three pillars
of the guitar's contemporary appeal - north European,
Spanish, and South American - should be well represented
by a balance of recitalists from all three areas.
For a healthy awareness of the repertoire we must,
from time to time, hear Spanish music interpreted by
Spanish players, Villa-Lobos played by Brazilians,
Venezuelan music in the dazzling hands of Alirio Diaz, and
the works of Walton, Britten, and Arnold as demonstrated
in the strictly untarnished urtext versions of Bream. The
internationalism of the guitar is now irrevocably founded on
solid ground. Yet how necessary to go back to interpreta
tions originating from the native soil of the composer's art.
Los Romeros, as Joaqum Rodrigo remarked, have their
Spanishness as 'their special stamp of identity'. This
Los Romeros
characteristic has been well nurtured despite a long
residence in the United States. Celedonio Romero, the found
ing father, was born in Malaga in 1917, and gave his
Madrid debut in 1937. He was the youngest son of a
Spanish architectural engineer (the man who designed the
harbour of Gibralter) and graduated from the Madrid Con
servatory Celedonio left Spain in 1958 after some years of
friction with Franco's regime, and emigrated with his family
to America.
Celedonio was a student of Daniel Fortea (1878-1953), a
pupil of Tarrega. If Llobet (1878-1937), Barrios (1885
1944), Pujol (1886-1981), Segovia (b.1893), and Regino
Sainz de la Maza (1897-1982) might be regarded as the
vanguard of the twentieth century guitar movement, then
Oyanguren (b.1905), Maria Luisa Anido (b.1907), Scheit
(b.1909), Luise Walker (b.1910), Gomez (b.1911), Azpiazu
(b.1912) and Almeida and Rey de la Torre (both born 1917)
represent the second generation. It is in this group that
Celedonio Romero belongs, and he is clearly a most sig
nificant player of this generation.
Comparison of Celedonio's own solo recordings with
others of his era shows that he can easily hold his own with
most of them, Rey de la Torre, perhaps Llobet's most
brilliant pupil, being the most formidable, and Laurindo
Almeida the most well-known. In historical terms this
generation of players has probably had the least apprecia
tion from the critics, being sandwiched between the
illustrious forefathers and the brilliant breed of the 1920s
and 30s. Yet it was to this intermediate group that the
generation of Diaz (b. 1923), Presti (1924-67), Yepes
(b. 1927), Ragossnig (b.1932), Behrend (b.1933) and Bream
(b.1933) often had to turn where possible for a little
guidance if geographical opportunities permitted.

11
Los Romeros - Pepe, Angel and Celin Romero with their father Celedonio Romero
Like that other teacher, whose influence on the guitar
scene was like a tidal wave, Len Williams (b.191O),
Celedonio Romero has achieved a remarkable pedagogic
feat, that of equipping his sons with both technique and ins
piration. It is a fascinating exercise to compare Celedonio's
own recording of, for example, Narvaez' Guardame las
Vacas, with that by his eldest son, Pepe, or the two versions
by father and son of Sor's Variations on a Theme of
Mozart, Op. 9. The distinctions are not only technical but
also stylistic, that much misunderstood aspect of 20th
century guitar history.
Celedonio has succeeded in teaching his sons so well that
their musical development is not constricted yet continuity
of generations is maintained. This example of guitar evolu
tion within a single family is extraordinary and unique. It
has even been revealed that, initially, Celedonio demanded of
the boys that they should play without nails, in the true
Tarrega tradition, before going on to master the modern
technique (Guitar Player, January 1981). Thus Celedonio
has provided an important historical link between the early
20th century traditions of the guitar in the Tarrega school,
and later developments in the contemporary guitar world.
The ensemble playing of Los Romeros is in itself an
innovation, both in its excellence and in its repertoire. As an
ensemble they have a distinctive, immediately recognisable
quality of timbre, warm, elegant and expressive, and above
all an ease and naturalness other quartets just have not
achieved. Family togetherness is obviously at a premium
12
here as they cohere the wilful spirits of four guitars into one
musical entity. Their sonorities in quartet performance
provide an object lesson in that blending of tone so elusive
to more spasmodic attempts at ensemble music one hears
occasionally. Los Romeros manage to deliver the impres
sion of one large resonating guitar rather than four guitars
played by separate individuals. Such musical closeness can
surely be achieved only by performers intimately related.
But the Romeros are probably aware that the sound of
four guitars is not entirely satisfactory as a musical
medium. Guitar ensemble material is greatly inferior to the
richness and variety of ensemble music for other instru
ments. The balanced voicing of a string quartet, superbly
exploited by all the leading composers over the last two and
a half centuries, is quite unlike the homogeneity of four
guitars (even when a requinto or two may be added to take
the soprano line). The chemistry of four guitars can quickly
induce monotony with a rather cloying textural brew, at
first delightful but later repetitive.
The Romeros have tried to solve these problems.
Though the deficit in the ensemble repertoire cannot be
made up, and transcriptions of Vivaldi, Telemann, Haydn,
provide no real answer, the Romeros have inspired such
composers as Rodrigo and Torroba to look afresh at the
challenges of ensemble music. Rodrigo's Concierto Andaluz
for four guitars and orchestra, like Torroba's Concierto
Iberico, attempts to bring in variety and contrast by using
orchestral colour as a foil to the tones of plucked sound.
 As a medium for sustained listening, the combination of
quartet and orchestra is perhaps limited. The music is
always melodious and imaginative, sometimes even evoking
the pictorialism of mm music. Yet the range of available
surprises soon diminishes and once the initial pleasantness
VIRTUOSO
of the music has been absorbed, it is difficult to listen SOUTH
repeatedly to such sonorities. When, as in the Andante
movement of Torroba's work, the melody enters played by AMERICAN
the guitars, sweetness is paramount. But the purple intent of GUITAR
the writing leads towards prettiness and pleasure rather than
to that depth of emotion which takes us far beyond mere
delight. JORGE MOREL
The fault here is perhaps less with the nature of
Torroba's inspiration than with the medium itself. To GUITAR SOLOS
incorporate the orchestra with the quartet was, as in
Rodrigo's Concierto Andaluz, a valuable development.
What is required now is a series of such works by many
other composers, with or without orchestral backing, to A beautiful music album of original guitar solos and
exploit the potential of the guitar ensemble. The credit for arrangements of traditional South American themes by
the initial pioneering impetus and its dissemination on disc the brilliant Argentinian guitar virtuoso, Jorge Morel.
to a wide public goes to Los Romeros. Their very existence The 32 page book contains the following titles, 'El
has thus opened another window on the world of the guitar. Condor Pasa', 'Misionera', 'Carnavalito', 'Danza
Brasilera', 'Romance Criollo', and 'Danza in E Minor',
arranged note for note by Jorge Morel as he plays them
on his latest Guitar Masters recording GMR 1002.

DANDAi :?:.t~
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at 3.99.

~C
In case of difficulty it is available direct from the
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MUSiC CONTENTS :
Tutors & Didactic Material
Scale, Theory Books & Manuscript
student Repertoire - all graded
Solo
Duo
Trio
Quartet
Quintet
Concert Repertoire - solo & duo
Clarinet & Guitar
Flute & Guitar
Oboe & Guitar
Recorder & Guitar
Violin & Guitar
Viola & Guitar
'Cello & Guitar
Harpsichord & Guitar
Piano & Guitar
Voice & Guitar
Chamber Music ... Trios
( Quartets
Quintets
Sextets
Concertos
Index of Composers & Arrangers
OVER 2,000 entries ~ 104 pages.

1.29 including postage from

1982 Spanish Guitar Centre

CATALOGUE 44, Nottingham Road,
New Basford,
NOTTINGHAM.

13
SCALES A NECESSARY EVIL?

by NEIL SMITH
SOME years ago my harmony teacher, a fine pianist, drew
my attention to a document he kept by him during piano
lessons; it contained an impressive list of names - Brahms,
Chopin, Liszt, Kreisler, Rubinstein and others - attached
to single-sentence quotations relating to scales and their role
in the life of a professional musician. None of these quota
tions were from guitarists. At that time I was beginning to
understand the value of scales to a guitarist, though I knew
that many abhorred the word itself let alone the work that
was involved.
There are good reasons why work with scales is valu
able in both the physical (performance) and academic
(theory) sense. First, without probing too deeply, the
academic view: even a cursory examination of music before .
1900 (and much of it after that) will show that it is con
structed with scales as its raw materials; melodies and har
monies are largely built from scale notes. Through this one
may obtain a modest insight on the processes of composi
tion in 'traditional' music and may begin to relate them to
more recent musical trends.
In the physical sense the development is usually con
fined to major, minor, chromatic, whole-tone and intervallic
(thirds, sixths, octaves and tenths) scales but, however
limited they may seem in theoretical range, they can be used
to develop power, agility, speed, good tone, accuracy and
endurance - and because their notes are the very fibres of
the musical fabrics they relate directly to the vitally
important area of interpretation. One difficulty is that
melodies, usually couched in scale notes, often refuse to 'fit'
on the guitar in a technically simple way. A theoretically
simple sequence of notes such as CEFDC can result, with
an inexperienced player, in an unmusical jumble of sounds;
even a player who is fairly advanced may produce a poor
result if such a sequence is played at high speed in any
octave and with any fingering.
Although there are many scale books in print, most
give little indication as to how their contents are to be
practised; however, some do. Pascual Roch (a pupil of
Titrrega), in his tutor of 1921, tells the player to keep the
left-hand fingers depressed for as long as possible, releasing
the pressure only when necessary. A similar approach is
advocated in Hector Quine's Introduction to the Guitar
(1971) though it is stated that fingers should be removed
from one string after the first note on the next string has
been sounded. The Roch tutor states that, in descending
passages, all fingers should fall simultaneously on to their
respective notes, preparing them in advance; on this point
Quine is less specific. One thing is certain - descent along
one string is very different from ascent in that one is com-
pelled to prepare the next note, discontinue the sounding
note and time the right-hand stroke precisely. In ascending
one is not compelled to remove the finger(s) from the pre
vious note(s); this makes one less problem for the hands and
mind to deal with.
If we play the single-string scale of Ex. 1 at half-note
(minim) 200 the ascending and descending portions will
require different treatments. Leaving the fingers in place
works well in ascent, but what sounds best in descent? Very,
very slow practice is essential and close listening is needed
to eliminate problems with the left hand and to synchronize
the action of the right.
Further techno-musical problems arise in playing the
simple scale in Ex.2. If we play the first note, C, and keep it
held down while placing the 4th finger on the next note, D,
we achieve a legato so far as the left hand is concerned (but
not a slur); this is potentially the smoothest way to join the
D with the C. The role of the right hand at this point must
however be considered: once the first note is sounding it
may be stopped in three ways:
1. The 2nd finger can be lifted.
2. The 4th finger may arrive early on its note.
3. The right hand can arrive early in approaching the next
stroke, touching the already vibrating string.
The full note-length of the first note can be realized only
if the right-hand finger begins to touch and move through
the string at the precise moment when the next left-hand
finger stops its note. If this movement is not perfectly con
trolled a small silence will result (of practical value in
staccato passages) and this will become an annoyance,
interrupting a flowing melodic line. This difference in
depressing, striking and releasing accounts for the effect
produced by outstanding performers in playing any
particular passage. The length of each sound is decided by
each player, guided by the ears and controlled by the hands;
intelligent scale practice can make this possible. This
element of articulation helps to give life, depth, interest and
meaning to a passage.
To return to the fmgerboard: let us examine more
carefully the playing of successive notes - second and
third (DIE), and the return journeys from third to second
(E/D) and second to first (DIC). Though pre-placement of
the 2nd finger on the C secures that note without interrup
tion the movement is difficult when the music is moving
quickly or in a complex way (or both) since we may not
have time to do it. If the D is lifted before the C is prepared
a brief silence will result and one may lose security of touch.
Ideally, the fingers should exchange one note for another;
this requires great care, very slow practice and, above all,

Ex.l X V
V -------
I

,
I ------ -----
I -I 3 4 3 1
I
...

~ ~ ~ IT f
----~-
2 4 4 2

t
1 1 ,

~ f=
3 3
~
1 1

~ IT r IT IT r IT :11
repeat several times
Ex.2
IT
2 4 2 4 3 4

~ () 0 11

.e- o 0 0 11

14
attentive listening. Problems arise in crossing from one
string to another: in following the D with the E (or vice
versa), for instance, the first of the two notes must stop
sounding at some point. If the two notes overlap they will
produce a transient major 2nd, which may not be what the
music calls for - and this should be detected by listening
Barney
carefully. In moving from D to E a gentle apoyando on the
second note will cut short the first, even if it is still
Kessel
depressed. In the reverse direction the following may be Proudly presents his
helpful: 10th Annual British
1. The 4th froger may 'lean' against the higher string Guitar Seminar
many good players will do this instinctively.
2. The 1st finger may be lifted but kept in contact with the THE
string.
3. A right-hand froger may damp the first note by touching EFFECTIVE
its string.
These, singly or in combination, can eliminate unwanted GUITARIST
overlaps and the results are to be judged by listening.
28 to 31 October
This is the tip of the iceberg. If the reader remains
unconvinced of the value of work with scales he/she should 1982. For free
tape-record scales played at a metronome speed of 100, booklet containing
with four notes to each beat (400 notes per minute), for a ' detailed information
minimum of 30 beats. If the playback reveals any problem
of this proven course
with rhythm, clarity, tone or evenness, or if any trace of
difficulty is apparent, it would be wise to establish a daily which is valid to
routine, of work with scales without delay. 0 guitarists of all styles
write to:
Recommended study:

DIA TONIC SC ALES by A ndres Segovia.

Washington/Columbia Music CO 127.

SUMMERFIELD
SLUR EXERCISES by Andres Segovia. Wash
Saltmeadows Road
ington/Columbia Music CO 197.
Gateshead NE8 3AJ
FOUNDAnON STUDIES IN CLASSIC GUITAR

TECHNIQUE by John Duarte. London/Novello.

The BRISTOL SPANISH GUITAR CENTRE presents

the sensational Cuban-American guitarist

MANUEL BARRUECO

in concert

THURSDAY 14 OCTOBER 1982 at 7.45 pm

BRISTOL POLYTECHNIC

Redland Hill, Redland, Bristol

Tickets 3.00
on the door or in advance from the Spanish Guitar Centre
(SAE with postal bookings please)

The BRISTOL SPANISH GUITAR CENTRE (Principal Michael Watson) has provided an unequalled service
for over 27 years. We have the most comprehensive selection of student and concert guitars in the
country and our professional private and class tuition is much in demand. A 'by return' postal service will
supply you with music, strings (including pyramid lute strings and 10 string guitar sets) and guitar
accessories and our 'no deposit' HP scheme simplifies your guitar purchase. Please ask us to quote for
sending a guitar direct to your home. Send 20p in stamps for our catalogue
Spanish Guitar Centre, 2 Elton Road, Bishopston, Bristol 7. Tel. (0272) 47256

15
 PAGANINI AND THE GUITAR

by HARVEY HOPE

PERHAPS the most romantic figure in the history of the

violin was the virtuoso Nicolo Paganini. His accomplish
ments remain a source of wonder to violinists to this day.
He was born in Genoa on 28 October 1782. His father, who
managed to make a living as a merchant, was passionately
fond of music and encouraged the young Nicolo at an early
age to play the mandolin - some might say too
enthusiastically. There is little doubt that his father was a
strict disciplinarian and forced his son to practice for many
hours each day. It must have been obvious that Nicolo was
no ordinary beginner, and indeed he showed such an
aptitude that he was very soon placed under the guidance of
some of the most highly esteemed teachers, with whom he
studied the mandolin, the guitar and the violin. He was soon
giving concerts and, realising his capacity for earning
money, his father sought to tighten the control he had over
his son. When Nicolo was 17 he went to perform at the
festival at Lucca, and took the opportunity to run away
from home.
Having been under such an authoritarian rule for so
long, it is little wonder that he went to the other extreme.
His time was spent in the taverns, with the ladies, or at the
gambling tables. He was always in debt and was reduced to
pawning his treasured violin.
At one time he was associated with Eliza Bonaparte,
Napoleon's sister. It was said that 'she fainted often during Nicolo Paganini
his concerts'. She wasn't the only one - a good many
young ladies went into raptures and swooned with excite On his second visit to Paris, Paganini visited the
ment when they heard Paganini play. famous instrument maker and dealer Vuillaume, who
Following a brilliant early career, Paganini disappeared showed him a guitar that had been made by Grobert, a
from the musical scene and lived with a certain aristocratic violin maker of Mirecourt. The instrument appealed to
lady of Tuscany. He never revealed her identity. The only Paganini, who borrowed it. When it was returned,
clue to her name is the compositions he dedicated to her, Vuillaume suggested that Paganini autograph the table.
bearing the pet name 'Dida'. As she preferred the guitar, Later, the same instrument was lent to Berlioz, who added
and may well have been a fine player, he laid aside the violin his signature opposite to that of Paganini; it is now in the
for the three years he spent at her villa; his first composi museum of the Paris Conservatoire.
tions for the guitar date from this period. For several years Paganini appeared able to achieve the impossible on the
he lived with the singer Antonio Bianchi, who bore him a violin. It was rumoured that he was in league with the devil
son, Achille. ~ for how else could such amazing sounds be produced? It
The guitar continued to play an important part in is easy to understand how these rumours began. His every
Paganini's life. When he was asked by a friend why he spent appearance both hypnotised and inspired his audience. He
so much time with it he replied 'I love it for its harmony; it was a tall, thin man with a striking if haggard face and
is the constant companion of my travels'. piercing eyes. When he performed on stage, the odd
A number of guitars have been said to have belonged to shadows cast by the flickering candles and oil lamps served
Paganini. One such instrument and a mandolin were to heighten the impression of the supernatural. Always with
originally in the Heyer Museum, Cologne, but were an eye to publicity, Paganini encouraged the mysteries that
transferred to Leipzig in 1925; their location is not now surrounded him. He took to wearing black clothes and let
known. They are illustrated in The Guitar and Mandolin by his hair grow long. When he was asked about his system of
P. J. Bone. The photograph shows the mandolin to be in playing, he would smile mysteriously and say 'everyone has
fact a mandore, or liuto soprano. This was a small lute, his secrets'. Only when Satan began to get the credit for his
about the size of a mandolin, with six pairs of strings. At playing did he take the trouble to refute the rumours! He
some time it had been altered to take four pairs of strings delighted in astonishing his audiences. A favourite trick was
arranged in the Neapolitan style, and tuned to the same to break a string in the middle of a piece, preferably in some
intervals as the violin. fiendishly difficult variation, and to continue as if nothing
Another guitar, sold at auction in London in 1906, was had happened. Once he played a series of variations using a
described as 'an interesting guitar, formerly, the property of walking stick instead of a bow. When the composer May
the great Paganini'. The where-a bouts of this instrument is seder challenged him to play one of his most difficult com
also now unknown. A mandolin and a guitar are reported to positions, believing it impossible to be played at sight,
have been given to the town of Genoa by Paganini's Paganini handed him his violin and asked him to put if out
grandson in the early 1900s. of tune; he then proceeded to play the work faultlessly.

16
 He was a close friend of the composer Rossini. In
Rome during the carnival of 1822, the two dressed up as
beggar-women and strolled the streets strumming their
guitars and singing a begging song composed by Rossini.
They must have appeared a comical pair, for Paganini was
tall and very thin, whilst Rossini was short and fat. They
collected the composer Meyerbeer from his lodgings and,
while Paganini and Rossini played and sang, Meyerbeer
passed the hat round.
In the Summer of 1834 Paganini purchased a large
country villa, the Villa Gaiono. He shared it with the guitar
virtuoso Luigi Legnani for several months and they spent
much of the time rehearsing for a proposed tour to London.
They gave a number of concerts in the towns of Northern
Italy, and on 27 June 1837 gave a recital together in Turin.
This was destined to be Paganini's last public performance.
They had planned to give a recital in a new casino in
Paris, on the way to London. Paganini had invested heavily
in this venture and, when the authorities refused to license
the building for gaming, he suffered considerable financial
loss. The directors of the establishment sued him for breach
of contract and these legal and financial worries contributed
to the deterioration of his health. He was already a very sick
man and the plans for a joint tour fell through. In the hope
that a change of air would help him to regain his health, he
moved to Marseilles and then to his native Genoa. With the
onset of Winter he moved to the warmer climate of Nice.
Sadly the moves were in vain for he died in Nice on 27 May
1840.
As a violinist Paganini had been incomparable. As a
guitarist, he was considered by many to be the equal of the
virtuoso Giulio Regondi. The celebrated guitarist Carulli, a
contemporary of Paganini, says in his tutor that 'he was a
fine performer on the guitar'.
A commemorative plaque affixed to the house where he
died bears the inscription:
'Nicolo Paganini died in this house 27 May 1840.
His magic notes still vibrate in the soft breezes of Nice'.D "'o
0

,.
:I:

Bibl. to
>
Paganini of Genoa by L. Day. '-<,."
:I:
Paganini by L. Sheppard. gj
...
L -__~ ;:l
____________________________________~U
o '"
Paganini's guitar

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17
 HARMONY FOR GUITARISTS
by JOHN W. DUARTE
Part 1
THIS series of articles is not intended to cover its subject
comprehensively but, rather, to provide a sound basis of
knowledge for those who are content to let it rest there,or on
which more strongly motivated readers may build - either
by reading the available textbooks! or by taking lessons
with a properly informed teacher.
It is not necessary to examine too many pieces of music
in order to discover that a given melody may be underpin
ned with various harmomic sequences and, equally, that
even the simplest harmomic progression or formula may
support a wide variety of melodies. Given even a particular
melody and a specific progression of chords, the latter may
appear with different bass notes, creating correspondingly
different combinations of upper (melody) and bass voices
- a question of counterpoint in a simple form. What this
means is that, despite the existence of numerous 'chord
encyclopedias' - more impressive to look at than of value
in use, it is impossible entirely to separate harmony from the
other facets of music. Neither are such close bedfellows as
melody and harmony inexorably linked by predictable for
mulae that can be applied like ready reckoners; this is just
as well since, if it were otherwise, music could be written
with the simple aid of a handbook and without need of crea
tive imagination. There are clearly limits to what can be
achieved in a series of this nature (and, perhaps, to what
should even be attempted) but we will do the best we can
within them.
The starting ground
Some basic knowledge of what is regrettably called music
'theory' is necessary if one is to approach the subject of
harmony; the information supplied by the ears alone is not
enough, important though it is. We must assume a
minimum level of knowledge of basics that can be gleaned
from any standard primer 2 - notation, construction of
major and minor scales, descriptions of degrees of the scale,
the nomenclature of intervals. To provide some sort of
guidance, the reader should be able to answer the questions
in the following 'test' without too much difficulty - pre
ferably in the mind rather than on paper. If this proves
impossible, or laboriously difficult, at this stage, the reader
is advised to consolidate this basic knowledge before
approaching these articles.
1. Name the 4th degree of the scale of E major.
6th degree of the scale of B major.
submediant of the scale of G major.
leading note of the scale of E minor.
2. Name the relative minor of A major.
Eb major.
relative major of G minor.
B minor.
3. What note is a Perfect 5th above A? Minor 6th above F?
Major 3rd above Ab? Major 7th above
Db?
4. What interval do you get if you invert a Minor 2nd?
Major 3rd? Augmented 4th? Diminished 5th? Major
6th? Minor 7th?
18
5. What is the name of the interval between the following
pairs of notes, assuming the first of each pair to be the
lower and the interval to be simple?
C and Gb D and Bb A and C Db and A D and Cb
Bb and F#
Answers are given at the end of this article.
Intervals
Two notes are not enough to form even the simplest chord,
though they may suggest one, yet when played together
they signal the beginnings of harmony. If we play two notes
successively we hear their individual characters - pitch,
timbre, volume, duration, but if we play them
simultaneously they acquire an extra dimension. Different
pairs of notes make different, subjective and emotional
impacts on us and display a particular identity of their own.
If we think of the effect of two separate notes as 4 and 5,
when they are played simultaneously their sum is greater
than 9!
The emotional effect of intervals varies widely and is
subjective insofar as different listeners may use different
words to describe the effect of anyone interval. It is not that
we perceive different characters when we listen to the same
interval, we may simply use different words to describe the
same emotional area. We can in fact group intervals into
'families' within which the emotional effect is very similar;
in doing so we use only the simplest ways of describing the
possible note-separations within and octave - a minor 6th
sounds like an augmented 5th (each has the same number of
semitones) so we describe the interval as a minor 6th:
perfect intervals - 1st, 4th, 5th, 8th - strong, stark,
empty, cold, severe. Minor and major 3rds and 6ths
pleasing, harmonious, friendly, warm, compatible. Minor
and major 2nds and 7ths - unpleasant, discordant, aggres
sive, acidic, angular. Augmented 4th or diminished 5th
(tritone) - vague, meandering, uncertain, lacking strength.
Write out and play, repeatedly, as wide a variety of all
these intervals as your conscience and patience permit.
Listen to them carefully and learn to recognize their
emotional type - listening (not just overhearing) is what
music is finally all about. After some time ask a friend to
play a variety of intervals to you, not necessarily on the
guitar, and try to identify the group to which they belong by
recognising the type of effect they have on the ear.
As the next step, listen again to repeated playings of all
possible intervals with the object of learning to differentiate
among the members of a particular group. The interval is
clearly from, say, group one (perfect) but which one is it?
Focus your ears in these ways:
Perfect - the unison and octave should be easy to recog
nize and to differentiate, the 5th has a much
'stronger' effect, reminiscent of a bagpipe drone,
than the more 'neutral' 4th.
3rds versus 6ths - the former sound 'closer' and 'tighter'
than the latter.
2nds and 7ths - 2nds are vicious (like hand-ta-hand fight
ing), 7ths are just disagreeable (like throw
ing stones across the street).
 Tritone - has its own, unique identity, unchanged by nota Answers
tion (A 4th or D 5th).
Hence once more your obliging friend will be useful in '1I1S p<llU<lwllny - lIlL P<lllS!U!W!G - 1I1S P<llU<lW
helping you to test your grasp on this form of recognition. -llny - pl lOU!W - 1119 lOU!W - 1I1S P<lllS!U!W!G 'S
The final step is to learn to differentiate between major 'puZ loftlw - pl lOU!W - 11117 P<llU<lW
and minor intervals of the same numerical size - is it a -llny - lIlS P<lllS!U!W!G - lIl9 lOU!W - lIlL lOftlw '17
major or a minor 3rd? If you cannot readily recognize the ';)-qG-;)-3 .
character of each one within a pair, even with practice, put 'lOftlw G - lOftlw qH - l0U!W ;) - lOU!W #tI Z
to use the basis on which the intervals are named. Regard '#G-3-#D-y 'I
the lower note as the tonic of a major scale, sing through the
scale (out loud or, better, in your mind's voice) until you
come to the appropriate degree; does it agree with the upper
note of the interval? If so it is major; if not it is minor. The
same method will help you if you have difficulty in dis - An exciting new method for young guitarists
tinguishing a perfect 4th from a perfect 5th - sing along "THE GUITARIST'S WAY"

the scale. There are various ways of accomplishing this last

step but the simplest is the one I have described. The final
by PETER NUTTALL & JOHN WHITWORTH

objective is to be able to identify an interval when you hear In Four Volumes - 1.60 each Onc. p.&p.)

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difficult thing to do without the help of a friend since it is Now in their second edition:
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However, the vital thing is to listen carefully and GERALD GARCIA & JOHN WHITWORTH
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1 Melody and harmony for guitarists by John Duarte (Universal Edi

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Harmony for guitar by Lance Bosman (Musical New Services) 30 Holley Crescent, Oxford OX3 SAW

2 See also The guitarist's ABC of music by John Duarte (Novello)

MUSIC MINUS ONE FOR TWO CLASSICAL GUITARS

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This enables the guitarist to phase out either the left or the right speaker, using the balance control knob of the record
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speaker, the second from the left Care has been taken to cover as many aspects as possible of guitar playing, but the main
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These long playing records/36 page book sets cost 6.99 (plus O.60p postage) and are available now from
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j 19
 MUSIC SUPPLEMENT

EDITED BY NEIL SMITH

ZAMBEANDO/J. Morel
This very attractive piece seems to suit a tempo of J Try to bring out the bass figures in lines 4 + 5 as they move
(crotchet = 63). The rhythm in bar 12 (and all similar
figures) is not clear. I suggest that either the final three notes
should be treated as a triplet (this completes the bar) or the
opening figure of this bar should be played as (LtLJ) part
of a 6/8 bar. In this case, ignore the triplet figure to com
plete the bar of 6/8. The second bar after 11 has a reach
down to III whilst holding 4 on, this is important, the 4 later
slides to F and then on to E. Play the piece in a relaxed
manner, perhaps moving on a little at the second time bar to
realise the crescendo implied.
BAGATELLE No. 4/0liver Hunt
The tempo here is suggested by the composer and this
makes bars 25 to 32 fairly difficult. Try at a slower tempo
here until the fingerwork is secured using the 2 or 3 to guide
the left hand. The slurs marked (X) can be played by the left
hand alone (ie hammer), in this case, allow the finger to
'hammer on' and simultaneously lean against the upper
string to avoid the overlap from the struck sound. The piece
is from a set of 6 Bagatelles written in contrasting styles.
SICILIANA/MEISSONNIER
J.
A speed of = 72 would suit this work, quite quick for the
thirds later on but well worth the effort. In line 2 bar 2, use
the I to stop the G but not the tip of the finger, use a 'hinge
barre' ie: point the finger tip up off the fingerboard allowing
the opposite and (knuckle end) to depress the string. This
avoids the awkward move from the B in the previous bar.
towards the cadence; line 5 bars 2-3.
PASTORALE/SOR
A speed of J. = 54 is suitable here, keep the music flowing
and legato. In line 5 bar 3 try to avoid shortening the G (in
barre), use a swift move back to 1st position. The quintuplet
in line 6 starts as an anacrusis to the rest of this figure (A
major ending). Slur the notes holding on the lower thirds. In
cases of difficulty such as this, it can be recommended to
always 'remove' (temporarily) the ornament; just play the
chords and imagine how the ornament should 'fit in'
naturally before attempting the complete phrase. Also in
line 6 bars 4 to 5, use the 3 to play the F and at this
moment, try to preplace 2 and 1 on their respective strings
anticipating the oncoming notes in III position.
FOUR PIECES FROM THE FITZWILLIAM
VIRGINAL BOOK
The Fitzwilliam Virginal Book, so called from its lodgement
in the Fitzwilliam Museum in Cambridge, is the largest and
most important single collection of early English keyboard
music.
These four transcriptions by John W. Duarte are not
easy, neither are they as difficult as the solos attempted by
most average amateurs. They are, however, of music that
will amply repay the effort expended.

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20
 JORGE MOREL
ZAMBEANDO
Lento

~~ lr":""""'_ _
::I: 3$ 2

r
r

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~-
4 3 3

CII
D.e.

ASHLEY MARK PUBLISHING COMPANY 1982

21
 OLIVER HUNT
BAGATELLE No 4

CII
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REVLO-CORNISH MUSIC 1981

22
 A. MEISSONNIER
SICILIANA
Allegretto

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2 3 I -

III 1 O~ III_

jiiiiiiif I I I~ni
.
1 ___ 1 I , 1 r -I

------
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ill i 0

23
 FERNANDO SOR
PASTORALE
to D Andante V VII

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24
 ANONYMOUS
Why Ask You? ARRANGED FOR GUITAR
BY
JOHN W. DUARTE
No. 161

-e-

'i ,.J tJ.JJ1:~1 J:J J) JJ

3 1
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It'; .J:?J~ JI'$,J 8~ or 1

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25
 .~

ANONYMOUS
Watkin's Ale ARRANGED FOR GUITAR
BY
JOHN W. DUARTE

No. 180

4 .

l~

~ ~ !~: . :d: d: ;~: :t

~ sec r:r ~ t.1~ ,,ra-: 'rrrr~
1 IJ J.
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26
 r

~ ~ Can She? ANONYMOUS

ARRANGED FOR GUITAR
BY
JOHN W. DUARTE

No. 188

1
j

1\

,<

27
 MARTIN PEARSON
The Fall of the Leaf ARRANGED FOR GUITAR
BY
JOHN W. DUARTE

No. 272

- -
tr r

28
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VOL U M ES 1 & I1
(publ ished ' IS a , ing k vo lulllc)
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hanslated hy BrJan Jef/er y

MANUEL

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A UNIQUE CONCEPT

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29

Analysis of the Prelude from the
Prelude, Fugue and Allegro (BMV998) by Bach
by OLIVER HUNT
THIS is the first in a series of three articles. The second will
consider the phrasing and interpretation of the Prelude and
the last will be concerned with the fingering. I recommend
the Kalmus Study Scores which can be obtained from
Universal Edition. This is a publication of the original
Gesellschaft edition.
One cannot make intelligent choices about phrasing and
dynamics or for that matter even fingering until one has
analysed the piece. Since music takes place in time, a good
analysis should also concern itself with the passage of
musical events in time and the way these events interlock
and diverge. I therefore think it a good idea to organise ones
analysis on different levels. When one talks about levels, one
refers to the highest level and then a succession of levels
moving down to lower ones. High levels take in relatively
longer stretches of time and lower levels take in relatively
shorter stretches of time. One may list these starting with
the highest. There are certain other aspects which are not
necessarily so neatly time-centred, Modulation, Harmony
and Rhythm are other aspects that will be considered later.
These are not necessarily hierarchic in their time-spans.
Repetition and variation must also be looked for in any
analysis. Repetition is not confined to themes; the're are
repetitions of processes, structures and keys. All these
things should be shown in good analysis.
I have analysed this piece in the form of a matrix. The
horizontal axis shows the duration of the piece in bars and
the vertical axis shows the compositional parameters.
Looking at this matrix I believe that one can make an
observation about good continuation in a composition. This
law, roughly speaking, is stated as follows: Rarely do all the
parameters in a piece change at the same time. I shall now
explain the terms used in the vertical axis of the matrix.
1. Section. A represents a recurring idea, B, C, D etc,
represent variations.
2. Phrase. Phrases always end with perfect cadences and
represent self-sufficient ideas or groups of ideas. Sub
phrases represent modifications or changes of ideas within
phrases not usually ending with perfect cadences unless
they occur between sequences as they do in between bars
11, 12 and 21. These are not generally regarded as cadences
because they do not coincide with the end of a process.
MOVEMENT p R E L
SECTION Al c A3
PHRASE
SUB PHRASE
MODULATION
MOTIVE
RHYTHM
30
"
3. Modulation. T = Tonic, D = Dominant, ST = Super
Tonic, R = Relative, M = Mediant, SD = Sub-dominant
and lower-case m = minor. All keys are reckoned from the
tonic.
4. The Motive. The auxiliary note motive which occurs on
the 1st and 2nd beat of bar 1 is repeated throughout the
entire piece. The shaded areas represent the bars in which it
appears.
5. Rhythm. The rhythm likewise remains constant except
for bar 40 which is also shaded. It can be seen from this
matrix that at no point do all parameters change
simultaneously; there are constant overlaps. Even at bar 40
where the degree of change is most striking, i.e. the division
of the sub-phrase, the modulation and the absence of the
principal motives and a break in the rhythm. There remain
two constants. First, there is no clearly defined cadence.
Second, the break does not coincide with the final return of
a 5. I believe this whole question of parametric overlap to
be one of the principal hallmarks of good composition.
Repetition and variation alone will not guarantee good
continuation.
Formal aspects not shown in the matrix. Space does not
allow a complete harmonic analysis but it should be done as
follows:
I quote bars 11 and 12. For chord symbols I recommend
a combination of Roman numerals and figured bass.
Modulations are illustrated by a double set of numerals
which show the pivot chord connection between the two
keys. The different keys are shown by the above abbrevia
tions in the matrix. The letter U means an unessential note
not belonging to the prevailing harmony. The distinction
between chord tones and unessential notes is most
important when deciding upon good fingering, which I shall
discuss in the final essay.
Higher Level Harmony Analysis,
I quote a condensed form of bars 1-11. It can be seen that
scales can be excised from the welter of melodic activity on
a .higher level. I will propose a tentative set of axioms in
order to determine what gives these scale tones their
u D E
Final
D A4 E As Section
--
,

privileged position - tentative because this form of
analysis, based on the theories of Heinrich Schenker, is
rather controversial.
1. They are usually harmony notes.
2. They may be mobile while other notes remain static.
3. They are often to be found in the highest and lowest
registers, when they fulftl some but not all of the above con
ditions, e.g. the E in bar 4, the D in bar 5, the B in bar 9 and
the A in bar 10. They will be harmony notes which occur
either more often than others or their duration; explicit or
implied, will be longer. In other words, they must be
prominent in some way to justify their privileged position.
Schenker attempts to prove that these higher level scales or
Uhrlinien, as he calls them, dominate entire movements. I
think, however, that the consistency of this idea is difficult
to demonstrate over longer time-stretches. I believe that the
concept of the Uhrlinie is useful on a fairly low foreground
level and that one should never attempt to force music into
a priori concepts which do not fit the musical facts
satisfactorily. The purpose of the Uhrlinie is to demonstrate
the main thrust and direction of the music in order that the
performer may not be bogged down by too much
extraneous detail.
There is much more that I could say about this move
ment. What I have said can be only an outline of a method.

BARS 11 AND 12
u
rJ J
Fig. 2 U U U

J .J J J .J J J J j [J J
~ (T)r
## J
r
r Y
r
y6
(Rm) r r
yl6
116 5 I 6 YI 5
11 I m#3
BARS 1 to 11
Fig . 3
.L~ . . 1 ..I
f .. .. #! -I-g-I- - I
-.

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32
 'MY FIFTY FRETTING YEARS'
by
IVOR MAIRANTS
What the Press said. ..
"Essential reading for anyone having the slightest interest in the guitar, played in whatever
genre of music." ACOUSTIC MUSIC
"The book is essential reading for guitar lovers, but it will also appeal to dance band
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"This book will be a source of abiding pleasure to all guitar lovers and must find a place on their bookshelves." FRETWIRE
"My Fifty Fretting Years" is going to be a must for guitarists of all styles." MUSIC TRADES INTERN ATIONAL
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"Most people who have never done more than merely strum on a guitar, in no matter what style, will want to
know about "My Fifty Fretting Years". I should have found this squat volume enjoyable had it contained no
more than the autobiographical part. Without any pretentious straining after a literary style, Ivor ~~
fills in some fascinating detail about the history of popular music and jazz in this country
from the late 20s onwards. The larger portion of the book is a detailed examination G
ON '"' Available
from good
book shops everywhere
of guitars and guitarists." SUNDAY TELEGRAPH but in case of difficulty
available direct from the publishers
Ashley Mark Publishing. Salt meadows
Over 100 photographs 0 392 pages 0 ISBN 09506224 3 5 Road, Gateshead NE8 3AJ. Please
add 1.00 to cover post and packing.

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33
 li
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I
I
REVIEWS(II~~~~~~music
IMPRESSIONS FOR GUITAR by Ruth
Nunn
Punchbowl Music. 2.50.
First impressions are important and I
think a cover that only grudgingly reveals
the title will not help this book. There are
seven pieces which, I recaiI, were
originally written as illustrations for a
series of teaching notes in a magazine;
this may be why two have helpful sub
titles - 'The Shepherd Piper - a legato
study in 3rd position' but why not the
others? The pieces appear to have been
assembled in suitable 'batting order' but
with little thought of inspection before
taking the field. Only one, for instance,
has a metronome-marked speed. The
sunken Cathedral is the only one with an
alternative part 'for small hands' but the
replaced chords are not really difficult
anyway - and are small-handed
guitarists going to buy the book for one
piece, one invoking comparisons with a
rather better-known, French depiction of
the same unusual subject? Fire Dance is
claimed to be 'a study in 2nd position' but
I see little evidence of this, except in the
little run of quavers in the last two bars
- when the fire has gone out; the rhythm
is less insistent than the title of 'dance'
implies.
Birds migrating is quite pleasing to
play, the fmgers 'migrating' up and down
the fmgerboard in shifting positions, and
the 'cuckoo' in harmonics adds a wistful
charm to the end - do cuckoos migrate?
The Shepherd Piper calls for the remark
able feat of making a crescendo through a
tied note, four times. Winter Landscape is
pleasant enough, and falls well under the
hand, but I feel that, as in most of these
pieces, the musical ideas are less fully
developed than they might be. In this and
four of the others the composer resorts to
an A-B-A plan; ternary form is con
venient to work in, but not necesarily
expressive of the way one sees a land
scape, migrating birds, or any of the other
subjects. Snatches of ticks, tocks, chimes
and cuckoos are put together, not very
convincingly, in Clock Fantasy. Clocks
are mechanical things and seem to call for
a steady (crotchet) beat amid the other
goings-on, even if the spring does run
down from time to time.
By a Sussex River Bank has long,
sustained, six-note chords alternated with
rippling arpeggios that make full use of
different sonorities by having the lowest
two strings retuned, but again the music
leads us nowhere, too brief a glimpse.
The music is clearly fingered and
printed; the composer rates the level of
difficulty as Grade Ill-IV. The book is
unlikely to be snapped up greedily by
younger or less experienced players since
there is music of a more appealing (even
exciting) nature readily available. The
34
",
pieces are, by their very nature, inward
looking statements of their composer's
own 'impressions' and not, I feel, likely to
appeal to a wide 'market'.
Frances Gray
Punchbowl Music, Leigh Heights,
Haslemere Road, Hindhead, Surrey.
HOMAGE TO ANTONIO LAURO
(THREE WALTZES) Op. 83 for guitar
solo by John Duarte.
London/Universal Edition UE 29170,
1.50
The guitar works. of the Venezuelan
guitarist and composer, Antonio Lauro
are popular throughout the world, due
principally to guitarist and fellow
countryman, Alirio Diaz. The most
popular pieces are, without doubt, the
various Valses Venezolanos.
John Duarte's Homage to Antonio
Lauro consists of three waltzes in 'el
estilo Venezolano', written firmly in the
Lauro tradition, including much use of
the 3/4, 6/8 hemiola rhythm. As we have
come to expect from John Duarte, the
three pieces are skillfully and thoughtfully
constructed.
The Waltzes are marked Moderato
con grazia. Andante espressivo (with D
tuning), and Ritmico e con brio (in rondo
form).
The Homage to Antonio Lauro is
, slightly easier to play than the majority of
the published Lauro waltzes and could be
programmed very effectively alongside
Lauro's original compositions, or indeed,
as a welcome alternative.
The printed fingering is adequate and
the few misprints are easily identifiable.
Raymond Burley
INSIEME Op. nfor guitar and
harpsichord (or piano) by John Duarte
Ancona/Berben 2366, n.p.
The repertoire for guitar and harpsichord
is far from large, in fact, works of sub
stance can virtually be counted on the
fingers of two hands. The publication of a
new work for this medium is indeed an
exciting event, particularly when it is an
item of quality, as in this case. Insieme is
dear to me as I was 'present at the birth'
and, together with harpsichordist Stephen
Bell, gave the first performance at the
Wigmore Hall in June 1978 and the first
broadcast performance on BBC Radio 3
shortly aftwards. Insieme is the result of a
suggestion from Segovia to Duarte in the
late 1960s, that he and Mario
Castelnuovo-Tedesco should exchange
themes in order that each might write
works based on the other's material. At
the beginning of 1968 a theme arrived
from Castelnuovo-Tedesco, however,
before Duarte could send his contribu
tion, Tedesco died. The theme remained
unused until 1978 when Op. 72 was com
menced.
Insieme (meaning 'together' in
Castelnuovo-Tedesco's native language,
Italian) consists of a haunting chromatic
theme followed by five contrasting varia
tions and a Finale. The variations are
marked, Un poco agitato, Alla marcia,
Largo e dignitoso, Scherzoso and Alla
siciliana. The Finale, which is in the form
of a Passacaglia may also be considered
as an extended variation.
The work is tonal and effective use is
made of the chromatic scale and
chromatic harmony. Castelnuovo
Tedesco's style is very much in evidence
at all times. The playing standard of the
individual parts is moderate and no feats
of virtuosity are called for.
The music is printed in full score - a
separate guitar part not being necessary
as page turns are in convenient places.
The absence of fingering should not deter
the guitarist from attempting the work as
any problems in this direction can be
easily overcome. The few misprints that
exist are obvious with, perhaps, the
exception of the missing ties connecting
the fmal two chords in the guitar part.
Raymond Burley
ENGLISH SUITE No. 2 Op. 77 for two
guitars by John Duarte
London/Universal Edition UE 29169,
2.00
During the last century there has been a
renewal of interest in the English
folksong, which can be attributed largely
to the collecting and cataloguing by Cecil
Sharp and Ralph Vaughari Williams
amongst others. There is no better way of
keeping this valuable music alive, than by
performing it.
John Duarte's English Suite No. 2, like
English Suite No. 1 for solo guitar, No. 3
for four guitars and No. 4 for recorder
and guitar, comprises English folksong
melodies and composed material which
together provide a work which is both
interesting and charming. The Suite was
written at the request of the Gre.ek guitar
duo, Evangelos and Liza, who also gave
the first performance in the Wigmore Hall
on the 2 May 1980.
The work is in three movements
marked, Cheerfully, Lyrical and Smooth,
and Brightly. The opening movement
uses the Somerset folksong, The Brisk
Young Widow as its main theme, consist
ing of two-part writing in the outer sec
tions and a chordal' accompaniment in the
slower central section. The slow second
movement uses the Essex song, The Lost
Lady Found and is both expressive and


moving. The final movement is in the
form of a rondo and uses the Hampshire
song, Sing Ivy, together with Gently,
Johnny, my Jingalo as the central couplet.
Percussion on the sound board is featured
in the 2nd guitar part at both the begin
ning and end of the movement.
English Suite No. 2 is extremely well
written and is of moderate difficulty. It is
almost impossible to detect where
folksong ends and Duarte begins. The
work as a whole has immediate appeal
but any duo contemplating its inclusion in
a recital programme need not fear that
the quality is in any way inferior.
The printed layout of the music does
not allow for page turns in performance
and duos must find their own solution to
this problem. Having played this Suite
from a manuscript copy in concerts and
recordings since April 1980, together
with John Mills, I found the printed
fingering (supplied by Evangelos and
Liza) seemed foreign to me. This, of
course, does not make it ineffective but I
found it unimaginative and did not find if
helpful.
The Foreword, as with all Duarte edi
tions, is clear, concise and informative.
Raymond Burley
PETIT NOCTURNE for guitar solo by
Stepim Rak.
Helsinki/Chorus Publications. 1.25.
Ashley Mark Publishing Company,
Gateshead NE8 3AJ
Stepiln Rak is a very resourceful guitarist
and composer who lives in
Czechoslovakia but lived and worked for
some time in Jyviiskylii (Finland); his
most eloquent advocate is Vladimir
Mikulka, to whom this piece is dedicated.
The Petit Nocturne, despite its spicing
with diatonic dissonances, is an agreeably
sentimental A lbumblatt whose melody
overcomes passing harmonic nudges in
other, 'flatter' directions. Hardly long
enough to stand alone in a concert
programme, its two pages are a little
harder to play than its mainly clean
appearance suggests (about Grade VII,
I'd say) but they would make an accept
able change for players (and audiences)
not yet ready for what the 20th century
has brought. A barre given at III instead
of 11 (page 1, system 3, bar 1) is the only
printing error I have detected.
John Duarte
THREE EQUAL THOUGHTS fur
guitar solo by Kari Karjalainen.
Helsinki/Chrous Publications. 1.25.
Ashley Mark Publishing Company,
Gateshead NE8 3AJ
A ternary structure (largo, allegro, largo)
frames a somewhat austere work in free
atonal language; the complete unfolding
of the note-row ends with the first note of
bar six but not before six repetitions have
36
intervened. The piece is pervaded by a
three-note cell, appearing at various
levels, with variations of its pitch-profile
and many rhythmic transformations. Its
avoidance of 'tonal' patterns of rhythm,
though not via serialization, calls for
careful counting and much slow practice.
The two pages of music need about four
minutes to play and to describe the
required technical level as not higher than
Grade VII is insufficient - a far more
developed grasp of music is needed than
that rating usually implies. This is a study
piece rather than concert material.
Imprint is needle-sharp but fingering,
often mildly cryptic, is shown in hair-line
figures that are not always as clearly
visible as they might be.
John Duarte
PIERROT for two guitars by Gilbert
Biberian
London/Chester 55158
To keep Colombine company, what could
be more fitting than a substantial Perrot,
with Harlequin soon to complete the
trilogy? It's not simply a matter of instru
mental weight - her 600 bars (ca) are
topped by his 879, two lengthy works by
any reasonable standard. It is the whole,
rather than the component parts, which is
long; Biberian describes the work as: 'A
collection of short, study-like pieces
bound together organically in order to
make a large-scale composition. The
structure is very simple: Prelude; Theme
(Au Clair de la Lune Mon Ami Pierrot)
and six variations; Cadenza; Waltz; Link
passage recalling the Prelude; Round
Dance; Postlude'. Those dependent on
the good old-fashioned crutch of tonality
will fmd little to cling to; and what little
there is soon becomes a tantalizing
chimera. Two variations confirm their
bitonality by employing different key
signatures for the two parts, though
bitonality arrives elsewhere without
benefit of advertisement. in his foreword
Biberian says that the piece should be
well within the grasp of students who
have played for three or four years,
having learnt the studies of Carulli, Sor,
Aguado and Carcassi. Technically speak
ing this is true, though a little more must
be added to offset the difficulty of playing
such duo music, but those brought up on
such a utilitarian diet will suffer severe
culture shock! If this seems to be spelling
out a deterrent, it is not. No feat of
virtuosity is required in either part (most
of the activity is within the first seven
frets), successive changes of metre and
timing problems will yield to careful
counting, and what may at first sound
offensive will become piquant if goodwill
persists; even such delicacies as caviare,
olives and escargots seldom appeal to
unsophisticated taste-buds and it takes
time to learn to love dry wines. The
avoidance of such aural challenge helps
to keep the guitar in the retarded state in
which unrelieved exposure to the early
19th century all too easily leaves it. Try
this, persevere with it and reap your
rewards.
As with Colombine there are move
ments that invite (virtually compel) free
dance or mime and others which sustain a
constant metre and permit a more formal
treatment. The two works, indeed the
trilogy when completed, are designed to
be performed successively, in one large
scale enterprise of music and movement,
occupying dimensions that are new to the
realm of guitar music. To bring it to
reality demands more, however, than the
Old Brigade, singing its Old Songs, is
likely to offer at the moment. More's the
pity.
John Duarte
FINGERSTYLE GUITAR
FURTHER STEPS by Doug Kennedy.
pp 48.
Punchbowl Music. 2.95.
Seeing a guitarist on the front cover
apparently playing his instrument while
resting it on someone else's knee, I felt
uneasy about this book before even
opening it. Reading that here was yet
another attempt to 'bridge the Great
Classical/Folk/Rock Divide' did nothing
to dispel my fears.
Why does an author attempt this
daunting task when it is obvious to most
that the objective is not attainable in a
book of this size, and is probably
unnecessary anyhow? Most musicians,
guitarists included, are quite capable of
bridging gaps if that is what they really
desire. Is there really a Great Divide? At
classical guitar Summer schools I never
cease to be amazed at the wide variety of
(musical) activities that take place after
the beer has started to flow in the evening.
The choice is ours - classical, folk, jazz,
flamenco, blues. We can be as broad- or
as narrow-minded as we choose; no-one
needs to be wooed with empty promises
that, for 2.95, we can have all, or at least
some, of our musical desires satisfied.
The present book is a hotch-potch of folk,
classical, ragtime and blues, with an
occasional page of 'theory' thrown in.
As a folk-song repertoire book it
rather overdoes things: having described
four different 'clawhammer' techniques
(for nail players?) the author needs only
to give melody line, words and chord
symbols for the reader to have fun with
Bob Dylan, Tom Paxton, Ralph McTell
and the other numbers included. The
essence of folk music is individual
interpretation, but Kennedy gives his
own, rather ordinary accompaniments in
full, in staff notation and in tablature.
Most of the songs are set too high for the
average voice - I can't reach so many
high Gs, even after opening time.
In the 'classical' solos he gives too
little, apart from the fact that the chosen
pieces are readily available in better
printed editions - yes, the Spanish
Ballad is here? The negligible help with
technique or interpretation appears in the
general scheme of things much as a home
decorator ft11s in cracks in the plaster and
woodwork.
It is difficult to believe that pupils
learn happily by this 'whim and fancy'
method; on page 25, for example, the
author has a whim to give some helpful
information on minor scales, but you
have to turn a good 15 pages either way
before meeting any minor-key music.
'Followed from page to page, this book
plots a gradual logical course', the
introduction states: on page 31 we learn
that 'When two or more notes are played
together, this is called a CHORD'
Basic chord progressions are dealt with
on page 3 and barre chords on page 22.
Some information is misleading and some
downright incorrect: 'A major triad con
sists of TONIC, major 3rd and perfect
5th', the misuse of 'tonic' (instead of
'root') continues for a whole page - no
misprint here.
The illustrations, some of the poorest
I've seen, simply add to ones general
apprehension regarding what seems to be
a hastily assembled book. It is unlikely to
cause any real damage to potential
guitarists but certainly does nothing
worthwhile.
Frances Gray
FANT ASIAS AMAZONICAS for
guitar solo by Francis Schwarz
Editions Musicales Transatlantiques
(U.M.P.) 1.57
The titles of the various sections
Totem, Mystery canoe and The bat cave,
are certainly evocative of the Amazonian
jungle, as are the trilingual passages from
an unidentified travel book attached to
them. They are three quite effective little
free-style pieces: Totem uses tambora
effects to create a sinister sound from an
unusual chord; the second piece, using
'fmgernail rasps' on the bass strings, is
less successful. The bat cave is perhaps
the best movement, with eerie trills,
chromatic slides and slurs to paint its
picture. The signs and symbols are
explained. Pleasant amusement for a
player of Grade 5 (or better) but, for a
mere three pages, distinctly pricey.
Neil Smith
PLEIN CIEL for guitar solo by Marc
Bleuse
Editions Choudens (U.M.P.) 2.90
Dedicated to Alexandre Lagoya, this is a
modern, free-style work, straight
forwardly written without 'special effects'.
The tritone, with which it opens, plays an
important role and the rhythmically
attractive opening phrase recurs fre
quently, giving the work a measure of
unity. A player at or above Grade 7,
looking for a forceful single-movement
piece and 'in tune' with the music of
Stephen Dodgson, might find this
interesting; there are 7 pages of music.
MORGONRODNAD for flute and
guitar by Jack Mattesson
Helsinki/Chorus Publications. 1.50.
Ashley Mark Publishing Company,
Gateshead NE8 3AJ
The title means 'morning blush' (dawn)
but its red sky holds no warning for
sailors, shepherds, flautists or guitarists.
The flute (or violin, a piacere) sings a
simple, sustained melody above arpeggios
that ripple from start to fmish. A third
stave gives the bass line alone, for use by
a cellist who, in the interests of not
obscuring the guitar, would do well to
consider using a nicely rounded pizzicato.
The music is firmly tonal- home-base is
G major, its harmonic surprises being
gentle and easily fmgered (comfortably
within Grade Ill-IV); one might
paraphrase Thomas Morley by saying
that 'no extraordinary motions are used
in the playing of it'.>Total absence of
tempo or dynamic markings leaves the
field open for the imagination to move in.
With a mere 42 bars (including a repeat
of 16) it is too brief for a concert piece
but it might make a pleasant little encore
item.
John Duarte
COLOMBINE (SUITE) for solo guitar
by Gilbert Biberian
London/Chester 55260
Even more economically than those
baroque composers who rewrote some of
their works for different media and
purposes, Biberian suggests varied uses to
which this one work, Colombine, may be
put - as music for pleasure or study
(like most worthwhile music may be
treated) and as accompaniment to perfor
mances of ballet or mime. He suggests
also that shorter suites may be 'con
structed' from selections from its eight
movements, as was the case with many
baroque suites. Though the music is by
no means baroque there are thematic and
motivic atTmities among the movements,
giving them a feeling of unity - shared
by many suites of Bach, Handel et al. To
reinforot"the study aspect there are notes
defming the main points of musical
and/or technical interest in each move
ment, though one might reasonably
expect many students to be both familiar
with and proficient in these after three
years or more, the level of player to which
the work is addressed. The music is not
difficult to play, though not quite as easy
as its clean appearance suggests, and it is
both gratefully guitaristic and attractive;
much of the difficulty resides in negotiat
ing the changes of time and tempo in
some movements - recource to a
metronome is advisable in the pre
paratory stage. The same changes, some
times approaching the kaleidoscopic in
pace and mood, enhance the suitability of
the music as a substrate for free ballet or
mime, inviting matching movements and
gestures rather than the classic framing of
dance steps within a steady pulse
maintained over long periods. However,
setting aside such ancilliary purposes, this
is most enjoyable guitar music, clean-cut
and, though deploying compatible idioms
the 19th-century would not have
welcomed, never abstruse or gratuitously
intellectual. Fingering is comprehensive,
with few unavoidable awkwardnesses
imprint is clear, spacing is generous,
without overcrowding and, horizontally,
roughly proportional to note durations.
PIECES FOR POLITA for guitar by
Richard Stoker, ed. John Duarte
London/Ricordi LD678. 3.50
FIFTEEN MINUTES for guitar by
Colin Head, ed. John Duarte.
London/Ricordi LD667. 3.50
GREAT BAROQUE ARIAS for voice
and guitar, arr. John Gavall.
London/Ricordi LD660. 4.00
Richard Stoker's contribution to the
repertoire at recital level is by now well
esteemed for both quality and quantity.
Here in six 'moderately easy pieces',
written for Polita Estarellas (spelt
incorrectly in the Foreword!) Mr Stoker
provides playable, idiomatic music for the
competent guitarist. The pieces here are
middle of the road in vocabulary and
technical requirements, yet lyrical and
shapely. They will prove ideal teaching
material as each piece is reasonably
concise and digestible in the space of a
week for even the more indolent type of
student. Teenagers may find these a
useful introduction to contemporary
musical patterns without being put off by
a surfeit of atonality.
Colin Hand's fifteen pieces are easier
still, and once again fulfil a real need for
contemporary material. Teachers and
pupils will find this book a most useful
compendium of approaches in terms of
styles, techniques and musical forms.
Some of the pieces in John Gavall's
latest offerings such as Bist du bei mir of
J. S. Bach and Handel's Laschia ch'io
pianga appeared in quite different
arrangements in another book of his
published in 1959. Words of translations
and accompaniments have been subjected
to considerable revision. A most useful
book, albeit somewhat expensive.
Graham Wade
THE FABULOUS
'BOSSA IN RE'
BY
JORGEMOREL
NOW AVAILABLE
1.50
including post and packing UK
from
Ashley Mark Publishing Company
Saltmeadows Road, Gathead
NEB 3AJ
37
 NEW PUBLICATIONS FOR ALL GUITARISTS

Fingerstyle Guitar Further

).!EU lIlY .\ :\1 ) 11.\]{).[(l\ Y

FI)[{

( ;I'!T.\]{ [SrS

Steps
by Doug Kennedy
A graded logical guitar method for 2nd year guitarists, bridg
ing the gap between classical/folk and rock styles. It is highly
instructive while being fun to use; and packed with technical
tips and information never before published in one volume.
Popular solos and duets are laid out in MUSIC AND
TABLATURE notation, and include:
Streets of London - Stairway to Heaven - Spanish Ballad,
and many more.
MELODY AND HARMONY 2.95 + 30p post and packing
FOR GUITARISTS
IMPRESSIONS FOR GUITAR
by John Duarte
by Ruth Nunn
An easily readable, step-by-step account, from simple
beginnings to the 20th century, with over 300 playable Seven lovely descriptive solos for the intermediate or
advanced guitarist. Particularly useful for students of a grade
examples drawn from more than 200 works written for IV standard or above. Full of life and interest, these pieces
the guitar and its earlier relatives. By far the most com explore the full range of the guitar's moods the guitarist's
prehensive book of its kind ever published. power of expression.
2.50 + 20p post and packing - (or post-free if ordered
Price: 6.90 along with 'Further Steps')
A vailable from many retailers, or direct from
Universal Edition
(Alfred A. Kalmus Ltd.) ~ New .~!/IIJ
London Showroom: 2/3 Fareham Street, Dean Street, London
WIV 4DU
~~CWhoWf +.$D
Trade department: 38 Eldon Way, Paddock Wood, Tonbridge
TNl26BE Leigh Heights. Haslemere Road, Hindhead, Surrey
, Telephone: Hindhead (042 8731 4941

MUSIC FOR THE CLASSICAL GUITAR

Fine contemporary music for classical guitar

AM30S Bossa in Re: - Jorge Morel ........... . ........................1 .25
AM309 Sonatina to David Russell - Jorge Morel .......................... 2.50
AM310 Th(ee Equal Thoughts Karl Karjalainen ....................... . . . 1.25
AM311 Petit Nocturne St~pan Rak ................................... 1.25
AM312 Five Etudes: I - Juan Antonio Muro ............................. 1.25
AM313 Four Episodes - Harri Wessman ......... . . . .................... 2.20
AM314 Works of Preliminary Character: Veli Salonen .......................2.50
AM315 Nattens Akvareller - Kai Nieminen .............................. 1.S5
MUSIC FOR FLUTE AND GUITAR
AM316 Morgonrodnad Jack Mattson ................................. 1.50
AM317 Romance - Juha Leinonen .................................... 1.50

PUBLICATIONS

KULMAVUORENKATU 7. 00500 HELSINKI 50. FINLAND

EXCLUSIVE UK DISTRIBUTION - ASHLEY MARK PUBLISHING COMPANY, SALTMEADOWS ROAD, GATESHEAD NE8 3AJ

38
REVIEWS mll~~~~~~records
F. SO~: Fantasie Op. 54; GUIDO
SANTORSOLA: Sonata a duo; JOHN
DUARTE: Variations on a French
nursery song Op. 32; PIERRE PETIT:
Toccata.
Lars Karlsson, Michael Ljung (guitars)
Opus 3 8201
Karlsson and Ljung are two young
Swedish guitarists who began playing in
duo in 1977 under the name Duodecima
and this is their first recording. The extent
to which playing standards have risen in
the last two decades is shown in the
current work of duos no less than soloists
since, as with the great duos of the past,
many are composed of players of out
standing solo ability; the duo medium is
no longer simply a refuge for those who
could not have made it individually.
Shortly before her death, Ida Presti told
me that the above two works by Petit and
myself were the most difficult the Presti
Lagoya duo had in its repertoire; indeed,
after her death I was convinced that my
own work would die also because no-one
else would be able to play it. The conclu
sion was mistaken - several perfor
mances in concert were given by a few
duos that came into being in the following
few years. Then, in the late 70s, the piece
was recorded by the Frankfurter Gitarren
Duo with remarkable virtuosity but in a
strange acoustic that left something to be
desired. Now, to my even greater surprise
(the Frankfurter Duo celebrated the 10th
year of its establishment in 1981) it has
been recorded again, this time without the
cuts made in the 4th Variation and the
Finale by the Frankfurt players, and
adhering precisely to the published score.
Other than in the making of some
unmarked ral/entandi and pauses, and a
few uneasy tempo transitions, I fmd this a
magnificent performance of a work that
demands the utmost virtuosity.
Petit's Toccata, a pert and bustling
piece with jazz overtones in its episodes,
is one of the most immediately attractive
pieces in the duo repertory, previously
obtainable only from Presti-Lagoya on a
long-deleted disc. Duodecima have not
modelled their view of it on that earlier
recording but have found their own,
equally winsome approach - in the
episodes, that of a younger generation to
which jazz is a more 'natural' language,
and they despatch it with no less
virtuosity. The Fantasie of Sor is the only
item available in another recording, by
Bream and Williams (RCA RL03090),
and it must be said that Duodecima
match their more famous counterparts
every step of the way in sensitivity,
flexibility and quality of sound and, with
the natural advantage of constant
working as a duo rather than an
occasional encounters, achieve a higher
level of 'togetherness' in everything from
timing to unanimity in articulation.
Though Santorsola wears a variety of
musical hats in his guitar (and other)
works his most familiar language is that
of 12-note writing in which rhythm is not
serialized and the note-row itself is very
freely treated. 'Everyman', even today
when the technique is half a century old,
tends to regard 12-note writing as dry,
tuneless (it all depends what you regard
as a 'tune') and generally
incomprehensible; so it Can be, even in
Santorsola's hands, but the Sonata a duo
is a very accessible work, here played
with the expressive freedom and propul
sive energy usually and easily applied to
more familiar musics.
Duodecima play with a good range
of clear tone, a high degree of unimity
and precision, and sensitive (if somewhat
'unromantic') expressiveness; the record
ing is pristine and well balanced. On all
counts. this is one of the most remarkable
guitar-duo records to be issued since the
demise of Presti-Lagoya, a required
possession for all guitarists who are not
guided solely by Famous Names and
well-worn music.
John Duarte
Address of Opus 3 records: Box 2024, S
691 02 Karlskoga, Sweden.
COUPERIN: Le Tombeau de M.
Blancrocher. McGUIRE: Suite No. 2 in
Popular Style. BIBERIAN: Monogram.
PONCE: Variations and Fugue on La
Folia de Espaiia.
John Holmquist (guitar)
Cavata CV5001
John Holmquist's performance of the
Ponce work earned him a standing
ovation and the first prize by a
unanimous decision in the Guitar '78
Toronto International Competition. He
has now recorded it, and it rightly forms
the main substance of this, his debut
recording. At his Wigmore Hall recital
some longish tuning intervals between the
variations tended to destroy cohesion;
here all such difficulties are overcome,
and the work is presented as one full and
flowing entity.
From the darkly intense statement of
the theme and the crisply buoyant
rhythms of the frrst variation, through to
the fmal fugue in which the player's
measured solemnity imparts a rare
grandeur, we are taken through an
astonishing variety of music. These
brilliant pieces, some of them lasting only
a few seconds, explore and test every
aspect of guitar technique. Everyone of
the 20 variations provides some kind of
musical interest. Marred only by a slight
tendency to occasional over-emphasis,
this is a performance well able to stand
beside its predecessors.
As in Pere-Lachaise Cemetery, one
can scarcely move in French music
without stumbling over a tombeau, or
'tombstone'. These musical tributes from
the living to the dead are usually short,
frequently sincere, occasionally dull and
from time to time intensely moving. Louis
Couperin's is tragic and eloquent, and
Holmquist makes the most of it. Mr
Blancrocher had no fewer than three
tombeaux written for him, which must be
some sort of compensation for an
untimely end caused through getting
drunk and falling downstairs in 1652.
James McGuire's Suite No. 2 is
dedicated to Holmquist. It is
unpretentious, straightforward, tuneful
and not too hard for most of us to play.
The performance here will make a
number of new friends and gladden the
heart of its composer. As will the perfor
mance of the following work, Gilbert
Biberian's Monogram. Once described by
your reviewer as engimatic, it is gradually
revealing its mysteries. This performance
strips away more veils. What will remain
when all is laid bare? It is not, like Oliver
Hunt's The Barber of Baghdad, directly
inspired by the East, but a contemporary
Western work that uses the conventions
of spatial development that characterise
much Eastern music. In case that sounds
too much' like an entry in 'Pseuds'
Corner', Biberian's own words should
make matters clearer .. Talking about a
performance by a Turkish musician on
the ancient keman (a kind of fiddle) he
says "Everything would just float in the
air, full of anticipation for the next
phrase. There is ... development of the
sense of space, a lack of hurriedness'.
Everything, in short, must take its time
- and that goes for the listener too. It is
also, again in the words of the composer,
a work about the sound of the guitar
itself.
The Middle Eastern resonances are
well brought out in Holmquist's
meticulous observance of the often
complex playing instructions. The har
monics at the end could have been give a
little more plangency (perhaps, to be
realistic, by the engineers). There is also
some fmgerboard squeak, nothing new in
guitar recordings. The sound is clear and
spacious without being over-resonant.
John Holmquist's stimulating blend of
vigour, sensitivity and musical penetra
tion make this an impressive debut.
Colin Cooper
'CLASSICAL GUITAR'
BY
NEILSMITH
This superb recording available now from
Ashlay Mark Publishing Company
5.50 including post and packing
39
RENAISSANCE AND BAROQUE
MUSIC FOR TWO GUITARS. Ed
Flower, David McLellan (guitars).
ANON: La Rossignol, Greensleeves,
Drewries Accords, My Lady Careys
Dompe, Lesson; JOHN JOHNSON: The
Flatt Pavin; JOHN DOWLAND: My
Lord Chamberlains Galliard, Tarletons
Riserrection, My Lord Willoughbys
Welcome Home; FRANCIS PILK
INGTON: Echo; LE SAGE DE
RICHEE: Echo; J. S. BACH: Musette,
Menuet, Prelude, Fugue, Invention; C. P.
E. BACH: Marche, Polonaise;
is in fact one of the earliest known
WILLIAM LA WES: Suite; G. P.
examples of idiomatic writing for that ins
TELEMANN: Canon.
trument, the Telemann Canon is for two
Music Minus One MMO 5043 6.99
'equal' instruments - of which violins or
(including score)
flutes would be apt examples, and last
CLASSICAL AND ROMANTIC
MUSIC FOR TWO GUITARS. Ed
Flower, David McLellan (guitars).
F. SOR: Andantino, Marche, Duo in A,
Andante, Allegretto; F. CARULLI:
Study in A, Duo in E, Largo, Allegretto,
Duo in F, Rondo; C. G. SCHEIDLER:
Romanze; G. FAURE: Sicilienne;
JORGE ANCKERMAN: El Arroyo que
Murmura; E. GRANADOS: Spanish
Dances 2 and 5; I. ALBENIZ:
Malaguena.
Music Minus One MMO 5044 6.99
(including score)
The music-minus-one device must be
close to celebrating its 50th birthday and
it is perhaps surprising that it has not
been more fully exploited. One of its valu
able applications is that of giving
guitarists the opportunity to break out of
solitary confmement by playing with
unseen partners, widening experience and
developing discipline. These recordings
were made by a split stereo process, the
two players being in aural but not visual
contact (resulting in a certain lack of
'togetherness' in a few of the slower
items), so that either part may be isolated
by turning the stereo-balance knob hard
to the left or right; that is the principle but
the fact is that 'cross-talk' prevents total
separation and the ghost of the
suppressed part cannot be exorcized~ If
this results in less than a whole loaf it still
leaves enough to be well worth the eating.
The track given to tuning (confus
ingly, not mentioned on the sleeve) which
begins each disc is invaluable, for reasons
too numerous to mention. Each item is
preceded by an appropriate number of
ticks of a metronome, defined in the
printed scores accompanying the discs;
the metronome settings are useful only in
establishing target speeds in practicing,
before playing with the record. If the
performances sound somewhat stiffer
than one would hope to hear in concert
this is natural, given the circumstances of
the recording process, and more
appropriate to the purpose of the
enterprise. - to enable (mainly
inexperienced) guitarists to develop the
necessary discipline rather than to learn
to follow particular 'bendings' of the
written text.
The music in the booklets is crisply
40
reproduced (photographed, hand-written
manuscript) and easy enough to play
from once one become accustomed to its
somewhat spidery appearance; redundant
fingering directives are unhelpful in this
connection. If much of it is inevitably pre
dictable the music in the
renaissance/baroque book is quite well
chosen but the ancillary notes are brief,
not always particularly informative or
well-informed: a ground is not necessarily
a chord progression, the anonymous
Dompe, 'probably played on the virginals'
RAY SEALEY: Platero (An elegy for
two young guitarists and narrator)
Ray Sealey (narrator), Karen Chapman,
three pieces by J. S. Bach are inade
quately identified. Tempos are well
judged in performances, though the
Dompe is usually ta.ken a fraction faster
by keyboard players, and the renaissance
items are welcomely free from left-hand
slurs; some fmgerings are made that bit
harder by dogged adherence to guitar
tuning (3rd string at G). On page three of
the booklet it states that 'all but one' of
the pieces on the 'renaissance' side were
written for two lutes; the Dompe is a key
board work and Tarletons Risserection is
a perfectly easy lute solo. The Suite by
Lawes is the one published by Bream
(Faber edition) in 1967 but it is presented
here in A major (versus Bream's D
major), in which key it is rather easier to
handle. The baroque music is well
arranged except for the Prelude, in which
octave-compression leads to some
undesirable part-crossings and one nasty
accident at the beginning of bar 5 (page
24). The attentive user will find the slurs
indicated in some baroque pieces to be
only the majority (not the whole) of what
is actually played on the recording.
Likewise he/she will be well advised to
follow the recording of Greensleeves
rather than the score where, in bar 8, the
correct rhythm is played and the wrong
one printed.
The music of the classical/romantic
volume is of more variable quality, with
an overlarge ration of Sor, Carulli and
Scheidler, much of it inocuous time
passing - and unidentified, rescued by
rather better music in the later period.
Sor's birth date (1778) is given as 1776 in
the notes, from which we learn also of a
hitherto unknown accomplishment of
Granados: ' ... besides compositing (sic)
was a virtuoso pianist'. In the score of the
Malagueiia it is impossible to play bar 21
(page 36) as it is printed, and if you want
to stay with the performers you had
better cross out bars 11-14 on page 37.
To round off your orientation, of the two
Spanish dances of Granados No. 2 prece
des No. 5 in the book but they appear the
other way round on the record. Perfor
mances of the Spanish music are more
mechanical and bloodless than one would
wish, but too much should not be
expected in such a context and all but the
most adaptable players will have some
difficulty in keeping in touch with the
comings and goings of tempo in Spanish
Dance No. 5 as it is, some of them not
marked on the score.
The playing is clean and workman
like, the recording is the same. To those
inexperienced in the discipline and
pleasure of duo playing these recordings
may be recommended. Though one might
describe the difficulty of the separate
parts as falling within a maximum of
Grade Six it would be misleading to use
this as a guideline; if one is unused to
playing in duo the experience can easily
knock ones rating a notch or two lower.
John Duarte
Andrea Hayman (guitars)
Hyperion A66046. 4.99
Ray Sealey's declared object is to provide
a work that is in line with both the
spiritual and technical levels of young
players, and he achieves it signally. His
texts are taken from Jimenez' Platero y
yo, in excellent English translations by
William and Mary Roberts, narrated with
clear enunciation and without trace of
either the exaggerated emphases of an
adult telling stories to children or Sealey's
Canadian nationality. The 12 items:
Platero, Nursery school, Angelus
(Sunset), The canary escapes, Sunday,
The fright, Interlude and lullaby, Car
nival, The canary dies, Donkeyography,
The thorn and Nostalgia, are framed in
charming music, simple in language but
atmospheric in effect, using dissonance as
an expressive, not an intellectual, device.
Economy, directness and simplicity
without triteness are characteristic of
Sealey's writing in those works I have
heard.
The work's subtitle is fulfilled, the
guitarists being 14 and 12 years old.
Though their familiarity with the music is
to be assumed, since they are Sealey's
students and the work is dedicated to
them, their clear-bright tone, firm attack,
precise timing and control are impressive;
youth per se holds at bay the fear of
microphones that can develop later. The
recording could hardly be bettered. This
is a delightfully imaginative work and a
valuable addition to the guitar's
Platerography, far more accessible than
the settings by Castelnuovo-Tedesco and
Eduardo Sainz de la Maza, and in no way
competitive with them. If and when the
score is published it should succeed in a
big way with enterprising teachers - or
enterprising young people who may guide
their teachers in its direction. It comes
like a breath of fresh air.
John Duarte
DEDICATION. Julian Bream
RCA Red Seal RL25419
When Julian Bream offers a recording to
the public it is always a significant event,
the musical equivalent of a new play by
Stoppard or a novel by Fowles. That it
seems necessary to say this may be an
adequate commentary on the pre
dominance of the commercial over the
artistic in the policy of many recording
companies and their attendant artists.
The ever-simmering pot-boilers are more
characteristic of new guitar records these
days than are those albums which cause
us to revaluate our notions about the
guitar and its directions.
That Julian Bream has been for
many years liberated from the com
mercial pressures that grind other players
into pre-formed moulds may be a truism.
It would be better to put it the other way
round and afTtrm Bream's determination
to offer a positive artistic lead, not to be
swept along on the prevailing commercial
tides and certainly not to be blown off
course. After all, Bream's early records in
the late fifties were not considered hot
property by his recording companies at
the outset. Neither could his forays to the
Wigmore Hall with lute in hand ready for
an evening of Dowland be judged at that
time as the stuff from which fortunes
might later be made, even if every ticket
was sold.
Bream's essential seriousness, the
total integrity that informs his playing, is
a special tonic in our age of compromise.
Whilst a number of players have jumped
on other band-wagons, for financial gain
but artistic loss, Bream has continued to
explore, to evolve and to reveal. From his
first recording to his most recent the
journey has been exhilerating and, in
retrospect, not arbitrary. Bream's
personal development through a mul
titude of phases, involving technique,
choice of repertoire and even of instru
ment, has been at one with the progress of
the guitar itself. Following Segovia's
similar but earlier creation of a congenial
repertoire, Bream has done more than
any other artist to shape and direct the
guitar's destiny.
In terms of contemporary repertoire
the process has been subtle and inclusive.
From the first recital offerings of works
such as the Sonatina by Berkeley, Smith
Brindle's El Polifemo de Oro, and Drei
Tentos by Henze (between 1958 and the
early 1960s), Bream moved inexorably
toward the unveiling of Britten's
Nocturnal, Walton's Bagatelles, and
Berkeley's Theme and Variations. After
dozens of concerts in which these pieces
were well received by the public, the
landmark was ratified by the issue of an
appropriate recording. Bream's record
ings emerge only when he fmds it possible
to present the work with the fullest
experience and authority.
The significant steps can, for the
interested listener, be charted from The
Art of Julian Bream (1958) to 20th
Century Guitar (1967), and from Julian
Bream 70s (1973) to this new recording
just issued. Each of these recordings
explored new areas of guitar sonorities
and the latest can only be properly
understood against this background of
development of the repertoire.
To commemorate Walton's 80th
birthday, Bream allows something fairly
rare for him, a re-recording of one of the
contemporary masterpieces. The Five
Bagatelles (1971) gain considerably from
this digital recording, and avid students of
interpretation will gain much from com
paring how Bream's playing of these
pieces has changed in just under a
decade; the first recording in 1973 was
remarkable - this one is better still.
Certain note-values have been suitably
amended, the range of tone-colour is
broader and yet more dazzling.
Richard Rodney Bennett's
Impromptus (1968) at last find their way
onto a record. These works, so often
trotted out in recitals by inferior perfor
mers and occasionally set for students in
diploma examinations, can be suffocat
ingly tedious in the wrong hnds. Bream
here touches each phrase with a sprink
ling of magic and conviction and the
potentially arid sparseness of the
atonality is shaped into meaning. One
could hardly imagine a better perfor
mance of these 'unlovable' compositional
sketches.
Hill Runes (1981) by Peter Maxwell
Davies evokes the Orkney landscape. It is
an esoteric, introverted composition,
perhaps more appropriate to Maxwell
Davies' states of mind than to specific
impressionistic images of Scottish barren
ness. This is a work whose absorption
into the nervous system, let alone the
blood stream, could take time. At this
point the composer's intensely private
world, united with our ears through
Bream's masterly playing albeit, can be
entered only with due permission and a
certain interval of knocking at the portal.
As yet its ultimate coherence has eluded
me and, like a number of lunar rocks, the
cound clusters lie distinctly in the ear
without total integration into a musical
statement. However if the work does not
in the end grow into unity, it is certainly
not the fault of Maestro Bream.
If Hill Runes provide something of a
sticking point where good solid resistance
is encountered in the teeth of something
entirely new, then Henze's Royal Winter
Music (1976), 'A Sonata on
Shakespearean Characters' may provoke
outright mutiny. Purchase of the score
from Schott Ltd (4.50) may help to
elucidate quite a few of the immediate
problems. I have already heard this work
acclaimed as a masterpiece by one Henze
fan (though unaware that the music was
published) and a composer of my
acquaintance found the whole thing a
colossal bore when Bream premiered the
work at the Wigmore Hall. I have also
endured a mediocre performance by a
recitalist, of two or three sections of the
work, no doubt to baffle us by science.
The characters depicted in this
sonata include Gloucester, Romeo and
Juliet, Ariei, Ophelia, Touchstone,
Audrey and William, and Oberon. Henze
tries to seek out in this work the 'many
unexplored spaces and depths' of the
guitar. But the Shakespearean context of
the composition will not necessarily help
the listener. Henze's response to
Shakespeare is at its best intellectual in
the German tradition rather than
emotional in the traditions of Stratford.
The characterisation of each movement is
an elaborate peg on which to hang
sustained workings out of very complex
and very inward musical labyrinths.
The future of this work is fairly
problematical. I hear that it has already
been prescribed for a Guitar Competition,
a report I would prefer to disbelieve. In
Bream's hands the Royal Winter Music is
a magnificent challenging entity, a monu
ment to something of musical substance
attempted through the guitar with its
whole range of timbres, moods and
echoes; in performances by lesser mortals
this piece could quickly empty the
theatre. Attempts to impress the average
audience by hitting it over the head with a
work of this specific density could lead to
a charge of assault, and I do hope not too
many younger players try to prove their
intellectual virility by wheeling this one
out too often. Such a work, like
Beethoven's Hammerklavier Sonata,
does demand rather more than technique;
it asks for a commitment that very few
have to offer. Anything less than the best
simply will not do for this kind of work.
But here we have the best and Bream
enables us to quarrel with the music
creatively. His playing is a total tour de
force and one of the finest performances
he has ever put on record. Where Bream
goes from here, or whether he slips back
into consolidation, is anyone's guess. I
would imagine that for Bream, as always,
the road points forward and uphill to
fresh summits. At certain points the air
may be quite rarified, but it will be an en
thralling expedition.
Graham Wade
SARABANDE. Gregg Nestor
Spartan Records SALP 001
Gregg Nestor was pne of the semi
finalists in the 1981 Segovia International
Competition and is establishing a reputa
tion as both a virtuoso performer and a
prolific arranger.
This recording is perhaps a rather
strange way to begin a career which
surely will produce many worthwhile
albums. The programme ranges from
Grieg's Sarabande Op. 40, No 2, to
Sondheim's Send in the Clowns, and
includes such rarities as Seventy-Six
Trombones, Singin' in the Rain, Berlin's
suite Annie Get Your Gun, and Gra
inger's Country Gardens and Shepherd's
Hey.
The playing of this material is not
what you might expect; it is actually
virtuosic, ebullient and extremely
accomplished. The music is delivered with
that mixture of exuberance and discipline
which characterises Gregg Nestor on the
concert platform. Normally such a menu
could indicate a flight from reality or a
desire to please by concentration on the
trivial; in fact the playing has such
integrity and commitment, and is so well
arranged for the guitar, that the record
ing, though lighthearted, is actually
delivered in a most professional and
serious manner. The album has all the
qualities of spontaneity and originality,
rare virtues in the hothouse conditions of
the contemporary guitar scene.
Graham Wade
41

REVIEWS III~~~~~~concerts
John Mills
JOHN MILLS
Purcell Room, London. 5 June 1982.
In launching the five-recital series Music
Jor Guitar, organized by the BBC in
collaboration with the GLC, John Mills'
watchword was 'value for money'; his
last exit to the green room came 2 hr
10 min after his first entrance, the two
events separated by numerous views of
the old and new 'faces' of Mills. He has in
the past been firmly linked to the
romantic image of Segovia, not least in
his pursuit of tonal beauty, but a harder,
post-romantic element has recently
entered his programming and playing
approaches. In a programme that was
part of a declared 'International Festival
of Light Music' there was naturally a
liberal supply of 'traditional Mills' music
by Sor, Ponce, Villa-Lobos et ai,
despatched with his customary charm,
eloquence and vibrato - the last not
always applied logically viz. as an orna
ment, but doubtless relished by those who
have tried (and failed) to emulate its
opulence. To enumerate the items would
be to retravel familiar ground; to describe
the excellences of their perfomance would
be superfluous, for he is a master of
musical seduction and this kind of music
is his mistress.
The new 'face' is not without effect
on the old for there is an almost aggres
sive strength in Mills' approach to some
items of his established repertoire,
notably the minuet of Sor that must have
been astonished to find itself attacked
with such vigour. The gentler end of the
new territory was inhabited by a clean
cut, four-movement Sonatina (of
undeclared provenance) by Haydn,
arranged and delivered with excellent
style and moderation by Mills. It was in
Reginald Smith-Brindle's Sonata No. 4,
'La Breve' and Brouwer's Canticum that
42
"
Mills moved Jorward onto ground on
which he would, not long ago, not have
been found. It was not that they were well
played (Mills seldom comes close to
doing less) but that they were delivered
with such intensity and conviCtion. Life,
like its musical reflection, is not all beauti
ful 'nor does beauty always equate to
sentimentality; when one comes to
accept, and learns to handle, this situa
tion, new doors are opened and entered
with confidence. It is a watershed Mills
has crossed in recent times and in the
crossing his stature has grown. That is no
light musical matter.
John Duarte
Costas Cotsiolis
COSTAS COTSIOLIS
Purcell Room, London. 19 June 1982.
It was as a juror that I first heard Costas
Cotsiolis in 1973 (and again in 1974) as a
formidable competitor in the Concorso
Internazionale di Chitarra (Alessandria)
and I had not had the opportunity to
repeat the experience since then. During
the intervening years he has acquired a
considerable reputation in Europe, so it
was particularly interesting to be able to
assess eight years of development 'at a
stroke'.
Perhaps remembering 1974, when
we discussed the work, he opened with
the so-called Fantasia No. 7 of Dowland,
setting a moderate pace and presenting
the voice-leading with clarity; a few
hiccups probably stemmed from memory
lapses, technical strain seeming as prob
able as snow in August. Stephen
Dodgson was present to hear his Fantasy
Divisions and, whilst one cannot speak on
his behalf, it is hard to imagine that he
was less than delighted with the com
manding performance they received.
There is little in this work to help the
player who lacks technical mastery;
Cotsiolis has it in abundance and in the
following item it was to come into its
own. Guitarists who attempt the Caprice
No. 24 by Paganini usually succeed in
making it sound as difficult as it is
which, if not accompanied by technical
breakdown, adds to the excitement and
tension; Cotsiolis made it sound easier
than even a violinist would consider it to
be. His opening tempo seemed to invite
disaster, or at least a charge of reckless
driving, but the notes flowed with awe
inspiring freedom, crossing even position
shifts without the slighest trace of
discontinuity. In the face of such all
embracing virtuosity the question of
interpretation became almost irrelevant,
indeed it had little time to get a word in
edgeways. Seldom has the guitar's finger
board been scoured with such con
temptuous ease. With this the programme
climaxed; the three items by Cardoso,
leading to the interval, sounded even
more limp then they would otherwise
have done - even in a programme of
'light' music. The second half was
devoted to six pieces by Albeniz, played
(a few slack moments apart) with con
summate ease but little warmth, the
expressiveness that was certainly present
appeared to be 'applied' to the music
rather than to spring from the heart.
Cotsiolis has a prodigious technique and
sensitivity but, as I would have written in
1974 - albeit more emphatically, he is
inclined to lead with his mind and fmgers;
if he ever manages to involve his heart to
a comparable degree he will conquer the
guitar's musical world.
John Duarte
David Russell
DAVID RUSSELL
Purcell Room, London. 3 July 1982.
When someone mentioned light music to
Sir Henry Wood he said 'I often wonder
what dark music sounds like'. Bach's
Chaconne is neither dark nor heavy; but
by no conceivable stretch of the imagina
tion can it be called light. One can only
admire the cheek of whoever it was who
decided to include it in a festival of light
music.
In the same programme we heard
Bernard Steven's version of the folk song
in which various members of an
unfortunate girl's family turn up to see
her hanged, all of them apparently with
their faith in British justice undimmed.
Not exactly Palm Court material; but
what's in a name?
The Bramble Briar is based on The
Briary Bush, in the Sharp collection. The
girl's true lover arrives in the nick of time
with enough gold to purchase her release
(what would Lord Denning say about
that?), so all ends happily. Bernard
Stevens makes an ironic comment on the
modality of much English folk song by
introducing his melody with a major
scale.
Albert Harris is remembered by an
earlier generation as a guitarist before he
went to Hollywood and took to writing
film music. His Variations on a theme by
Handel have been accorded the seal of
respectability in the form of a Segovia
recording. Undoubtedly light music, but a
well-jointed evocation of Handelian style
without Handelian pastiche. David
Russell paid it the compliment of taking it
seriously and making a lot if it. Sir Robert
Feuerstein is a Hungarian-speaking
Rumanian who lives in Canada. His Four
Epithets are couched in the reasonably
universal language of tonality, and are
properly short. Written six months ago,
they contain enough harmonic
abrasiveness to demonstrate the com
poser's awareness of his times, though
not enough to provide a challenge to the
listener. Pleasant, urbane and civilized
and that is no mean achievement in these
times.
The three pieces by Emilio Pujol,
who died in 1980 at the age of 94, are so
often deemed unplayable that one almost
begins to believe that they are not worth
playing. They may not contain the
profoundest musical thought, but they do
express their composer's devotion to the
music of his native Spain, cloaked in a
fabric of complex guitar technique that
even skilled piers fmd daunting. To object
that the technique obscures the simple
message of Seguidilla, Tango and
Guajira is to miss the point. Pujol uses
whatever material he fmds around him in
order to demonstrate his understanding of
the guitar's fmgerboard. Russell made
them sound so easy that one wonders
why they are not performed more often.
Coste's Andante and Polonaise is a
fair example of good, professional 19th
century music. If we are going to have it
at all, let us have it played as it was here;
romantically, but without any hint of that
sentimental desire to linger which
disfigures so much performance of music
from this period. Three Scarlatti sonatas
followed, K.14, 202 and 232, in arrange
ments by the player. David Russell made
one of these arrangements during a flight
to Greece; it seems a sensible alternative
to the in-flight movie. Scarlatti is not
Bach and he is not Handel; his music is
not imbued With the same kind of
humanity, and Russell did not make the
mistake of trying to impose it. We may
talk about Scarlatti's cool wit, but the
point of his music is entirely musical and
difficult to write about in any other way.
Secure phrasing and impeccable techni
que made minor masterpieces out of all
three.
And so to the old warhorse. This is
not the place to resurrect old arguments
about the desirability of turning good
violin music into good guitar music. The
Chaconne from the Violin Partita BWV
1004 will still be played by guitarists
when the last pundit has drawn his last
breath in talking about it. Like Everest, it
is there; and there is more than one way
to climb a mountain. Russell takes a
poetic view, though without mysticism
(no clouds around this peak). A precise
working-out of dynamics helped towards
this clarity. Rumour has it that Mr
Russell was at one time considering a
crescendo lasting over three pages
evidence of a creative, approach, at least.
Not often are the arpeggios and scale Jorge Morel
passages executed with such security.
Accuracy plays its part in the overall to the bottom of Argentina. Where other
impression. South American guitarists like to prove
One of David Russell's strengths is themselves in Britten and Rawsthorne,
his phrasing. One feels he could present a Mr Morellikes to demonstrate his skill in
phrase in a number of different ways clever arrangements of Gershwin and
without losing cohesion. The effect is an Bernstein. The audience appreciated it all
impression of spontaneity that belies the hugely, even those who had been sur
hard work he, like every other guitarist, prised and delighted by the same pieces at
must put in. Not only you but he appears the Wigmore Hall in 1979. Black is the
to be experiencing the music for the first colour, West Side Story, Nortena, Mis
time and that is one of the secrets of ionera - these formed part of the pre
music-making the textbooks cannot vious programme, as they did of this. The
impart. Clarity, incisiveness, simplicity, printed programme, however, showed a
power - any of these in combinations of substantial difference. Presumably Mr
one, two or even three can carry a recital, Morel wanted to give everybody another
but David Russell can combine all four in generous portion of what they had so
a way that makes him one of the most much enjoyed on the first occasion.
exciting young guitarists on the scene. For all that, Jorge Morel is a superb
Colin Cooper guitarist, and will always be welcome in
London so long as he maintains his
attitude of spirited and joyous celebra
lORGE MOREL tion.
Purcell Room, London. 26 June 1982. Colin Cooper
Tuning problems beset the Argentinian (The choice of programme resulted from a mis
guitarist from the outset. There was so understanding between Jorge Morel and the BBC
concerning what the latter required, and from the
much activity of the snatch, twist and former's wish not to repeat items from his previous
hope-for-the-best variety that one feared recital in the Riverside Studios in November 1981
for Mr Morel's ability to project his - J.W.D.)
famed virtuosity. Matters were not helped
by a drastic retuning to E major (or
GLCBBC, as a wag put it) for a
Paraguayn dance by Escobar. The effect SUBSCRIBE NOW
was dramatic, but the disturbed guitar
was never properly in tune again. TO
There were unlooked-for benefits in
this approach. In the following piece -
Chopi, also by Escobar - adjustments to CLASSICAL
the tuning while harmonics filled the hall
with their silvery radiance actually GUITAR
enhanced the music. Such aleatoric
possibilities might be explored with profit TO ENSURE
by adventurous composers. Notwith
standing the player's tempering, this item YOU GET EVERY ISSUE
contained the best playing of the evening:
dazzling fingerwork, intuitive
musicianship, melodic strength - Mr
Morel has all the virtues, and here he
managed to get them all together at the SEE PAGE 50 FOR
same time.
Jorge Morel is surely unsurpassed in
SUBSCRIPTION FORM
milongas, choros, bossa novas and every
kind of danza from the tip of Venezuela
43
 EXCITING NEW GUITAR MUSIC FROM ASHLEY MARK

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These are only a few of the many guitar books available from the Ashley Mark
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MONTGOMERY, CHARLlE CHRISTIAN, BARNEY KESSEL, JIMMY RANEY, BUCKY
PIZZARELLI, JOHNNY SMITH, SAL SALVADOR, LAURINDO ALMEIDA, BADEN
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GATESHEAD NE8 3AJ, UNITED KINGDOM

Jorge Morel

Plays Broadway

This second recording by Jorge Morel for

Guitar Masters features a selection of his
outstanding arrangements of popular 20th
century American music and more of his own
compositions. Included are 'West Side Story
Suite'-Bernstein; Variations On A Gershwin
Theme'-Morel; 'Prelude No 2'-Gershwin;
'Take Five'-Oesmond; 'Yesterday/
Norwegian Wood'-Lennon & McCartney;
'Bossa In Re"-Morel; 'Romance'-Morel and
'Oanza In 'E' Minor'-Morel. 'Jorge Morel
Plays Broadway' is an outstanding record by
one of today's most brilliant guitarist/
composers.
GUITAR MASTERS RECORDS GMR 1004

Available from leading record shops throughout Great Britain, 'Jorge Morel-Plays Broadway', costs 4.95;
in case of difficulty it is available direct from 'Guitar Masters Records', a division of Summerfield Ltd,
Saltmeadows Road, Gateshead NE8 3AJ - 4.95 + 0.75 post and packing.

44
Letters to the Editor
We look forward to publishing many
interesting and informative letters in our
correspondence column in Classical
Guitar. This is your forum to express
your views and we shall be delighted to
hear from you.
In the meantime we are pleased to
publish some of the letters of welcome
from home and abroad.
GRAHAMWADE
(Correspondence Editor)
I am very happy to hear that a real
classical guitar journal will appear in
England. I wish you great success for the
journal and I will do my best to make it
popular. It is fine to know that some good
people are working to spread good infor
mation about our beautiful instrument,
The Guitar.
SIEGFRIED BEHREND
Wall in Bayern
Germany
Congratulations on the birth of your
magazine! I eagerly look forward to it,
and wish you lots of success for the
future.
CARLOS BONELL
London
It was good news to hear about Classical
Guitar magazine, which I know will be
keenly welcomed by many people. I want
to wish the magazine great success, both
here and abroad, in achieving its com
prehensive and literary aims.
Best of luck!
ROBERT BRIGHTMORE
London
Over the years I have watched Great
Britain become far outclassed in classical
guitar periodicals by other countries.
By now the instrument is beginning to
get an authoritative musicological
support we never dreamt of 25 years ago,
and I have felt some regret that our best
writers in this field have had to go abroad
in order to get publication.
I strongly hope that with Classical
Guitar they will find a proper outlet in
our own country. We need just such a
magazine to maintain our prominence in
the guitar world. Everyone looks to
Britain for its performers. Let us hope
they have reason to do the same with its
musicologists and publications.
REGINALD SMITH BRINDLE
London
What wonderful news, the birth of the
Classical Guitar magazine! We say
'wonderful' because, unfortunately, there
is today a great lack - in many guitar
magazines - of serious, moral and high
standard publications. We have no doubt
that, with the experience, knowledge and
good taste of your Editors, you can make
up for this lack and can produce a most
valuable and reliable magazine of the
classical guitar. We look forward to the
first issue. Please accept all our best
wishes for a really great success.
EVANGELOS & LIZA
Athens
Greece
I warmly welcome the birth of Classical
Guitar with my hope that it will carry on
the important work of diffusing informa
tion and contributing to the good fortune
of our instrument all over the world.
RUGGERO CHIESA
Editor 'It Fronimo'
Italy
May I take this opportunity of wishing
Classical Guitar every success with its
official launch and subsequent issues. The
literary, critical and musical abilities of
your editorial staff and contributors will
ensure a good following from classical
guitarists everywhere, and will help in
achieving an aim which all of us involved
with the classical guitar must have, which
is to further the interest in what we
believe to be one of the most beautiful of
all musical instruments.
JOHN MILLS
London
Delighted to hear the news. I look
forward to reading (and contributing) to
what I know will become the magazine
for classical guitarists worldwide.
JORGEMOREL
New York
USA
The future of the guitar depends not only
on increasing its repertoire, but also
expanding its respectability through top
publications and pUblicity. I am certain
that this new addition, with a superb
selected staff of writers and contributors,
will do much towards that end. I wish it
well.
GREGG NESTOR
London
A warm welcome and best wishes to
Classical Guitar.
TURIBIO SANTOS
Rio de Janeiro
Brazil
The demand for a magazine, published in
Europe and treating the subject of the
classical guitar and its music, has grown
from year to year. Thus, I and my
colleagues in Finland happily welcome
your new magazine and wish it success
and a long life.
JUKKA SA VIJOKI
Helsinki
Finland
We are guitarists and we love the guitar,
yet the most important thing still to
happen to us is our emancipation in the
musical world. The guitar needs to be
recognised by contemporary composers,
guitarists should mix with other
musicians, new ensembles should be
formed to explore new musical ways, and
so on.
A serious periodical with scholarly
articles, international news of the guitar
and guitarists in the setting of the world
of music as a whole, and with impartial
and reasoned reviews, will strongly
stimulate this development. There is a
need for such a magazine, especially in
countries that, like Holland, do not have
their own.
We wish the team of the Classical
Guitar every success in producing a high
standard, international music magazine.
We in Amsterdam are waiting for it!
THE AMSTERDAM
GUITAR TRIO
OLGA FRANSSEN
HELENUS DE RIJKE
JOHAN DORRESTEIN
Amsterdam
Holland
On hearing the news about the birth of
Classical Guitar: Admiration - for the
courage of those who undertake the pro
ject.
Respect - for the qualifications of the
Editorial staff and its avowed 'clean'
policy.
Hope - for the growing success of the
endeavour, and its permanence.
In friendship, and with all good wishes.
RICARDO FERNANDEZ IZNAOLA
Miami
USA
Good luck to Classical Guitar!
MICHAEL LORIMER
California
USA
45
Magazines for guitarists are generally full
of news and information about the private
About 150 years ago The Giulianiad
appeared in London. This was probably
David Russell

affairs of various Maestros and there is

nothing wrong in this, providing readers
the first organ to serve the guitar com
munity in that great city. In the introduc plays

are so interested to know how much
sugar their beloved hero puts in his
coffee.
tion the Editor stated the objectives of the
journal, from which I quote: 'To bring
their (Giuliani, Carulli, Sor and others)
Antonio Lauro

About 10 years ago in Italy, the dis
tinguished musicologist and guitarist
Ruggero Chiesa, with funds provided by
Suvini Zerboni (publishers), gave birth to
a magazine for guitarists (Il Fronimo)
based on musical and musicological
purposes; its small concern with the
reporting of guitar 'news' has been
reduced to nothing, whilst the polemics,
at least in the style of the editors, have
related only to the subject matter, with an
approach that does credit to the civilisa
tion of the 20th century, and not directed
against persons. This review has
blossomed well and I have been glad to
contribute to it.
I am delighted to learn that a new
publication, sharing the same outlook, is
to be issued in Great Britain. Due to my
Mickey Mouse English I cannot promise
contributions but, if the subject of the
magazine is music, I will remain at least
among its readers.
ANGELO GILARDINO
Italy
compositions better to the notice of the
English amateur and professional - to
discuss the relative merits of their
developments, to instil in those who are
just beginning, and keep alive in those
who are already advanced, an interest in
their instrument - and fmally to provide
food for a little chit-chat among the best
professionals themselves .. .'. This
magazine set a precedent in the English
speaking guitar world in recording a part
of guitar history.
Let me extend a big welcome to this
new publishing venture, and to wish you
and your staff success in preserving
impartial columns in this long tradition of
Gl 'ITAR ~IASTERS RECORDS mIR 1001
guitar news.
RONALD PUR CELL On this recording, the first devoted entirely to the
music of Antonio Lauro, David Russetl fully captures
Professor of Music, Guitar Department the authentic spirit of Venezuela as was intended by
California State University the composer. From the delightful rhythmic simplicity
of the nine beautiful waltzes , to the dramatic excite
USA ment of the 'Suite Venezolana', the 'Sonata ' , and then
to the breath -taking finale - 'Seis por Derecho', this
fi rst ' Guitar Masters' recording will delight the listener
over and over again.
Withou t dOUbt this Davi d Russell recording is the
May I wish you all the best of luck in this definitive performance of Lauro to date establishing
new publication, urgently required, I may David as one of the greatest guitar talents to have
emerged in the last few years.
add.
BRIANPENNY

I wholeheartedly welcome the new

magazine Classical Guitar. I have long
Coventry
Jorge Morel
felt a periodical devoted exclusively to the
classical guitar would be of great interest
and benefit to professional and amateur
Good luck with the magazine, it's about
time something like this came along.
Virtuoso South
players, and indeed to guitar students
studying at colleges of music. I therefore
STEVEMARSH American Guitar
Chesterfield
wish the new venture every success. Derbyshire
GORDON CROSSKEY
Royal Northern
College of Music There is a place in the world for a serious,
Manchester respectable, classical guitar magazine ...
I wish it every success and I await the
first issue with great interest - and
impatience!
My best wishes for the success and high
KONRAD RAGOSSNIG
standards of Classical Guitar.
BRIAN JEFFREY Basel
Switzerland
London

For us in Sweden, as well as for guitarists

As an ardent student of the history of
guitar journalism, I am keenly aware of
the prominent place of honour English
guitar publications have enjoyed. What a
joy to have learned that, after a long
absence, once again there will be a serious
classical guitar magazine published in
England.
My sincere wishes for your continued
success in providing all English-speaking
people with a forum in which their
in other Nordic countries, there is a
strong need for international contacts. As
English becomes more and more our
second language we are happy to hear
that a new source of information will be
opened to us. We look forward with
interest to the first number of your
magazine. The Swedish Guitar and Lute
Society, and the Swedish guitar and lute
magazine SGLS welcome CLASSICAL
GUITAR and wish it all success in the
This second Guitar Masters Recording features the
guitar genius of Jorge Morel. The fourteen selections
include seven original compositions by Jorge,
'Malambo' , 'Cancion', 'Danza', ' Romance Cr;ollo' ,
'Choro' , 'Prelude' and 'Danza Bra silera' , have proved to
be ex tremely popular with audiences throughout North
and South America during the last few years and also
in Great Britain, following Jorge' s first concert
appearances th ere in 1979/1980. Other titles on this
outstanding record are 'El Condor Pasa' (Traditional),
'Misionera' (Bustamantel, 'Milonga' (Mores), ' Nortena'
(Crespo), 'Chopi' (Escobarl, 'CarnavalilO' (Zaldivar), and
'Homage to Antonio Lauro' Op,83 (Duarte).
Ava ilable from leading record shops throughout Great Britain

Guitar Masters Records cost :4.95 ' in case' of difficulty

involvement with the classical guitar can future. they are available direct (add 0.75 post and packing) from

be aptly expressed. ANNUNDBACK

MAT ANY A OPHEE Secretary
Swedish Guitar and Lute Society
Guitar Masters

Boston, Mass.
USA and Publisher of SGLS Records

SALTMEADDWS ROAD, GATESHEAD NE8 3AJ

46
 ,
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he has developed with D'Addario, the worlds fin
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The Justina is manufactured exclusively for Zen-On, one of
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47
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THE CF MARTIN ORGANISATION

48
 Classical Guitar Teachers

A FREE SERVICE FOR ALL TEACHERS WHO ARE SUBSCRIBERS

AVON
LANCASHIRE
John Whitworth MA DPhil. 30 Helley

Jonathan Baker Dip.Univ Valencia (Jose

Paul J. Fowles AlCM, 5 laxford Grove,
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ladybridge, Bolton Bl3 4PW. Tel 652322.
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Bristol 8. Tel 733214.

Alan Jones, Wilvere Drive, Little Bispham ,
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2 / 3 Drinkwater St, Mountfields,

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H. Walkden, 11 Kingsway, Penwortham, Shrewsbury. Tel 246208 .
Walk, Calcot, Reading. Tel 22800.
Preston. Tel 743335.
Chaz Hart lRAM, 7 Culsac Rd, Surbiton.

John Canning, 60 Fifth Road, Newbury,

Christopher Susans, Kirkland Hse, lower
Tel 01-390 0013.

Berks. Tel 0635 83660.

Church St, Asbhy-de-Ia-Zouch. Tel 0530
Richerd (Steve' Stephenson, 40

416564.
langdale Ave, Chichester. Tel 785062.
BIRMINGHAM
Roy Bull, Birmingham Music Studios, 40
LONDON
SURREY

Horse Fair. Tel 021-421 4275.

Colin Arenstein lRAM FlCM, 92 Station
Simon James lTCl, 23 lansdowne Court,

DaYid Carroll B.Mus.Dip.Ed., 66 Cam

Rd, Hendon NW4 3SR. Tel 202 7279.
Brighton Road, Purley CR2 2BD. Tel 01
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Hemel Hempstead, Herts. Tel 0442 53437 .

CAMBRIDGE
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TYNE & WEAR

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67 Montague Rd. Tel Cambridge 68871 .

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Tel 853275.

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Newcastle 3. Tel Gosforth 850904.

L. R. Gallo, 61 6 Green lanes, Harringay

John Ferguson, 12 Alice St, Winlaton.

CORNWALL
N8. Tel 888 4666.

Spanish Guitar Centre, 36 Barncoose

Peter Howe ARCM, 11 Palmerston Rd,
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Tce, IlIogan Highway, Redruth. Tel 0209
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214525.
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sdon, Coventry.
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Ashgate, Chesterfield. Tel 33496.

Street, Coventry. Tel 0203 713112 .
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Putney, SW15. Tel 788 3512 .
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Rd, Hampstead, NW3 . Tel 794 3605 or
Wilton Rd, Salisbury. Tel 26151.
435 5389.
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John Taylor ARCM, 19 Berryhill , SE9. Tel

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David Ashworth, 43 The Garlands,

8500578.
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172 Milwards, Harlow. Tel 4 18015.

Raynond Urcell ARCM , Dominic Miller, 19

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GLOUCESTERSHIRE Oxford Rd, Putney, SW15. Tel 788 8556.

College of Music, Cookridge St, Leeds.

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Dekroo Bros, PO Box 319, Caringbah,

616560.

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Paris 75017.

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Bob Parslow BA (Hons)(Music), 21 Ashby GIBRALTAR

Adrian Harriaon ARCM, 127 Croydon Rd,

St, Norwich. Tel 20261. Judah Benaadon AlCM, 3 Stanley Bldgs,

Bromley. Tel Farnborough 50052.

Prince Edward Rd.

Harvey Hope, 64 Ashmore Grove ,

NOTTINGHAMSHIRE

Christopher Bell lRAM ARCM, 9a Well

ISRAEL

Welling. Tel 01-856 4876.

Ovadia Heske!. 36 Abarbanel St, Bnei

ington Cres, West Bridgeford . Tel 0602

Rayrnond Love, Elizabeth Cottage, The

812547 .
Brak 51242, Israel. Tel 03-791302.

Green, Keigh, Nr. Tonbridge. Tel Hiden

borough 832459.
OXFORDSHIRE

Peter Wild, 8 Middle Field, Pembury, Tun Arthur Brown, 13 Kingsway, Banburym,

bridge Wells. Tel 2498. Oxon. Tel 65133 .

IN THE NEXT ISSUE OF

THE GUITAR

APPRECIATION SOCIETY 'CLASSICAL GUITAR'

OF
JORGE MOREL
NORTH EAST ENGLAND
JOHN WILLlAMS
MONTHLY CELEBRITY RECITALS
AND HARMONY FOR GUITARISTS
SOCIAL EVEN INGS
GUITAR TECHNIQUE
For details write to the Secretary G.A.S.
Summerfield, Saltmeadows Road, 8 PAGE MUSIC SUPPLEMENT
Gateshead N E8 3AJ ON SA LE 1 NOVEMBER 1982

49
 Books on Guitar Making and Repair

AM187 AM189 AM191

Classic Guitar
Making
Arthur Overholtzer
9.95
This complete reference work,
containing more than 350
photographs and drawings,
offers far more than just the
most detailed instructions of
any guitar making manual. It
provides simple easy-to
understand principles
underlaying every 'how' and
'why' each step of the way,
from selecting wood in the
lumberyard to stringing up
and tuning the finished guitar,
told in the down-home style
of this master craftsman who
has been making guitars for
more than 40 years.
Post and packing 1.00
Guitar Repair
Irving Sloan
3.95
Drawing on many years'
practical experience Irving
Sloan has put together the
first and only manual for
repairing and improving
acoustic guitars. Wherever
possible and with sacrificing
satisfactory results the author
has simplified the technique
and anyone capable of do-it
yourself woodwork will be
able to effect the repairs
described here - 96 pages.
Post and packing 60p
Classic Guitar
Construction
Irving Sloan
AM262
Make Your Own Classical
3.95 Guitar
A thorough workbook on
guitar making. This manual is Stanley Doubtfire
understandable and practical 15.00
for the layman, the beginning
Step by step instructions, text,
guitar student, the more diagrams and interviews. Beautifully
advanced craftsman. illustrated - 240 x 275 mm, 192
Practically every page of this pages.
volume is illustrated with Post and packing 1.00
diagrams and excellent
photographs - 96 pages.
Post and packing 60p

A vailable from:
ASHLEY MARK PUBLISHING COMPANY, SALTMEADOWS ROAD, GATESHEAD NE8 3AJ

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Rate is 20 pence per word, minimum 10 Make sure of your next copy of
words. Box number 50 pence extra. Classical Guitar by subscribing now

Ignacio Fleta concert guitar. 1980. Superb and very power

Classical Guitar
ful instrument. Offers to Box 9101.

Ashley Mark Publishing Company

Bryn Jones Rubio workshop concert guitar 1978. 950
Saltmeadows Road, Gateshead
with case. Tel 021-426 1084.
Tyne and Wear, United Kingdom NE8 3AJ
Classical Guitar made by Taurus of Spain 440. Tel

Templecombe (Somerset) 70323.

Please send me the next 6 issues
Ten String Classical Guitar - Mitsura Tamura, cost 900

with case - as new sell 650.00. Tel (0632) 813166.

beginning with , ...... , . , , , .................... .

Name, ...................................... .

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GARETH BALCH BMus (Hons, London)

Teacher in Guitar, University College, London

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50
 THE CLASSICAL GUITAR

ITS EVOLUTION AND ITS PLAYERS

SINCE 1800

BY

MAURICE J. SUMMERFIELD

312 pages - hard or soft bound - size 11" x 8" - high

quality paper.

The most complete work on the classical guitar since 1800. An

essential book for classical guit~rists and music lovers alike.

* The evolution of the classical guitar from 1800 to 1982.

* Biographies and photographs of over 180 of the world's greatest classical guitarists and guitar personalities, past and present.
* Over 350 photographs and illustrations.
* Details of the most important classical guitar records ever issued.
* Charts showing the evolution of the classical guitar and its major players since 1800.
* Details of important classical guitar music and books.
* History of the most important classical guitar makers.
* detailed
Appendix listing specialist sources of supply - where the records, books and music
in the book can be obtained.

HARD COVER - 9.95 ISBN 09506224/8/6

SOFT COVER - 6.95 ISBN 09506224/7/8

AVAILABLE NOW

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Shops Throughout Great Britain

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Great Britain NE8 3AJ

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_ t,

JORGE M:OREL

unique guitar '

artistry of Jorge Morel,
the brilliant Argentinian
guitarist composer,
is today renowned
throughout the world.
Whether it be one of
his beautiful original
compositions like
the 'Suite del Sur'
for guitar and
symphony orchestra, his
.arrangements of traditional
South American melodies,
or his exciting arrangements
of Broadway musicals like the
'West Side Story' suite, the guitar
sound of Jorge Morel is a happy
mixture of infectious melody and
rhythmic excitement.
Hear for yourself Jorge's magnificent
guitar on his new 'Guitar Masters' recording
'Virtuoso South American Guitar'
(GMH 1002), we know you will agree that
it is one of the most outstanding guitar
records ever made. Jorge seen here with his

Ibanez G500 'Recital' guitar, recommends

without reservation the wide range of

Ibanez classical guitars as being the finest

value for money available today.

Summerfield, Saltmeadows Road, Gateshead NE8 3AJ,

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