GUITAR NEWS The Official Organ of the

INTERNATIONAL CLASSIC GUITAR ASSOCIATION

No. 77 Single copy price 1/8 (U.S.A. 35c.) MAY/ JUNE, 1964

MARIA PORTELA

2 G UITAR NEWS

RICORD I Music for Guitar

TWO COMPLETE METHODS

MAY / J UNE, 1964

EMILIO PUJOL. Metodo razionale, basato sui principi della Scuola di Tarrega.

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A MODERN ANTHOLOGY

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9 original works by AURIC,

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MAY / J UNE, 1964 G UITAR NEWS 3

MARIA PORTELA

MARIA PORTELA was born in Campinas, Brazil and commenced her study of the guitar in February 1962 under Prof. Milton Nunes. So gifted was the young lady that within six months she made her

debut on TV in the programme "Violoes e Mestres" (The Guitar and its Masters). She has been awarded several trophies and medals.

Her recital in Campinas on January 23rd included works by Bach, Mozart, Beethoven, Chopin, Sor, Nazareth, Tarrega, Savio, Ponce, Villa­Lobos, etc.

RECORDINGS AT SIENA

CHRISTOPER NUPEN went to the Chigiana Academy at Siena, Italy, last year and obtained permission to make some extremely interesting recordings for the BBC. These have been broadcast and the one

dealing with "Segovia and the Revival of the Guitar" made fascinating listening, especially for guitarists.

In this remarkable interview wibh Mr. Nupen, Segovia told of his early days, how he first found beauty in Granada and in the forests of the Alhambra, how the self-contained miniature character of the guitar appealed to his independent nature. He was his own teaoher and pupil. His first recital was in Granada in 1909; Seville, Madrid, Barcelona and in 1917 a tour of Spain, and then, two years later, Buenos Aires, Mexico, etc.

Segovia had some interesting things to say about Tarrega and Llobet. Tarrega played mostly to small audiences but Segovia aimed at large concerts so the use of nails was necessary to produce a more penetrating tone. Llobet taught in Paris for ten years but gave only one recital there. Madame Emma Debussy said that !her husband was 'crazy about the guitar' and wanted to write for it, but Llobet missed the opportunity of helping him.

When Segovia gave his first Paris recital Madame Debussy invited to her box Joaquin Nin, Falla, Roussel and other distinguished people. It was a great success.

Listeners heard a master-class in action and it was exciting to listen to Segovias' helpful encouragement and wonderful advice. "Listen and improve the .sense of your sound- correct the acidity- otherwise the guitar has not CHARM."

Segovia was full of enthusiasm. His tremendous sense of style is matched by a delightful sense of humour.

More interesting history was revealed when Segovia told of his efforts to obtain a guitar concerto- Castelnuovo-Tedesco commenced to write his concerto in Paris but Manuel Ponce completed his concerto first (1933). Segovia's admiration of Ponce was very great. He considered him a great artist and a great personality. " I cannot lose my time making money !" was one of Ponce's sayings.

Segovia ended by saying that 'The guitar is in its beginning- the musical public love it- ~he concert audiences are there- ~he repertoire is there­the future will be TREMENDOUS!'

4 GUITAR EWS

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MAY / J UNE, 1964

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MAY / J UNE, 1964 GUITAR NEWS 5

INTERNATIONAL GUITAR CONCOURS, 1964

T HERE thave been more entries than ever before in the celebrated Guitar Contests organised by RTF (Radiodiffusion-Television Francaise) under the direction of Robert J. Vidal, founder of these

contests. For the interpretation (playing) contest, 55 entries from 18 lands were

received. They included Brazil, Eire, Gibraltar, USA, Norway, Canada, Great Britain , Sweden, etc., etc.

After very careful examination the Jury have selected the following five finalists. Jurgen Klatt (Germany), Miss Barbara Polasek (without nationality), Miss Brigitte Zaczek (Austria), Jorge 0. Fresno (Argentina) and Aldo Minella (Italy). It will be observed that for the first time two ladies have reached the finals. The five finalists will play in private session for the Jury on June 3rd and the winners will play at ohe Salle Gaveau on June 4th for the final adjudications. A list of works, some compulsory, some from which choice may be made, has been sent to the five finalists. These works include : Tiento (Milan), Chaconne (Bach), Preludio (G. F . Malipiero), Six Pavanes (Milan), Diferencias sobre "Guardame las Vacas" (L. de Narvaez), Gavotte Aymee du Due de Montmouth (Corbetta), Cinq Airs de Cour (Sanz), Le Tombeau de Francois Corbetta (R. de Visee), Gavotte-Bourree-Menuet (R. de Visee), Prelude et F ugue (J. S. Bach), Prelude (J. S. Bach), Gavotte (J. S. Bach), Sonata op. 15 (Giuliani), Preludes I to IV (H. Villa-Lobos), Hommage a Tarrega (Turina), Valse (Ponce), Ttheme Varie et Finale (Ponce), Sonatina Meridionale (Ponce), Quatre Pieces Breves (Frank Martin), Sonata (Castelnuovo-Tedesco ), Remembrenza (Segovia), Cavatina (Tansman), Invocation et Dance (Rodrigo), Homenaje a la Guitarra (E. Sainz de la Maza) and Cancion y Danza No. 1 (Antonio Ruiz Pipo).

Compositions

The Guitar Solo contest attracted 31 entries, two of which have been chosen for final selection. They are :

Composition No. 1 for guitar- pseudonym 'Taro Ogano' (Japan). Suite Latine- pseudonym 'Ruteboeuf' (France).

The Contest for Concerto (guitar and orchestra) resulted in 9 well­written works- an extraordinary number! In this form of composition the right balance between guitar and orchestra is very difficult to achieve, but the Jury were able to choose the winning Concerto, which is by a Czecho­slovakian composer whose pseudonym is 'L 'Automne'. The prize winning Concerto will be played by Narciso Yepes at Salle Gaveau on June 5th with the Chamber Music Orchestra of RTF, directed by Jacques Bazire. Konrad Ragossnig will also play solos at this concert. The soloist at the concert on June 4th will be Alberto Ponce of Spain (winner of the 1962 contest). He has been on a concert tour of Canada, where he gave seventeen recitals for the Musical Youth of Canada.

6 G UITAR N EW S MAv / JuNE, 1964

MUSIC for the guitar

Airs and Dances from Austria

Baroque Airs and Dances

Renaissance Songs and Dances

Canzonets and Dances from the 16th Century •

Bach, J. S. Three Easy Pieces -

Carcassi, M. Studies of Moderate Difficulty -

Dowland, J. Two Galliards

Mauro, G. Sonata Opus JS •

Logy, J. A. Partita in A minor

Robinson, T. Allemande and Galliard -

Sor, F. Twelve Easy Pieces from Opus 60

Tarrega, F. Complete Preludes

Uhl , A. Ten Pieces for Guita r (2 vols.) each •

Visee, R. de, Suite in D minor

GUITAR TUTORS

Carulli. Guitar School

Topper, G. Modern Approach to the Guitar, 3 vols., each

Kornfeld, B. The Folk Guitarist's Manual

Please write for com plete catalogue

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M ,\Y / J UNE, 1964 G UITAR NEWS 7

IP'O IE1rlifY AINI 10 G lUJ 111r AR

SACRAMENTO'S First Fine Arts Festival, 1963, organised a series of interesting events which included visits from the San Francisco Opera Company, the Russian Bolshoi Ballet, the International Japanese

Ikebana and a programme of " Contemporary Poetry and Oassic Guitar". The laHer was a joint venture of the El Camino Poets and the Classic Guitar Society of Sacramento, USA.

All the poetry was original (all published works) and was recited by the authors who included Ann Bouman, Grace C. Callahan, Eddy Lou Cole, Joyce Odam, Rex Sebastian and Jerry Harms.

Earl Jacobson composed and played background music for the poems. Guitar solos were played by Jack Warren, George Nichols and, a special guest, Pablo Bueno (Mexico).

This rare combination of the two arts was a great success and attracted enthusiasts from 400 miles away. Perhaps the most successful item was Grace Callahan's poem "Symphony" with Beethoven's Moonlight Sonata played by George Nichols. The dynamics of both words and music blended well and the artists were given quite an ovation.

- AND IN WICHITA, KANSAS Wichita Society of the Classic Guitar presented a three part programme

on January 27th with guitar solos by Oaud Allred, songs in English with guitar by Elizabeth Mayer, and Poems with Oassic Guitar background and solo interludes.

In this part of the programme Irma Wassall read several of her own poems, and the guitar music~ which included Fugue (Bach), Variations (Sanz), Pavan No. I (Milan) and Study (Sor)- was played by Bob Roberts.

The concert ended with Three Cuban Songs (in Spanish) contributed by Nena Campo, voice and guitar.

BLENDED ARTS The blending of voice (speaking or singing) with guitar is no new thing,

but it has acquired a new lease of life with the increase in the number of guitarists competent to provide suitable music whether as background, accompaniment or interlude.

In Wales the ancient bardic art of penillion-singing still survives, though seldom in its extempore style. The harpist plays a known tune and the singer devises an 'obligato' of words and melody, which when done well is as exciting as it is delightful. Of course it requires great skill but there is no reason why the guitar (cousin of the Welsh Crwth) should not be used. Just as th~ voice could be an 'obligato' to the guitar, so the guitar could provide an 'obligato' to the voice, alternating.

Are we working up to a new art-form based on that of the Bards, Minstrels and Troubadours ?

W.M.A.

8 GUITAR NEWS MAY / JUNE, 1964

DUO POMPONIO-ZARATE

By R. J. Prudon (France)

IT would be impossible to say what was the most remarkable in the concert performed on February 9th at the Salle Pleyel, by the 0rchestre Lamoureux with the collaboration of the now famous Duo Pomponio­

Zarate.

The interest and the originality of the programme, made more lively by two premieres (one of which surprisingly enough was by Haydn) and the perfect interpretation of the Argentine soloists (the first Duo and only guitarists, except Segovia, who have ~ver played with an orchestra in the very large Salle Pleyel) contributed to make it a perfect afternoon of music. One must not forget to mention the outstanding performance of the orohestra conducted, with magic and emotion, by J. B. Mari.

Not many of the books dedicated to Haydn's works mention the 5 concertos for "organised" lyres written by the great composer at the request of Ferdinand IV, king of Naples and Sicily. This "organised" lyre was rather short-lived as a popular Neapolitan instrument before disappearing for ever. The five concertos were forgotten since there was no instrument to play them, but let us be thankful to the Duo Pomponio- Zarate who have been the first to discover the existence of bhis material and have made it known by transcribing the solo parts for their two guitars. A new life was thus given to these magnificent pages by the Austrian master. In fact the Concerto No. 3 in G, which was part of the programme, was a revelation to many in the audience. The Duo gave a delicate and musical interpretation which showed a definite stylistic knowledge and a cohesion which compels admiration. They seemed to have guessed Haydn's secret, which Stendhal mentions, and in which he could see an explanation of the language which was to impress Mozart so much.

The other premiere was the Concerto for two guitars by the Argentine composer Angel Lasala. This Concerto, with an Argentine folk-theme, shows obvious qualities and a genuine assimilation of the popular music. Among the three movements we must draw special attention to the central one, homage to Julian Aguirre, whose treatment is most lyrical and in which emotion evolves in a climate which cannot be witnessed with indifference. Needless to say the two soloists' interpretation was, in every respect, remarkable; this music seems indeed to have been woven in their own fibre. It was another testimony of the perfect understanding which we have already mentioned and which serves well the interests of an instrument definitely destined to a great symphonical career, as proved by the interest of the composers of our time.

Top photo: Robert Vidal , Duo Pomponio-Zarate , J . B. M ari , conductor.

Lo wer photo: J. B. Mari , Robert Vid al, Duo Pomponio-Za rate. ►

MAY / J UN E, 1964 G UITAR N EWS 9

Ph otos R .T .F . (Louis Joreux)

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MAY / J UNE , 1964 GUITAR N EWS 11

· A SCHOOL FUTURE '

By Malcolm H. Grady (Britain)

EVERY gui,tarist wishes his instrument to be accepted as a major participant in society- to the point indeed of overwhelming it- and

· despite shifts of fashion and tasteless novelty the greait legacies of M. de Fuenllana, Juan Carlos Amat, Gaspar Sanz, Ferdi.nand Sor, Francisco Tarrega, etc., and the impaot of to-day's artists are becoming more and more accepted by the aware mind.

But an academic recognition, and even more important, a constant recognition cannot res,t upon the fmil shoulders of the gui1ta,r alone, and alithough Conservatoires and Colleges support the gui,tar admirably and worthy ,societies page an illuminaited world for devotees, it is in the music room of Secondary and Secondary Modern Schools that recognition and suppor,t are needed.

Some county authorities are beginning ,to support the classic guitar, as do a number of private schools but the main task of placing the instrument on syllabus level with violin and recorder in day-school has still largely to be undertaken. Of course violin and recorder hold essential positions, as indeed does Choral work and group singing, but no insitrument, for 12 to 17 year old pupils, can compare with the guitar's educational value.

On ~he fingerboa,rd of three and a half octaves where harmony is arranged on clear polyphone levels, where counterpoinit and inversion and logical progressions of fingering, and where bass and treble are not physically separated, it is surely here that 1the scaffolding of musical structure is clearest.

With what clarity a pupil can follorw, through senior school, a basis of theory approached thus : -

(a) Compass of fingerboaird (progression of each string). (b) The 'sharp' and the ' flat'. (c) Scales and phrases, illustmting the latter two points. (d) The Diatonic Interval taken simply and S'lowly; and based on

ihis-(e) The cons,truction of simple chords.

Such a programme over two or three years will continue, wi~h appro­priate fingering, to the extending and inverting of such harmony that will prove an advenrture into the most beautiful colours of music.

And what will the future school-leaver find in music and take into the world ? What joys of the guitar? What beauty and wealth we all treasure !

(The writer of this article is a Further Educa,tion Gui,tar Ins,tructor.)- Eo.

JYTTE GORKI SCHMIDT

Danish Radio presented Jytte Gorki Schmidt in a programme of guitar solos on February 9th.

12 GUITAR NEWS MAY / JUNE, 1964

STUDENTS' CONCERT IN VIENNA

KARL SCHEIT presented five of his students in a Guitar Evening at the Academy of Music, Vienna, on December 3rd. Each student was from a different land.

Roland Latin (Germany) C hris,ta Gri.imayer (Austria)

Rolf La Fleur (Sweden) with Friedericke Schaller a nd Helmut Schaller (flutes)

Mario Sicca (Italy) Claude Chauvel (France)

Rolf La Fleur (Sweden)

Sonata op. 15 M . Giuliani GaHiard and Allemande Th. Robinson Variation - Suite op. 49,

No. 2 J . Lechthaler

Sonata a tre op. 4 No. 5 Sonatina Norteiia Prelude No. 1 Air and Galliard Etude op. 29, No . 5 Menuette a nd Rondo

from op. 22 Prelude No. 5

A. Corelli M. Torroba Gomez Crespo Vill a-Lobos Dowland Sor

Sor Villa-Lobos

KOSTO§ MARGARITOPOULO§ By John Parfitt (Britain)

K OSTAS MARGARITOPOULOS was born July 31st, 1937, in Athens. He started to study rhe guitar in 1956 at the National Music School of Athens under Prof. D. Fampas.

He took part in concerts organised by Prof. Fampas and in 1959 successfully passed the National Music School of Athens examination, at which the President of the examining board was the noted composer and musical director Manolis Kalomiris.

During his service in the Greek army, he broadcast many times from Kavala in the north of Greece. He has since given recitals for schools and in two musical Institutes.

On Maroh 29th in Chalandi, Athens, at a concert organised by the Cultural Association he played the following programme :

Sonata Bourree Sarabande Capriccio Arabe Study No. 5 Studio Brillante Prelude No. I Tremolo Study Asturias (Leyenda) Serenata (tremolo study) Flamenco (A Spanish theme)

D. Scarlatti J. S. Bach Handel T a rrega Sor Tarrega Villa -Lobos Tarrega Albeniz D. Pampas D. Pampas

SEGOVIA'S LONDON RECITAL Segovia will give a guitar recital on Wednesday , May 20th, at 8 p.m.

at the Festival Hall, London,

MAY / J UNE, 1964 G UITAR N EWS 13

KOST AS lv[ARGARXTOPOULOS

INTERNATIONAL SUMMER ACADEMY AND FESTIVAL

NICE, 1964

IDA PRESTI and Alexandre Lagoya will aga in be in charge of Guitar Instruction at the lnterna•tional Summer Academy, July ls•t to August 15th.

Information can be obtai ned fro m the Secretary (until June 15th) 89 bis, Avenue Sain,te-Marie, Saint-Mande (Seine) France. (After June 15) Villa Paradiso, 24 Boulevard de Cimiez, Ni ce (A lpes-Maritimes) Frnnce. or- in USA from Mr. Mordecai Bauman, Indian Hill , Stockbridge, Massachusetts .

14 GUITAR NEWS MAY / J UNE, 1964

ELENA PAZ TRAVES!

DURING the past year the New School for Social Research in New York City has offered a course in classic guitar taught by Elena Paz Travesi, author, translator, and former guitar instructor at bhe

Los Angeles Conservatory of Music. Mrs. Paz uses a class method of instruction which combines individual supervision of each pupil 's practice with demonstrations and with performances by the entire group. The Carcassi Method is used as a text, supplemented by Aguado, Tarrega and Sor Studies, the Segovia scales and other pieces as the students become proficient.

Mrs. Paz studied wivh Francisco Salinas, as well as at the Universidad Nacional de Mexico and the Conservatoire National de Paris, and is bhe author and co-author (with her husband, Carlos Garcia Travesi) of several textbooks and a number of recordings. She also teaches Spanish language courses at the New School, which specializes in the higher education of adults.

WIMBLEDON MUSIC FESTIVAL

GUITAR CONTEST

MARCH 14th was a day of almost continuous rain but this did not deter the twenty-two competitors and the audience who

· assembled in Queens Road Baptist Hall.

The winners were (18 years and over) John Cadman, playing the test piece Study in A major op. 35 (Sor) and own choice. The under 17 years class winner wa,s Paul Lomax playing the tes,t piece No. 5 in E minor (Giuliani) and own choice.

Eric Silberman won the under 11 years playing the ,test piece, Study No. 6 in E minor (Sor) and own choice.

The adjudicator, Hubert Dawkes, B.Mus., Hon . A.R.C.M., brought out many interes,ting points in his general remarks. In the under 17 section, much more care had been taken with •the test piece than in previous contests and he praised the general high standard. The test piece in ,the over 18 years section had apparently presented technical difficulties to 6ome. The own choice pieces fell into two catagories, wise and ambitious. The ambitious ones were in some cases a little beyond the players' capabilities; uhe wise, although less difficult, were at least very well played . He spoke of tone clarity, and tone variety and empha,sised the necessity of placing the finge,r·s correctly on the frets.

LILY MORRISON .

MAY/ J UNE, 1964 GUITAR NEWS

PAUL LOMAX

Paul Lomax, winner of the · 17 and under ' Class of the Wimbledon Music Festival, is 15 years old and is a very

promising guitarist.

15

16 G UITAR N EWS MAY / JUNE, 1964

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NEW YEAR CONCERT

IN GREECE

T HE first concert of 1964 to be held in the Parnassos Hall in Athens, was quite a festive occasion. The orchestra was the famous 'Small Orchestra of Athens'- a symphonic orchestra founded tihree years

ago by the distinguished Greek composer M. Theodorakis, winner of the coveted Sibelius Prize (1963). The special soloists were E. Sassarolis (cello) and the Guitar Duo, Liza Zoi- Evangelos Assimacopoulos, whose guitars were heard in a Vivaldi Concerto conducted by M. Theodorakis himself.

According to custom the New Year Cake was divided. The hall was filled to overflowing with Athenian music-lovers, who warmly applauded the two young guitarists for their artistic interpretation of this delightful music by Vivaldi . The press reports unanimously added t-heir praise.

The concert was repeated with similar success at Piraeus on January 26th.

(Pictures opposite)

MAY/JUN E, 1964 GUITAR N EW S 17

During the Concerto

Acknowledging Applause

18

STEPHEN FENTOCK

T WO pages of the Canadian newspaper Le Quartier Latin were devoted to the gui·tar reci•tal by Stephen Fentok at the University of Montreal on November 22nd. These ,s,howed his por,trait, a pictuire of his hands

on the strings of his guitar, his programme and a well-wri•tten article about the artist and his music.

The concert hall of the University was crowded wibh a delighted audience in which there were many students. Here i,s ,the programme:

Pa vane Fantasia ... , Aria con variazione Prelude. Sarabande, Bourree Suite Btude en mi mineur, Minuet Recuerdos de la Alhambra Norteria Danse No. 5 Leyenda ... Prelude No. I

Lu•is Milan Frescoba.ldi J . S. Bach R. de Visee F. Sor Tarrega Gomez C respo Granados Alben-iz Vill a -Lobos

Stephen Fentok also gave a reci-tal for Company.

the Canadian Broadcasting

KARL SCHEIT IN JUGOSLAVIA

IN Zagreb, Jugoslavia, two recitals were given by Karl Soheit during November. His presentation of early and contemporary music was immensely appreciated by both audience and press. N. Turhalj, music

critic of the newspaper Vecernji List wrote: "The guitarist, Karl Scheit, magnificently mastering his instrument, showed an extraordinary sensibility in his interpretations of early music, so finely evoked through the sweet tone of the guitar, a true revelation for the audience. The charm was transformed into enthusiasm for the artist's virtuoso playing of modern compositions for the guitar."

During his busy stay in Zagreb, Karl Scheit also played in a TV programme and gave a lecture at the Zagreb High Sohool of Music on "The Guitar and guitar-music". A large number of people in Jugoslavia are interested in the classic guitar, but unfortunately there is a tragic Jack of teachers.

GUITAR MVSIC- (Continued)

Music from Czechoslovakia

Statni Hudebni Vydavatelstvi (Praha, Czechoslovakia) has published Suite No. I by J. A. Losy (1643/7- 1721) arranged for guitar solo by Stepan Urban- Allemande, Gavotte, Gigue and Menuet. Spanelske Skladby is a suite of four Spanish Dances by Jose de Azpiazu . Of these the charming Catalonian 'Canc;o' and the Salmantina Dance are in punteado style, the other two being in flamenco idiom. The third item is an Impromptu for Guitar Solo by Jan Truhlar, edited by Jiri Jirmal, an interesting work worthy of the concert artist.

M,\Y / J UNE, 1964 G UITAR N EWS 19

KONRAD RAGOSSNIG IN LONDON. FRANCE AND VIENNA

T HE Austrian lnsrti,tute, London, presented Dr. Werner Tripp (solo tluti st, Vie·nna Philharmonic Orchestra) and Konrad Ragossnig (guitarist), Prnfes,sor, Vienna Mu,sic Academy, in a Duo reci,tal on

December 3rd. The following programme was given: Sonata A minor for flute and guita r Handel Sona-ta A minor for Solo flute . . . C. P. E. Bach Three Menuets for Solo gui,ta r . . . Haydn Sona tas for Flute a nd guitar Scheidler & Siegl Two Preludes and C ho ro (so lo guita r) Villa-Lobos Syrinx for solo flute . .. Debussy Entr'acte for Flute a nd guita r . .. Jacques lbert

This programme was also given at ,the Austria'll Institute, Paris. As part of ,the series of concerts organised by RTF in Northern French

towns (Semaine Musicale du Nord) Konrad Ragossnig ,supported by the Trio de Vienne (Flute, Alto and cello) appeared in a four-part concert at Arras on November 29th. The first part consisted of guitar solos by Bach, Sor, Mendelssohn (Canzonetta) and Villa-Lobos. In the second part Dr. Werner Tripp joined the guitarist in works by Handel, Scheidler, Ravel, Pierre Wiss­mer (Sonatine)- dedicated ,to the performer,s- and Iber.t. In part 3 a Minuet by C. M. von Weber was performed by flute, guitar and aJ.to. The final pa,rt consisted of the Quartet for flute, guitar, alto and cello by Schube,r,t.

The recital in Vienna was at -the Brahms-Saal on February 7th. The programme was entirely of gui,tar solos :

Canzonen und Tanze a us der Rena issa nce . .. Pieces d' Ayles ford Five Preludes . .. . .. . .. Andantino. Minuet , ln-troductio n and Allegro Roma nze a nd Ca nzonetta Suite E spa no la

JOSE TOMAS

Anon Handel Villa-Lobos Sor Mendelssohn Turina

JOSE TOMAS was the soloist at the recital on February 29th organised by the Barcelona society " Pena Guitarristica Tarrega".

Born in Alicante 1934, he has studied in Madrid with R. Sainz de la Maza and at Siena with Segovia and Pujol. He took part in the Compostela Courses and gained the " Andres Segovia" prize in the Inter­national Concours of Orense. He is professor of guitar at the "Oscar Espla Institute of Music" in Alicante. In 1961 he represented Spain at the International Congress of UNESCO in Teheran, and last year made a successful concert tour of Norway.

His programme at Barcelona included works by Narvaez, Weiss, Roncalli , Baoh, Castelnuovo-Tedesco, Villa-Lobos, Torroba, Falla and Turina.

20 G UITAR N EWS MAY/ J UN E, 1964

LONDON CONCERT

ALI CE BIRD (mezzo-soprano), Anthony Smithson (gui tar) a nd Dudley James (piano) were presented in an interesting progra mme of songs at Leighton H ouse, London, on March 24th.

Songs by Campion, Dowland, Purcell, Vaughan-Williams, John Alden Carpenter and Samuel Ba rber were included as well as a group of traditional songs arranged (with one exception) by John Runge. The guitar was heard as a solo instrument in Prelude No. I (V illa-Lobos), a nd Recuerdos de la Alhambra (Tarrega).

SIYN OGURA

:Pio near

Japanese

Suifarisf

M AY / J UNE. I 964 G UITAR N EWS

Herminia Bello de Carvalho listens to Turibio Santos

OSCAR CACERES

2 1

□

T HE following programme was presented in a guitar recita l by the Brazilian gui,tarist, Osca r Caceres, at Rio de Janeiro on December 3rd :

Three Pa va nes Fa ntas ia Fa ntas ie . .. Sa ra band e a nd G a vo tte T wo Minuets Suite Espa no la Va lsa-ch6ro a nd C h6ros N o. I ... Estudio N o . 11 ... . .. Ca nci o n N o. 3 a nd Aire C ri o ll o N o. I R o ma nce a nd M ad ronos H ome naje a T a rrega Ho me na je a nd Fa rruca

Luis Mil a n Muda rra S. L. W eiss Bach Sor Sanz V illa- Lo bos Villa -Lo bos J. Aguirre M . -Y-:o r ro ba Turina M . de Fa ll a

The prinited programme co nta ined ve,ry jnformative programme notes by the Brazilian poet, Herminio Bello de Garvalho whose lecture on the Twelve Studies for gui,ta r by Villa-Lobos has been published in booklet form by the Villa-Lobos Museum .

22 GU ITAR NEWS MAY / JUNE, 1964

(S1a11di11g) Mark de Goutiere, John Da vis, A 111ho11_,. de Goutiere, Ed111i11 Phillip.I. (Seated) Dr. Ed11·i11 Ha gmeier, Mrs. Loma Collins, H o111ard R1111d.

VICTORIA CLASSIC GUITAR SOCIETY, CANADA

By A. de Goutiere (Canada)

0 UR Society began about three years ago when Dr. Hagmeier and myself got together through our mutual interest in the guitar. Since then we have gradually added members. There is no one teaching

the classic guitar in Victoria so we have -had to help each other as best we can. Dr. Hagmeier, Lorna Collins and John Davis have h3d professional instruction in other cities a nd have been a tremendous help to the rest of us.

MAY/ J UNI,. 1964 Gu1T,\I{ 1,ws 23

Our meetings are always informal and relaxed . We a ll have a turn at playing something and we usually struggle through one or two duets. The rest of the time we spend in discussing guitars, listening to guitar records and bemoaning the lack of of professional instruction. If any of England 's guitar instructors are planning to migrate 1 wish they would consider Victoria , B.C. We can guarantee him (or her) at least 10 steady pupils . Victoria has the best climate in Canada, no snow tihis winter yet (mid­February) and the daffodils are in bud.

During November, Rey de la Torre gave an excellent concert with the Victoria Symphony Orchestra and was well received . He played R odrigo's Concierto de Aranjuez. We were also treated to a specia l noon-hour concert at the University of Victoria. Jt was one of his lecture type concerts and was fascinating.

GUITAR WEEK IN GERMANY

K ARL SCHEIT will again, for the third year, direct guitar courses and lectures for teachers, instructors and advanced students at the wonderful Castle of Fi.irsteneck (near Bad Hersfeld), Hessen,

Germany, from July 22nd to 29th.

More tihan a hundred applications are received each year for these courses, but the accommodation is limited to 54 participants. For particulars write : Verlag Barenreiter, 35 KASSEL WILH. Heinrich Schutz Allee 35, Germany.

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24 GUITAR N EWS MAY / J UN E, 1964

ELEMENTARY HARMONY AND CHORD FORMATION

ON THE GUITAR

By Miguel Abloniz (Italy)

Part IX

In the present article we exa mine the most frequent guitar pos it ions of the inversions of the dominant 7th.

FIRST INVERSION (Third in ,the bass) Third on the 6th string. D 7th : F sharp, D, A , C (s t:rings: 6, 4, 3, 2);

transposed, on the same string,s, it becomes: E fla1t 7.th : G, E fl a t, B flat , D fl a t; E 7th : G sharp, E, B, D ; etc.

Third on the 5th string. G 7th : B, G , D, F (s trings: 5, 3, 2, 1);

transposed, on the same strings, i·t becomes: A fla•t 7th : C, A flat , E flat , G fl a t; A 7th : C sharp, A, E, G; etc.

Third on the 4th string. B 7,th : o· sharp, A , B, F sha rp (s trings: 4, 3, 2, 1 );

transposed, on the same s•trings , it becomes : C 7·th : E, B fl ait, C, G; D flat 7th : F, C flat , D flat , A fl a t; etc.

SECOND INVERSION (Fifth in the bass) Fifth on the 6th string. B 7th : F sharp, D sha rp , A, B (s trings: 6, 4, 3, 2);

tra nsposed, on 1the same strings, it becomes: C 7,th : G, E, B flat , C ; C sharp 7th : G sha rp , E sha rp, B , C sha rp ; e tc.

Fifth on the 5th string. E 7rth : B, G sha rp, D , E (strings : 5, 3, 2, I);

transposed, on the same strings, it becomes: F 7th : C, A , E flat , F ; F sharp 7th : C sharp, A sha rp, E, F sharp; etc.

MAY / J UNE, 1964 GUITAR NEWS

Fifth on the 4th string. G 7,th : D, G, B, F (strings: 4, 3, 2, I);

transposed, on the same strings, it becomes: A flat 7th : E flat, A flat, C, G flat; A 7th : E, A, C sharp, G; etc.

THIRD INVERSION (Seventh in the bass) Seventh on the 6th string. G 7th : F, D, G, B (s,trings: 6, 4, 3, 2);

,transposed, on the same strings, it becomes: A flat 7th : G flat, E flat, A ffa.t, C; A 7th : G, E, A, C sharp; etc.

Seventh on the 5th string. C 7th : B flat, G, C, E (strin,!!s: 5, 3, 2, 1 );

transposed, on the same ,strings, it becomes: D flat 7th : C flat, A flat, D flat, F; D 7th : C, A, D, F sharp; etc.

Seventh on the 4th string. E 7th : D, G sharp, B, E (,strings: 4, 3, 2, 1);

transposed, on .the same strings, it becomes : F 7th : E flat, A, C, F; F sha-rp 7th : E, A sharp, C sharp, F sharp; etc.

25

The reader will have reali sed that it is not difficult to find more poss­ibiliities on other groups of strings. For instance : on the 6th, 5th, 4th, 3rd; on the 6th, 3rd, 2nd, 1st; on the 5:th , 4th, 3rd, 2nd, and even on only three sitrings, in which case, as mentioned before, ,the fifth of the chord is prefer­ably ,the note omitted. We like to remind again that the inversion of a chord .is shown by the bass note and that the higher notes can be in a ny order.

Many musical instruments, the guitar included, present in cer,tain keys (or tonalities) more ,technical facilities than in other keys. If we examine 1the reperitoire of ,~he guitar-solo music, even the s•tudies by Sor, Aguado, Caroassi, Carulli, Giuliani, Coste, Villa-Lobos, s~govia, my own, etc., we soon realise that the guitar is not like, for example, ,the harpsichord: the instrument that offered J. S. Bach ,the possibility to compose :the monumental work "48 Preludes .and Fugues" in all the major and minor keys, proving thus ,the excellency of the then newly applied sys,tem of well-1tempered tuning. The greater part ,of the guitar music (original or transcribed) is comoosed in a few happy keys , which are ,thos~ coinciding with the notes produced by the open ,s,tri·ngs; usually, in these keys, the 1 st, 4th, 5th degree of the scale

26 GUITAR NEWS MAY/JUNE, 1964

(which, hannonically, are very important in the traditional and populai" music) exist all or in part as open strings. This faci]i,tates the le~t hand technique because a large number of notes are found ready for rhe i"ight hand to pluck (1~he open strings) and the sound continuity is favoured because, while the left hand changes position the open strings keep vibrating (unless the guitaris,t, in certain .pass•ages, prefers to stop them). An example showing well how we choose :the tonalities that have a good number of notes coinciding with our open strings is the known Prelude No. 3 (of the Twelve Little Preludes) by J. S. Bach, ,tranrscribed for the guit1ar by many and always in D minor, aJ.though for the harpsichord it was wriitten in C minor.

Besides the regula,r guiitar tuning, for certain works in ,the keys of D, G, F, etc., some authors and transcribers have used more appropriate tunings. Firsit in importance, because of the greait number of pieces written in D (major or minor) comes -~he one tha,t needs the 6th string ituned a tone lowe,r (D). To name a few: M. Ponce's 'Variations on Folia de Espana and Fugue', 'Sonatina Meridional', 'V,alse'; I. Albeniz's 'Tango', 'Oriental', 'Zambra Granadina'; J. S. Bach's 'Chaconne'; Phil. Em. Bach's 'Siciliana'; a 'Minuet' by J. Haydn; Oastelnuovo-Tedesco',s 'Sona-ta' (homage to Boccherini), 'Vari,aitions through :the centuries', all fingered or transcribed by Segovia; Sor's 'Siciliana' (op. 33), 'Introduotion and Variations on ,the air Ma/borough s'en va-t-en guerre' (op. 28), 'Grand Solo' (op. 14) shown in Segovia's recital programmes by the names of its movements: Introduction-Andante and Allegro ; Handel's 'Sarabande wi,th Varia,tions' (in many transcriptions); M. Llobet's t·ransoription of 'Torre Bermeja' by Albeniz and of the Catalan melody 'El ,testamen de n'Amelia'; a 'Gavotte' attributed ,to A. Scarlatti, which I have copied from a Segovia record and published in 1956; Tarrega's 'Caprioho Arabe', etc.

Orher works resul,ting well in G, requiring ithe 6th st,rin-g in D and the 5,th in G (notes of open s1trings used many times) are: Tarrega's transcriiption, revised laiter by Llobet, of 'Sevilla' by Albeniz; Llobet's transcription of 'La Maia de Goya' by Granados; F. Calleja',s effective solo 'Canci6n Triste' ; Sor's Minuets 1, 2, 3 of his op. 11; my 'Study n. 6'; Tarrega's trans­cription of a 'Tango' (anon.) published by Ildefonso Alier (5 / 5232), etc.

Sor has used the 6th in F (a half-tone higher) in seven out of the eight Minuets of hi,s op. 24 and for ithe Minuet n. 11 of his oo. 11.

Oarcassi in the Studies 46, 47, 48 (Vol. III of his 'Method') uses this tuning: E, B, E, G sharp, B, E (from 6th to 1st).

All ,this explains why in the guitar solos and even in ,the ensemble works where the guitar plays an impor,tant part (see Bachianas Brasileiras n. 5 by Villa-Lobos, arranged by the author in A minor for voice and gui-tar), we mostly choose one of ,these happy keys, in which, as we said before, iit is certainly technically easier to play.

However, in modern music, if ,the gui•tar is confined in the harmonic­r,hythmic section of a work (and not in the melodic), in s impler words: if i<t is used only for accompanying, iit can be played equally well in any key.

(To be continued.)

MAY / J UNE, 1964 GuITAI{ N Ew s 27

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

§ § § §

~ Ask to see ~ § §

~ Classical Transcriptions ~ § §

~§ ~ § FRANCESCO CORBETTA §

§ §

§ Four movements from Suite in A; Suite in G §

§ transcribed from the tablature and ~ ~ edited by Deric Kennard ~ § 4s. 6d. § § § ~ §

~ LUDOVIC RONCALLI ~

~ Passacaglia ~ § transcribed from the tablature and §

§ edited by Deric Kennard § § ~ ~ 2s. 6d. § § §

· ~ MIGUEL de FUENLLANA ~ ~ Fantasia de -redobles ~ ~ transcribed and edited by ~ § George Clinton ~ ~ § § 2s. 6d. § § § § §

~ G. RICORD! & CO (London) LTD ~

~ 271 Regent Street London W.l ~ § § ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

28 GUITAR NEWS MAY / JUN E, 1964

GUITAR MUSIC Method for the Classic Guitar

SOPHOCLES PAPAS has been teaohing the classic guitar for forty years and for thirty-five of these years he has had the friendship and guidance of Andres Segovia.

His wide and profound experience has been drawn upon to give the beginning guitarist (and the teacher) a most useful M ethod, sound musically and teohnically, modern, with pictorial illustrations to show correct positions of stance and fingers. The excellent words of advice and instruction are clear and concise; lessons are skilfully graded and boredom eliminated as far as is humanly possible. Studies are drawn from a very wide range of music, even including Bach, Beethoven, Brahms, Schubert, etc., so this is definitely not one of those re-hashes of some century-old method, which are sti ll being published.

Mr. Papas evidently intends this book for use by botih teacher and student, but even if a teacher is not available it would still be extremely helpful for the lone beginner.

The "Method for the Classic Guitar" by Sophocles Papas is published by Columbia Music Co., Washington, D.C., USA (61 pages, New, Revised and Enlarged Edition).

This is so excellent that it is to be hoped ~hat Mr. Papas will find time to prepare a follow-up course- a Volume Two !

Sor's Music

Universal Edition have published two items of music by Sor, edited by Karl Scheit. The first is the well-known opus 9, Variations on a Theme by Mozart. This version faithfully follows the original edition and therefore includes the Introduction. This is seldom heard , possibly because its omission shortened the solo when it had to be recorded on a small-sized disc. With LP recording this excuse is no longer valid so perhaps we may now have opus 9 complete wi·th 1the Introduction , which the composer definitely intended ~hould be played.

The other item consists of two well ohosen Minuets, op. 24, No. 1 and op. 5 No. 3. Sor wrote many Minuets, and evidently found this musical form very suitable for his expressive and inventive genius. Several concert a rtists have included groups of Sor Studies in their programmes with great success, so why not a group of Sor Minuets?

Sophocles Papas arrangements

Columbia Music Co. (Washington 6, D .C.) has added four more items to its growing list of guitar publications, all of them arranged and fingered by Sophocles Papas. The two of Ohopin's Preludes which are best suited to the guitar No. 7 and No. 20; Ch6ros by Villa-Lobos; Tarantella by Mertz (prize-winning guitarist-composer of hi s time); and Five Christmas Carols for guitar solo.

MA Y / J UNE, 1964 G UITAR N EW S 29

Bach Transcription During the past two decades the appreciation of Bach's music has been

enormously extended by guitar transcriptions, which have revealed tihe beauty not only of suoh morceaux as the famous Gavotte but also some of his Preludes and Fugues and even the great Chaconne. Many people must have had an unfortunate first impression of Bach's glorious music, if they first heard it as a swirling maelstrom of incomprehensible sound on a churoh organ.

Undoubtedly the most widely popular piece of Bach's music is the piano arrangement of " Jesu, Joy of Man's Desiring" as played by Dame Myra Hess and others. 11his has been arranged for two guitars by the late Zarh M. Bickford and fingered by Vahdah Olcott Bickford. Mr. and Mrs. Bickford often played this duet in Christmas programmes. It has recently been published as an 'Jn Memorium' to Zahr Bickford by the American Guitar Society, Hollywood, California. It is a very satisfying transcription.

Canciones Populares Espaiiola This is a fine album of fifteen Spanish songs compiled and arranged

by Graciano Tarrag6. The songs are all provided with guitar accompani­ments, fourteen of them also have piano accompaniments. Victoria de Jos Angeles (soprano) and Renata Tarrag6 (guitarist) have recorded songs of this collection on discs " La Voz de Su Amo". Portraits of these artists adorn the front cover of the album (61 pages) which is published by Union Musical Espafiola, Madrid, Spain.

Fantasias In music a Fantasia is oharaoterised by a freedom of imagination,

sometimes almost an extemporisation in style. Sometimes it is a sort of toying with a tune, such as a Fantasia on Greensleeves or some other air. Chopin, Mozart, Bach, Brahms and other classical composers wrote Fantasias; Beethoven even wrote a Choral Fantasia, but the style is older than one might expect.

An Album of ten Fantasias collected and arranged for guitar solo by Jose de Azpiazu , has been published by Union Musical Espafiola, Madrid. They include Fantasias by Diomedes de Venezio, John Dowland, Gregorio Ruwet, Laurencini de Roma, Alfonso Ferrabosco de Bolonia , Balint Bakfark (Hungary), Jacobus Reis and Adrian Le Roy.

Two other interesting items published by U.M.E. are Divertimento en Re by Johann Stamitz (1717- 1757) and Sonatina en Do mayor by Paganini. Both of these have been edited by Jose de Azpiazu, who is also responsible for editing the well-known Serenata Espafiola (No. 2 of " Jmpresfones de Espana") by Joaquin Malats. This is published by Ricordi.

Chamber Music Sonata da Camera, op. 2, No. 2 for two violins and guitar by Arcangelo

Corelli, has been arranged by Karl Scheit and pUiblished by Yerlag Doblinger, Vienna. This delightful music is by no means difficult. The guitar-continuo is by Werner Kammerling, and there is also an optional part for violoncello.

(Con/inued on page 18)

30

Photo :

GUITAR NEWS MAY/JUNE, 1964

Bion Carpenter

June Dallery, Tim Dietrich, Henry Dunn, Peter B. Klausmeyer.

9Jicdo.gi6,t' 6,, 9Juafi •

T HE classic guitar attracts people of so many professions and talents that it is not too surprising to find a researoh biologist turning to it for relaxation and artistic outlet.

Henry Dunn, staff member of New York State Veterinary College, is not content however just to play for his own amusement (with some of us the word is 'amazement' !) but he makes occasional public appearances as guitar soloist and even teaches 20 to 25 students to play the instrument.

Mr. Dunn is a member of the Savage Club, an international organization devoted to entertainment, and a.Jso a married man, but he finds time for his daily practice.

Among the solos which he has played at recent events are Bachianas Brazileiras No. 5 (Villa-Lobos), Nortefia (Gomez Crespo), Prelude in A minor (J. S. Bach) and Prelude in A minor (Villa-Lobos). He also accompanied a singer in one of Dowland's songs "Come Again Sweet Love".

MAY / J UNE , 1964 GUITAR NEWS 31

SCIENCE - and ART

Photo: John Brock

HENRY DUNN

32 GUITAR NEWS MAY / J UNE, 1964

NEW GUITAR RECORDINGS

WESTMINSTER 17039 John Williams

Sor: Etudes At first encounter, the etudes of Sor do not seem to promise any more general interest than is common with studies for such a specialized instrument as the guitar. Thanks, however, to the enlivening properties of Williams's art and the increasing interest of the twenty pieces as they progress, the results are decidedly absorbing. A contemporary of Paganini, as well as of Beethoven, the Spaniard has more than a little in common with tihe Italians in melodic style, though t1here is no such parade of difficulties for the guitarist. Now and then there is a special problem in articulation, to which Williams responds with the highly conscious, completely balanced artistry that distinguishes him, at twenty-two (he was born in Melbourne in 1941), from most other guitarists of whatever age (Segovia, his mentor, excepted).

- Irving Kolodin in Saturday R eview 1963.

RCA VICTOR LM 2606 Julian Bream

A new recording : Popular Classics for Spanis1h Guitar. Villa Lobos : Choros No. I, Study in E minor, Prelude in E minor ; Torroba : Madronos ; Turina : Homage a Tarrega (Garrotin, Soleares), Fandanguillo; Albeniz : Granada, Leyenda ; Falla : Homenaje; Llobet (arr.) : El Testament d'Amelia.

EDINBURGH FESTIVAL, 1964

A T a concert on the morning of August 20th, Julian Bream will play Benjamin Britten's Nocturnal for Guitar solo and also the guitar part in Sohubert's Guitar Quartet.

SOIREE AT TEWKESBURY

T EWKESBURY is an ancient town, a few miles from Cheltenham, historically famous for its ~bbey, its battle (a signpost still points to the 'Bloody Meadow'), its literary associations (Pickwick and John

Halifax) and its boating and angling, for it stands at the juncture of the rivers Severn and Avon.

Tewkesbury Grammar School held a soiree at the Watson Hall on Maroh 20th, at whiah works by Benjamin Britten, Herbert Chappell and Pergolesi (Stabat Mater) were performed by the school choir directed by Maxwell Betts. Paul Bate, a sixth-former at the school, contributed a group of guitar solos : Romance de Amor (V. Gomez), Study (Carcassi) and Preludes 1 and 3 (Villa-Lobos), winning enthusiastic applause.

Does your guitar sound like the highly sensitive work of art that it's supposed to be?

If it sounds like what the contraption in the picture looks like, we suggest you do one of two things : ( 1) Change your strings. La Bella will be glad to accom­modate you. There are six different kinds to choose from, leaving nothing to be desired. What you will get are strings born of recent technological discovery. The basic nylon molecular structure has been altered by physics engineers. They bring you accuracy. Longer retention of pitch. Richer treble tones. Easier action and unprecedented harmonic purity at every fret. (2) Or you can keep playing your present strings and use your guitar to store cigars in.

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34 G UITAR N EWS MAY/ J UNE, 1964

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MA Y/ J UNE, 1964 G UITAR N EW S 35

CHELTENHAM CLASSIC GUITAR CIRCLE

T HE March meeting of the Circle opened with an ensemble of six guitars, led by Miss Joan Prior, playing a selection of traditional melodies.

Air and Bourree (Mozart) and Minuet (Sor) were played by Wilfrid M. Appleby ; Serenade Espagnol (Malats) and studies by Sor and Abl6niz were played by P. J. Gamble; Philip Downes contributed Danse Nord (Giuliani); R. Holland-Martin played Adelita (Tarrega), Study (Giuliani) and some flamenco. Eric Miller's solos were Pavanes by Sanz and Milan.

After the playing there was a 'Question Time' session, in which some thought-provoking questions were dealt with by a 'panel ' consisting of P. J. Gamble, Eric V. Ridge and Wilfrid M. Appleby. Here are some of the questions :-

Do you think the guitar would have been better written in another clef (the Alto or Tenor) ? Why was it written in the Treble clef and from what date?

Transcriptions of music written for other instruments by famous composers have been very successfully performed on guitar. Yet the majority of good works composed for other instruments are neglected. Wthy does this occur when we have many able guitarists who could provide a suitable transcription for this excellent music?

What is the reason for the wire winding on the three lower strings of the guitar and its absence from the otlher three?

What are the principles underlying the construction of the guitar, what types of wood are used and wthy ?

As Stradivarius violins may be nearly 300 years old and of fabulous tone and value, why are old guitars comparatively worth­less and never played? Is it because they were a smaller size before the 1850's?

Why is the guitar tuned as it is, and when did the modern tuning originate?

GUITAR RECORDS WANTED Classic Guitar records of the following countries wanted.

Africa, Arabia, Belgium, Chile, China, Curacao, Denmark, '.>

Egypt, Greece, Hungary, India, Israel, Japan, Lebanon, Norway, Poland, Rumania, Turkey, etc.

W rite to:

Sr. Ronoel Simoes, Rua Dr. Luiz Barreto 192 Sao Paulo, BRAZIL

36 G UITAR N EW S MAY/ J UNE, 1964

ALIRIO DIAZ

T HE Cooper Union for Advancement of Science and Art, New York, presented Alirio Diaz in a guitar recital a,t the Great Hall on February 14th. He played the following programme : -

Pieces of the Renaissance Three Pavanas SaltareHo a nd Hallo Diferencias Gaglia rda Fantasia

Air with Variations ... A new f,rish Tune. Minuet and Jig Rondo Two Sonatas ... Chaconne (tra ns. Segovja) Two Etudes Ch6ros No. I Venezuelan Fa ntasy .. . .. . Two Dances (Zapateado- El Vito ) Bells at Dawn .. . La Maja de Goya (Tonadilla) Torre Bermeja Sevilla

IRFANUDIN

Milan Molina ro Narvaez Parma Mudarra Frescobaldi Purcell Couperin Scarlatti Bach Villa-Lobos Villa-Lobos Castellanos Sainz de la Maza Sainz de la Maza Granados Albeniz Albeniz

HARJONO

T HE Indonesian Student Foundation, London, presented Irfanudin Harjono in a recital of guitar music on March 23rd. His programme was as follows :- Prelude in D minor and Bourn~e in E minor (J. S.

Bach); Minuet op. 22 No. 1 and Minuet op. 11 No. 5 (Sor); Study op. 60, No. 3 and Melodic Study No. 7 (Carcassi); Study No. 4, op. 20 and Study No. 9, op. 20 (Legnani); Ballet Study (Carulli); Lagrima and Alborado (the musical box) (Tarrega); Mozart Variations on a Theme from "The Magic Flute" (Sor); Aria from Partita in A moll (A. Logy); Recuerdos de la Alhambra (Tarrega); Arpeggio Study No. l (Villa-Lobos); Danza Espagnola No. 5 (E. Granados); Prelude in E minor (Villa-Lobos) ; and Asturias (Leyenda) (I. Albeniz).

LATEST NEWS OF THE DUO POMPONIO-ZARATE

The Duo Pomponio- Zarate having recently played in Madrid, Vienna, Klagenfurt, Zurich, Paris and Brussels have set out on a concert tour which includes New York, Washington, Mexico, Vera Cruz, etc.

The composer Germaine Tailleferre has just completed a Concerto in four movements for two guitars and small orchestra . It is dedicated to Robert J. Vidal and the Duo Pomponio- Zarate, who hope to give it its first performance in November during the International Music Weeks in Paris.

What is a great guitar? When you see a g;eat guitar you see the striking grain of its component woods, its classically elegant pro­portions, the clear brilliance of its varnish, and the graceful suit­ability of its rosetta and head. When you hear a great guitar you hear its characteristic timbre and sonority, its individual voice and purity of pitch and balance. When you play a great guitar you feel its responsiveness, ease and power of projection, and its promise of development.

PICTURED ABOV E,GU IT ARI ST ROL AN DO VALDES-BL AI N TE STS A NEW GUIT ,.R .

Where can you get one? At M. Velazquez Guitars, Inc., 205 East 23rd Street, New York, craftsmen trained in the traditions of Ger­many and Spain are making gui­tars from carefully chosen woods, following designs adjusted to modern demands upon guitar-vir­tuosity and playing-power. Three models-El Clasico, El Flamenco, and La Mixta-meet three differ­ent needs. Each guitar is tested for its musical resources, and each guitar leaves the shop with its own number and pedigree.

38 GUITAR NEWS MAY / JUN E, 1964

MEMBERS' ANNOUNCEMENTS

Members' Announcements are intended for the use of MEMBERS only. Guitars advertised must be second-hand and the actual property of the advertiser.

Prepaid announcements of up to 50 words (maximum) one insertion 5 / -, One Dollar USA. Series of 6 for the price of 5, 25 / -, Four Dollars USA.

No trade advertisements such as strings, new guitars or music can be accepted as Members ' Announcements. (Please send for our Displayed Advertisement rares.)

GUY B. SIMEONE, Guitarist, 11 New Heath Street, Roxbury 19, Massachusetts and 318 Hatherly Road, Scituate, Massachusetts, USA.

FOR SALE : Guitar by the luthier " Monzino" of litaly. Mint condition, rosewood back and sides, ebony fingerboard, excellent tone- signed label inside Miguel Abloniz- nea rest offer £100, originally cost £150. Please write : P. McKeown, 187 Wheelwright Road, Erdington, Birmingham 24, England.

RALPH FREUNDLICH, M.A. , Julliard graduate, Phi Beta Kappa. Technique', Theory, Ear-training, Rhythm : taught so that practising any one of these, student can at same time advance in all the others. Elementary to advanced exercises correlated with pieces. Complete fingerboard . No mechanical memorization. New York City, 471 Wes•t End Avenue. TR 3- 6594.

URGENTLY REQUIRED : A copy of No. 34 "Guitar News"- also if you have a spare copy of No. 75 (January / February 1964) we need at least 6 copies. Please send to l.C.G.A. , 47 Clarence Street, Cheltenham (Glos.), England.

CHESNAKOV. Elements of music and harmony in the study of the Classical Guitar. Theoretical and practical training in modern technique as a basis for development of artistic playing and for elimination of faults , self acquired or installed by wrong teaching. Progressive, selected studies. 48a Cathcart Road , London, S.W. I 0. (FLA. 4354).

C HICAGO. Lessons in Classical Guitar. James M. Norris, 301 W. North Avenue, Mo-4-6204. Student of Segovia in 1960-61.

BLANCHE MUNRO, A.G.S.M., Professor of Guitar at the London College of Music and Guildhall School of Music, accepts pupils, including beginners, at 35 Corringham Road, London , N.W.11. Enquiries SPEEDWELL 7740.

ADELE KRAMER , Professor at the Guildhall School of Music and Drama, London, gives lessons in Classical Guitar for beginners and up to Concert Standard. 24 College Crescent, Swiss Cottage, London, N.W.3. (Tel : PRimrose 5366).

A SPECIALLY arranged Correspondence Course covering every aspect of classical guitar technique. Also private and class lessons in the Segovia-Tarrega method, beginners to advanced levels. Free Brochure from- George Dobinson, Guitar Studio, 36 Cranbourn Street, London, W.C.2. (COV 0754.)

"GUITAR NEWS" back issues. Only issues available: No. 58, price I / 4 a copy, plus postage. Nos. 63, 65 , 67, 68, 69, 70, 71 , 72, 73 and 74- 1 / 8 plus postage. I.C.G.A., 47 Clarence Street, Cheltenham, Glos., England.

Renewals Unless renewals are sent promptly 011 receipt of rhe green reminder form we

may have no copies left to send you.

June Vacation The Editors cannot answer any letters during June owing to vacation.

M AY / J UNE, 1964 G UITAR N EWS

TELEPHONE EOG BASTON 0787

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39

40 GUITAR NEWS MAY / J UNE, 1964

. Page Maria Portela . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . .. . . . . . . . . .. . . . .. . . . . . . ... . . .. ... .. . . .. . . . .. . . .. . . ... .. . . . 3 Recordings a t Siena . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 l nternational Guitar Conoours , J 964 . . . . . . . . . . . . . . ......... .... .. ..... . . . . . . . . . . . . . . .. . . . . . . . . . . 5 Poetry and Guita r . . . . . . . . . . . .. . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . ............. .... .. . . . . . . .. W.M.A . 7 Duo Pomponio-Zarate ...... ... .. .... .. . . . . . . ... .. ..... ....... . .. ...... . ........ .. R . J. Prudon 8 ' A School Future ' .. ..... . .... . . ........ ... ..... ...... .. ... . .. .. . . ...... Malcolm H . Grady 11 Students' Concent in Vienna . . . .. ......... ......... .. ... . . ............ .... . .. .......... . ......... 12 Kostas Marga ritopoulos ........... ... : . .. ....... ... ... .. . .. . .. . .. . ..... ..... . . .. .. . John Parfitt 12 Jn.ternat10nal Summer Academy, Nice 1964 ...... . . ...... . .... . ... ... ...... .. ...... . .......... 13 Elena Paz Travesi ... .... .. . ...... .. ..... . .. . .. . .. . .. ... . . .. . ...... . .. ...... ... ........... .... . ... ... . 14 Wimbledon Music Festiva l Gui,tar Contest ...... .. .. .. .. . ... ....... .. ... Lily Morrison 14 New Yea r Concer,t in Greece .. ..... .......... ....... ..... .. .. ..... ......... ..... . ......... ....... 16 Stephen Fentok . .. ... .. ... . ....... .. . .. .. . .. ..... .. .. . .............. .. . ..... . ...... .... ........ .. .. .. . 18 Ka rl Schei! .in Yugoslavia ... ..... . .. .. ... ... ........ ... .... .. ...... . .... .... .. .... . .. . .... ....... 18 Konrad Ragossnig .... . ..... .. . .... .. ... ........... .. . . .. ... .... ..... ...... .. .. ..... ... ... . . . . . ... . . .. 19 Jose Tomas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ... . .... ....... ... ...... ... . ..... ...... 19 London Concert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Oscar Caceres . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . 21 Victoria Classic Gu.ita r Society, Canada .. ... . ..... .. .. .. ... ............. A. de Goutiere 22 Guitar Week in Germa ny . . . .. . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . .. .. . . . . . .. . . . . . . . . . . . . . . . . . .. . . 23 Elementary H a rmony a nd Chord Formation on the Guitar. Part JX.

Miguel A b/6niz 24 Guitar Music . ..... . .... .. .. .. .......... .. .... ... . ... . ..... . . ......... ......... .. .... . ................. 28 Biologist's Break . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 New Guita r Recordings . . . . . . . . . . . . . . . ... . . .. . . . . . . . . . .. ..... ... . .. ...... . .. .. . . ... . . . . .. . . .. . . . . . 32 Edinburgh Fe&tival I 964 . . . . . . . . . . . . . . . . . ... ... .... .. . . . . . . . . . . . . . . . . . . . . . . ... .. ..... ... .. . . .. . . . .. 32 Soiree at Tewkesbury ·- . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Cheltenham Classic Gui.ta r Circle . . . . . . . . . . . . . . ... . ..... ... ...... ... ... . . . . .. . . .. . . . . .. . . . . . .. . . 35 Alirio Diaz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . .. . . . . . . . 36 lrfanudjn H a rjono . . . . . . . . . . . . . . .. . . . . .. . . . . . . . . . . . . . . . . . . . . . . ....... .. .... . . .. . . . .. . . ........ .. . .. . . 36 Latest News of the Duo Pomponio-Zarate .... . . ... . ... .. ........ . ..... ... .... .. ...... . . . . . . ., 36 Members' Announcements ......... . ....... . . . .... ...... ... ...... ... . ...... . . . . .. .. . .. . ........ . .. 38

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