GUITAR NEWS The Official Organ of the

INTERNATIONAL CLASSIC GUITAR ASSOCIATION

No. 118 Single copy price 20p (U.S.A. 60c.) OcT./ DEC., 1972

Photo: Claude Fitte

REY DE LA TORRE

2 GUITAR N EWS OCT./0 EC., 1972

Ithaca College, School of Music

proudly announces the

5th ANNUAL MASTER CLASS

(for performers and auditors)

to be conducted from JULY 9 to 20, 1973

by the renowned teacher and composer

for classic guitar

I

MIGUEL ABLONIZ

For brochure and registration form write as soon as

possible to :

HENRY 0. DUNN, Director of Guitar Studies

Music Dept., Ithaca College, Ithaca, N.Y. 14850

U.S.A.

(Registrations received later than May 31, 1973 will have to be examined separately before acceptance.)

Ocr. /DEC. , 1972 GUITAR NEWS 3

REY DE LA TORRE

REY DE LA TORRE has been a guitarist since he was ten years old. Four years later he left his native Cuba for Spain , where he con­tinued his studies under that brilliant artist of the guitar, Miguel

Llobet. At the age of sixteen he made his debut in Barcelona, scoring such a resounding success that he was immediately launched on a concert career.

Eventually making his home in the U.S.A. he has toured the world with his guitar. Unfortunately he had trouble with his right hand from 1961 to 1967- an occupational hazard- but he has now quite recovered and making a rapid and successful come-back.

On March 28th, 1972, he gave ample evidence of his complete recovery in a recital of guitar music at the Tully Hall, New York, again establishing his reputation for "Grace, Colour and Virtuosity" in music of the renaissance, followed by solos by Ferdinand Sor. The New York Times reported: "The evening's chief delight was a Suite of Ten Cata­Ionian Songs by Miguel Llobet. . .. What sunny melodies Llobet chose, and how imaginatively he exploited the varying timbres of the guitar without being obvious. Mr. de la Torre played them with easy elegance and just the right rhythmic lilt to emphasize their dancelike character."

PER-OLOF JOHNSON

T HE well-known Swedish guitarist Per-Olof Johnson gave a guitar recital on March 19th at Malmoe Museum, Sweden. The pro­gramme included works by L. Milan , " Pavanas I and H," J. H.

Roman, "Assagio No. 1" in G minor, then Mr. Johnson played the very beautiful " Fantasia Elegiaca" op. 59 by Sor, a work which is very seldom performed. This Fantasia composed for the funeral of Sor's daughter, Charlotte, was undoubtedly the most impressive work in this concert. Mr. Johnson's knowledge, understanding and interpre­tation of Sor were evident in his very sensitive rendition. He also played a Menuette by Sor, op. 11, No. 9, very unusual , but one of the most beautiful Sor has written. Then followed M. de Falla's "Hommage pour le Tombeau de Debussy". Per-Olof Johnson was in excellent form throughout and brought this interesting programme to an artistic climax. The enthusiastic public, who filled the concert hall to capacity, demanded encore after encore and left the hall reluctantly.

- Berti/ Jngwaldsen

4 GUITAR N EWS OcT./ DEC., 1972

V LADIMIR BOBRI'S search for truth and authenticity concerning Andres Segovia and the technique which that great musician uses when he makes music on the guitar, has resulted in the

production and publication of a magnificent book: " The Segovia Tech­nique" (Macmillan).

To obtain such a high degree of authenticity there was only one way- to have the collaboration of Segovia himself- with expert photo­graphers. The result is a series of pictorial illustrations enhanced by diagrams and text which explain clearly the reaso ns for the positions and movements.

In addition to the main section on technique there is an historical outline ranging from the Hittite guitar of some 3,000 years ago to the modern guitar and also a review of some of the great virtuosi of the 'golden age'. The appendix gives much useful information about in­struction publications, etc. including a delightful page of drawings by Giusti which illustrate bad habits which should be avoided.

Everything abo ut this book is of high a rtistic quality- the twelve inch square format, the large type- so easy to read, the pictures, cover and dust-jacket.

The whole production is crowned and sealed with Segovia's own preface and the imprint of hi s great personality throughout the book.

Naturally the price is high , though not excessive considering the superb quality. Perhaps in due course a popular edition of this work could be considered, so that its message can reach a wider range of people.

- Wi/frid M. Appleby

WHEN WAS SEGOVIA BORN?

IT is amazing that reference books seem to contain accurate infor­mation on almost every subject except the guitar and guitarists. At least, that was the position some thirty years ago when the

reference to "GUITAR" was often comical in its grotesque misstatements. The notes of the strings were often wildly wrong-and even the number of strings on the standard guitar. Segovia's birth date varied with almost every publication.

OcT. /DEc., 1972 GUITAR NEWS 5

Miguel Abl6niz was recently surprised to read in the latest edition of a famous music dictionary that "The greatest living exponent of the guitar is Andres Segovia (b. 1890 ! ! !) who was influenced by Falla and did much to introduce new technical devices, such as the use of the little finger." We do not object to the first ten words but the actual date of Segovia's birth is

FEBRUARY 21st, 1893 We have read many articles by and about Segovia, but this is the

first time that Falla has been mentioned as a special influence. Falla's only guitar solo was written for Llobet and Pujol.

Of all the improvements to the technique of guitar playing for which we have to thank Segovia the use of the 'little finger', presumably of the left hand, is of the least consequence. Of course, the little finger of the right hand is not even used by guitarists except in rasgueado or perhaps to remove an intrusive fly from the right ear.

Surely an article on the guitar compiled by four writers for a world­famous music dictionary could be more accurate.

- Wilfrid M . Appleby

TRINITY COLLEGE OF MUSIC

PRESIDENT - YEHUDI MENUHIN PRINCIPAL - MYERS FOGGIN, HON FTCL, FRAM, HON RCM, HON GSM DIRECTOR OF STUDIES - CYRIL CORK, B MUS, FTCL, LRAM, ARCM

The Classic Guitar is one of many instruments for which examinations are regularly conducted in the United Kingdom and 34 other countries. There are examinations in five Grades and also at Diploma level. A syillabus and rfull detai,Js will be sent on applioaition .to ithe Direotor of Examinations : Ernest Heberden, MA, Hon.FTCL, Trinity College of Music, Mandeville Place, London, WlM 6AQ. Telephone 01-935 5773

1 8 7 2 CENTENARY YEAR 1 9 7 2

6 GUITAR NEWS OcT./DEc. , 1972

EV ANGELOS BOUDOUNIS

IN Athens, Greece, at the Parnassos Hall on March 15th a recital of guitar music was given by Evangelos Boudounis whose programme included Fantasia (Sor), Sonata No. 15 (Giuliani), Nocturnal

(Britten), :Gran Jota (Tarrega) and Vivaldi's Concerto in D for Guitar and Strings with members of the Panarmonia Orchestra of Athens, conducted by Takis Kalageropoulos.

During the Festival of Rhodes Boudounis took part in a programme of chamber music, in which he played guitar in Paganini's Terzetto for violin , cello and guitar, also in Rodrigo's " Fantasia para un Gentil­hombre".

On both occasions he was accorded enthusiastic applause and high praise from the critics. Mr. George Leotsakos of "Ta Nea" des­cribing the Athens recital as " ... a really wonderful concert."

OCT. / OEC., 1972 GUITAR NEWS 7

CHELTENHAM CLASSIC GUITAR CIRCLE 'TALENTED guitarist visitors were welcomed at the May meeting

of Cheltenham Classic Guitar Circle. The first of these to play was Mr. Robert Fielder, of Sutton ,

whose solos were "Passacaglia" (Couperin), "Vais" (Lauro), "Canarios" (Sanz), and "Sonatina" (Ponce).

The fluency and pleasing tone-colour of his playing were warmly applauded.

Mr. David Gorey, of Hudson , Mass., U.S.A., who won a first and two second prizes for his guitar playing at the recent Cheltenham Competitive Festival, played solos which included "Gavotte" (Roncalli), " Studies" (Sor-Segovia) and " Prelude" (Villa-Lobos).

Mr. Gorey, aged 16, showed good musical taste in utilising the dynamic resources of the instrument according to the requirements of the music he was interpreting, thus giving a delightful performance.

Playing by local guitarists included an "Etude" by Sor and " Prelude" by Villa-Lobos, played by Mr. Roger Hughes; " Torre Bermeja" (Albeniz) and "Music Box" (Tarrega) by Mr. Harold Dench; "Espanola" (Sanz) by Mr. Adrian Williams; a gro up of studies (Giuliani) by Mrs. W. Brown, and studies played by some of the younger guitarists.

By special request, Mrs. Val Barker and Miss Wendy Howie played in duo " Le petit negre" by Debussy, with which they gained a first in the festival competition for two guitars.

During the interval, a short talk on the problems of improving the guitar was given by Mr. Wilfrid M. Appleby, the secretary.

(from Gloucestershire Echo)

FORTHCOMING CONCERTS Sergio and Eduardo Abreu. On Sunday, Oct. 1st at 8 p.m.

at Claydon House, Bucks., under the auspices of the Claydon Concerts Society.

Sergio and Eduardo Abreu. On Saturday, Oct. 7th at 7.30 p.m. Stourhead, near Mere, Wilts , under the auspices of National Trust Concerts Society.

Sergio and Eduardo Abreu. On Sunday, Oct. 8th at 8 p.m. at Dyrham Park, near Bath. National Trust Concerts Society.

Oscar Ghiglia. On Wednesday, November 8th at 7.30 p.m. at Purcell Room, South Bank. (Festival Hall, London).

8 GUITAR NEWS OcT. /D EC., 1972

Nothing has been left to chance • Scientific research and testing; • Trained technicians and skilled labor.

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

RECTIFIED NYLON

STRINGS

OCT./ DEC., J 972 GUITAR NEWS

ITHACA COLLEGE, SCHOOL OF MUSIC JULY, lI97~

MIGUEL ABLONIZ I A CHARACTERISTIC ATTITUDE

DURING A LESSON

9

The 4th summer Master Class conducted by Miguel Abl6niz at Ithaca School of Music, lthaca College, U.S.A. was another great success, students taking part in it corning from all over the United States as well as from Vancouver, Bermuda, Bahamas etc. Summer Courses are becoming 'a way of life' to serious students of the guitar, combining a vacation with study of an intensive nature in new surroundings. Not least of the benefits from these Courses is the meeting with other guitarists.

10 GUITAR NEWS Oc T. /DEC., 1972

LEBANON GUITARS

LAST year a young monk from Lebanon graduated from the Sor­bonne, Paris, as Doctor of Musicology. He has now returned to the Universite Saint-Esprit which is in a suburb of Beirut, built

on a hill on a quiet coast of the Mediterranean. ft has superb views of the coast and also of the magnificent mountains inland.

This monk has recently opened an Institute of Musicology at the University. Most of the pupils are nuns from various congregations. Vrouyr Mazmanian is teaching the guitar and solfeggio there. The language used is French.

Mr. Mazmanian is a lso teaching at the college of the French University and at the Institutions of the Soeurs Franciscaines. Some of the pupils are now singing with guitar accompaniment in their chapels and churches.

At the University Saint-Esprit on March 9th , Vrouyr Mazmanian with Mardiros Hatsakorzian (guitar) and Berj Panossian (flute) gave a concert of music ranging from the 16th to 18th centuries. Composers represented included Milan, Bach, Telemann, Scheidler, Patmagrian (Armenian Suite), D. Scarlatti, Rameau , Djemil, etc.

INTERNATIONAL STUDY CONFERENCE

DURING the summer a course for guitar players and guitar teachers was held in Denmark for the first time. There was quite a large number of participants, Danes, Germans, Norwegians and

Swedes.

Professor Karl Scheit of Vienna, who is well known to many Danes through his courses in FUrsteneck, was a very inspiring and fascinating leader.

In addition, one of the pioneers for the progress of the classic guitar in Denmark, Verner Simonsen, who is a teacher at the Folk Music School in Arhus, assisted as teacher for the pedagogues . Gunna Tranberg acted as teacher for about twenty beginners to whom, without any doubt , she has given a great desire to continue with their efforts.

The course took place at Snoghoj Folk High School , which lies in beautiful surroundings near the Little Belt bridge between Jutland and

OcT./DEC., 1972 GUITAR N EWS 11

Fyen. lt was conducted in that , for Denmark, so typical free and easy, comfortable atmosphere, which, together with the beautiful guitar music and light northern summer days and nights, made a unity, which we, who participated in the course will never forget.

The organiser of the course, Harri Lundsfryd Jensen, who is a teacher at the Jelling Teacher's College, was, by all the participants strongly urged to repeat the course in the years to come.

- Stella Simonsen

LADIES' GUITAR ENSEMBLE

T H E Niibori Ladies' Guitar Ensemble, directed by Yukuo Nishida, was presented in two concerts at Tokyo, Japan, during May. The first , on May 4th was at Tokyo Cultural Centre where the

seven talented and charming young ladies played music by Rameau (Minuet), Haydn (Serenade), Mozart (Minuet and Eine Kleine Nacht­musik), Purcell , Weber, Sor, Mendelssohn , Narvaez, Scarlatti, Tarrega, etc.

The programme at the Suginami Public Hall on May 12th consisted of voice with guitar ensemble in songs and ballads from many lands, including Schubert's " Serenade", " O Sole Mio" , "Flower" (a famous Japanese song by R. Taki), "Clementine" (American ballad), etc.

12 GUITAR NEWS OcT./DEc., 1972

FOR THE GRAMOPHONE NONESUCH H 71233 (Re-released from Philharmonia Records) Spanish music for the classic guitar Side one - Albeniz: Leyenda and Torre bermeja

Rey de la Torre

E. Granados: La maya de Goya a nd Danza Espanola No. 5. Side two - Joaquin Nin-Culmell: Six variations of a theme by Milan

Joaquin Rodrigo: Zarabanda lejana Manuel de Falla: Homenaje a Debussy Julian Orbon: Preludio y Toca ta.

ABC/Dunhill ABC/ ATS 20005 Scarla tti Sonatas for the guitar

Side one - Scarlatti: Sonata in E minor K 11 Sonata in G major K. 39 l Sonata in E minor K 32 Sonata in A minor K 462

Side two -"

Sonata in A major K 322 Sonata in A minor K 481 Sonata in A major K 431 Sonata in D major K 309 Sonata in G major K 380

ANTHEA GIFFORD

Barbosa-Lima

ON June 10th, at the Museum Lecture Theatre, Bri sto l, England , Anthea Gifford gave a guitar recital.

The programme commenced with three pieces by Dowland and was followed by three Preludes by Villa-Lobos, Nos. I, 3 and 4. The first half then concluded with the Suite in E minor by Buxtehude (arr. Bream). During the Allemande of thi s Suite, Anthea Gifford was challenged by an unexpected eight bells from a nearby clock tower; accepting the situation in good humour, she went on to finish the first half in fine style.

The second half of the programme began with the Partita 1965 by Stephen Dodgson , and Miss Gifford gave a bold performance of this now established item of guitar repertoire. The programme continued with Scarlatti , Cimarosa and Weiss, the Weiss piece being punctuated by Anthea Gifford's amusing reference to the now controversial suite in A minor, supposedly written by Ponce in the style of and in the name

OcT. / DEC., I 972 GUITAR NEWS 13

of Weiss, which she explained is currently referred to as "Ponce's Little Vice"!

The recital concluded with Serenata Espanola by Malats, and So]eares by Turina.

Miss Gifford's musical tour-de-force was clearly shown in Buxte­hude, Dodgson and Turina, in the Soleares of which she gave a sparkling performance. Many young players do themselves injustice by trying to play, in one programme, pieces in all the styles of music that exist, and also keep on playing the old "war horses" of the guitar repertoire which expose them to unfair comparison with the giants of the guitar world. As the guitar is no longer so short of repertoire, one feels that they may help their careers far more by seeking to consolidate their own musical style and avoid, at least during the early days of their careers, so many of the said "war horses".

Anthea Gifford is young, pretty and talented , and having numbered John Williams and Julian Bream among her teachers, will no doubt be attracting much attention as a concert guitarist during the years to come. - Harold Dench

JUL][AN BREAM

JULIAN BREAM scored a dazzling success at the Melos Ensemble's Concert during the Cheltenham Festival. The Town Hall was filled for this event on July 12th and except for a Divertimento by Mozart

all the music was by modern composers. The guitarist was first heard in Richard Rodney Bennett's Concerto

for Guitar and Chamber Orchestra, which was dedicated to Julian Bream. Although one critic described it as "fussy hesitant music", it certainly was original and experimental, though difficult to follow.

The guitar was heard to better advantage in the two guitar solos which followed immediately after the interval. William Walton's Five Bagatelles for Guitar were in places reminiscent of other guitar music, but on the whole were typical of Walton's style.

The other solo, "Elegy for Guitar" by the late Alan Rawsthorne, was edited and completed by Julian Bream using Rawsthorne's own material. This work gave the guitarist more scope for displaying the beauty of the instrument rather than the fireworks of which it is capable in his masterly hands. All this guitar music seemed to be limited by the passing phase of the modern fashion. One could admire it rather than enjoy it , but there is no doubt about the amazing genius of its inter-preter, Julian Bream. - W.M.A.

14 GUITAR N EWS OCT. /DEC., 1972

GUITAR FINGERING ITS PRINCIPAL RULES

by Miguel Abl6niz (Italy)

(3)

J. S. Bach acquired such a prodigious power of execution as com­pared with his contemporaries, that it is said that nothing which was at all possible was for him in the smallest degree difficult .

In relation to the tendency that some guitarists have, especially the self-taught (some of whom had also the possibility to publish guitar music with their own fingering) , to use their 3 instead of the 4 (left), let me quote C. Flesch again: " ... For a congenitally weak fourth finger, when neglected, runs the danger of becoming less and less useful and of falling prey to muscular atrophy in old age. Therefore, it should become the rule to strengthen the fourth finger by special exercises." And, from another part of the book: " Fingering can be universally valid or individual. In the first instance, it follows definite physiological or musical rules , which have general validity . In the second, it takes into consideration the personal characteristics of the individual performer, the peculiarity of his technical equipment. Fritz Kreisler's habitual substitution of the third finger for the fourth may serve as an example. lt is based on a decidedly personal condition , namely the construction of hi s left hand.

For a performer with a very strong fourth finger , however, such a preference for the third finger could in some instances actually be a hindrance. On the other hand , a fingering that conforms to the rule of the minimum effort and that therefore seems logically unobjection­able and universally valid, can be quite unsuited to an individual if the peculiarities of his hand or arm, such as the length and strength of the individual fingers , react unfavourably to it.

From all this it follows that it may well be possible to determine the optimum fingering, one that is universally valid and both musically and technically unobjectionable- that , however. there are a great many possibilities for an individual fingering, destined for one's own use, the selection of which will depend entirely upon the technical peculiarities of the performer. Consequently, different principles must be applied

Ocr./DEC., 1972 GUITAR NEWS 15

here to the public performer on the one hand and to the teacher and editor on the other. r n the concert hall the violinist is accountable only to his own artistic conscience and to his audience. As a teacher, however, or as an editor of technical studies and concert pieces, he bears the responsibility of educating future generations . For that reason a practical new edition of a work should contain the fingerings used by the editor in his concerts only if they can claim universal validity. If they cannot, their use will endanger the intellectual independence of the student, even though, for the author, they may represent the most suitable medium for the realisation of his intentions.

This is especially true, since the average student usually regards the fingerings printed or inscribed in his music, as gospel-truth, which he follows in blind faith. This slavish dependence will have the effect of gradually stunting any innate predisposition for original thought, while at the same time the development of personal taste is impaired."

In articles about guitar fingering rules, which may also be con­sulted by non guitarists, the following basic notions should be formu­lated- even if for us guitarists they sound obvious:

Strings: numbered from 1 to 6, from higher to lower (in musical sense);

Frets: numbered from 1 to 19- from nut to rosette or sound-hole - from lower to higher (in musical sense);

L.H. fingers: numbered from 1 to 4, from index (lower) to small finger (upper).

Moreover: (a) As long as it is logical (i.e. musically and technically justified), any L. H. finger can depress any note; similarly, excepting the small finger , any R.H. finger can pluck any string. (b) Normally, when the Bar is not applied , any two notes of a same fret are depressed by placing on the higher string the upper of two fingers; the rare, reversed case of 'crossed fingers' will be examined at its time. (c) There are no justified cases for using contemporaneously two fingers on two frets with the upper finger stopping on a lower fret.

(to be continued)

16 G UITAR EWS OcT. /DEc., 1972

" Th is book includes poems on varying subjects but the outstanding feature is a complete section of poems about the guitar . .

Evening Gazette

LIFE-COLOUR Poems by Wilfrid M. Appleby

" Th is select ion reflects the diversity of his interests , his intense appreciat ion of beauty and , occasionally, his sense of humour ."

B.K.S .

Bound in cloth , 60p. Great Britain , $2.00 U.S .A. (i ncluding postage)

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Ocr. /DEc., 1972 GUITAR N EWS 17

TECHNIQUE VERSUS TRADITION by Harold Dench (Britain)

IN recent years athletes have achieved world records that bygone generations thought impossible. At one time, to run a mile in four minutes was but an ideal. Once methods of training were improved ,

others found higher standards possible. Musicians, regardless of their chosen instrument, still in the main continue to study their craft on the same basic principle of a century or more ago. In defence of this, players and teachers will quote the accomplishments of great virtuosi of the last century. There is , however, a point of view that is seldom, if ever, raised; namely, the fact that these virtuosi were nearly always what might be termed player composers. They wrote many, if not all , their pieces in the scope of their own technique. Not that one is to decry this as much is of lasting quality. Even so, they did not have to play compo­sitions of other virtuosi to the same extent as do the musicians of today.

If we are to consider that today's standards of technical training are better, the musician of today should be able to make light work of the compositions of the virtuosi of previous generations, but is this so? As far as one can observe, today's players still struggle with the compo­sitions of yesterday's virtuosi . In essence, the suggestion being made is that the standards of musicians' technical training have not kept pace with similar developments in other walks of life.

Consider for a moment that a muscle pulls only one way, and that a finger has to lift and fall , and that more than one muscle is needed in an ordinary finger movement. Most of the left hand emphasis in scale playing is on placing the finger , therefore it is likely that the downward movement becomes the stronger. From this it would appear that one's technique could become muscle-bound from hours and hours of scale playing which may not be to such good advantage as is generally supposed.

A small experiment (marking time) When in the Army, and being obliged to drill, the tiresome problem

of marking time was often solved by lifting only one leg. This, of course, presumed you were a long way down the line from the Sergeant­Major ! But try just marking time with one leg as opposed to alternating the legs. No doubt you will find alternating much harder. Try this sequence of exercises for the left hand, for which you will need a watch and a metronome:

(A) I - 2 (B) 2 - 3 (C) 3 - 4 (D) l - 3 (E) 2 - 4 (F) l - 4

(Numbers indica te left-hand fingers) (over)

18 GUITAR NEWS OCT./ OEc., 1972

Set the metronome at about 120, a nd play two notes to each tick of the metronome, the object being to sustain each exercise for two minutes alternating the fingers as shown for a total of twelve minutes' playing. Can you play with just two fingers for twelve minutes? ln the orthodox way of leaving the first of the two fingers in place you probably can , but now try to sustain the twelve minute sequence placing and lifting each finger every time, (e.g. marking time with both legs). Can you now sustain the twelve minutes ? Most cannot without making special pro­vision in the daily practice for several weeks. Does this not reflect the fact that one is , in a sense, muscle-bound ?

The point is this, that if orthodox methods are sat isfactory, an advanced player should be able to manage any two fingered exercise that it is humanly possible to invent.

DUO SANTOS-CACERES

TWO South American guitarists, Turibio Santos and Oscar Caceres met occasionally in the French town of Saint-Omer, with the result that on May 9th they gave a concert in the Municipal

theatre of that town which won for them a great ovation and praise in the local newspaper "La Yoix du Nord" .

The first part of the programme consisted of two groups of duos interspersed with a group of solos by Oscar Caceres. Jn the second part Turibio Santos was the soloist. The duos were of music by Dowland , Robinson , Cimerosa , Debussy, Albeniz, Rodrigo (Tonadilla) etc. The transcriptions of Debussy's " La fill e aux cheveux de !in" and "El Puerto" (Albeniz) were by Caceres.

MILWAUKEE CLASSICAL GUITAR SOCIETY

ON June 18th the Milwa ukee Classical Guitar Society presented Alice Artzt in an impressive recital of guitar solos. Miss Artzt introduced each piece with a n appropriate comment. She received

an enthusiastic review from a Milwaukee newspaper complimenting her on her interpretations.

Following that Sunday's concert Miss Artzt conducted a few days of master classes before moving on to Houston , Texas to continue her international tour. The Milwaukee st udents were thoroughly charmed by Miss Artzt's personality and grateful for the wonderful opportunity to benefit from her knowledge. Alice Artzt is not only a superb talent but an equally superb teacher! - Sue Koehler

OCT. / OEC., 1972 GUITAR NEWS 19

AT the Gloria Theatre in Athens, Greece, on May 10th, fourteen members of the National Conservatory guitar class of Dimitri Fampas were presented by the Artistic Agency of Athens in a

concert of guitar music. The hall was filled and extra chairs were required. The programme included music by Bach , Haydn , Handel , Sor, Diabelli , Weiss , Mendelssohn , Tarrega, Ponce, Albeniz, Torroba, Villa-Lobos, Castelnuovo-Tedesco , Rodrigo and the Greek composers Fampas, Mamagakis and Mavroudis.

On the afternoon preceding the concert Dimitri Fampas was invited by his 14 pupils to accompany them to the foot of the Sacred Rock of the Acropolis , before the ancient theatre of Herodes Atticus. There, in a simple ceremony, Frosso Zafiri , a beautiful Greek girl with long dark hair, on behalf of a ll the pupils prese nted their teacher with a rare object from Ancient G reece, a marble statuette of a man playing on a flute. This object originated from the Keros of the Proto­cycladic era (2400 to 220 BC). (orer)

20 GUITAR NEWS OCT. /DEC., 1972

r n the tribute Miss Zafiri said: "We feel proud to be pupils of a really great professor and master of the guitar, who continues the tradition of the ancient Greek guitarists Terpandros, Phemios, Arion, Ibykos etc. Some of us will add to the glory of the guitar, as others of your pupils of yesterday have to-day become famous ... " Much more was said at the Sacred Rock of the Acropolis, where after a toast to their master, they serenaded him with soft sweet music on their guitars as the hour of sunset dimmed the blue of the Attican skies.

Then- back to Athens for the Concert! The names of the 14 guitarists are: E. Consta, Sp. Michael, E. Kotzia,

G. Kertsopoulos, E. Asproudi, G. Mountanos, K. Tsimbos, G. Voulgaris, F. Zafiri , J. Apazoglou , G. Lyras, K. Grigoreas, T. Pentefounti and A. Liakakis.

EXAMINATIONS IN GUERNSEY

A S far as is known this is the first time that candidates from Guernsey (Channel Islands) have participated in the graded examinations for guitar held locally and organised by Trinity College of Music,

London. Thirteen pupils of F. Noel Petit were successful in passing Grade 11 ,

four with Merit and two with Honours. Five of these also attempted Grade IV. All succeeded in passing, two of them with Merit. The exam­iner was the composer, Mr. John Longmire, Hon. F.T.C.L. , L.R.A.M.

Trinity College of Music (London) is celebrating the centenary of its foundation this year.

CARLOS BARBOSA-LIMA

IN the early I 960's Guitar News reported the amazing promise of a Brazilian boy prodigy, Antonio Carlos Barbosa-Lima (b. 1944), whose teacher, Isaias Savio of Sao Paulo, spoke of him as "the

artist of tomorrow". fn 1959 he had valuable instruction from Segovia, who also praised his talents. After Barbosa-Lima's American debut in 1967 he was awarded a full scholarship to study with Andres Segovia. His London debut was in 1971.

This year he has again toured North America with even greater success critics calling him "a Dazzling guitarist" , " a Genuine artist", etc. , while Sophocles Papas writes: "We have a new star on the guitar horizon. ''.J

OCT. /DEC., 1972 GUITAR NEWS 21

BRAZILIAN GUITARIST

CARLOS BARBOSA-LIMA

22 GUITAR NEWS

HERBERT I. GOREY LUTHIER

OcT./ DEc., 1972

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l design co~;t~~:;~ine;;;;;~ physicist

Descriptive literature upon request

SONATAS AND SUITES FOR GUITAR J. S. BACH Cello Suite Ill in A (orig. in C) ..

Cello Su i te IV in A (orig. in E flat ) Lute Sonata in D (orig. in E flat ) Lute Suite I in A min. (or ig. in E min .) Lute Suite II in D min . (orig. in C min .) Lute Suite Ill in A min. (orig. in G min .) Lute Su ite ~V in E (o_rig . in E) . . . .. .

LOGI Partita in A minor

B. MARCELLO Sonata in A major

SANZ Suite in E minor .. . Suite in G minor .. .

WEISS Sonatina in A (orig. for Lute in B flat )

60p 75p 60p 60p 60p 80p 80p SOp JOp 55p 55p 55p

[ID G. RICORDI & Co. (LONDON) LTD. The Bury . Church Street . Chesham . Bucks.

Telephone : Chesham 3311 and 4427

OCT. /OEC., 1972 GUITAR NEWS 23

MEMBERS'ANNOUNCEMENTS

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

Prepaid announcements of up to 50 words (maximum) one insertion 25p One Dollar USA. Series of 6 for the price of 5, £ 1.25 Five Dollars USA.

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

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

GUY B. SIMEONE, guitarist; Segovia Master Classes, guitarist-in-residence Milton Academy, Guitar master Concord Academy and Senior guitarist Longy School, Cambridge, Massachusetts, where a Diploma in Performing Arts and a Degree of Bachelor of Music are awarded. Address: 8 Holborn Street, Milton, Massachusetts 02186 or 316 Hatherly Road, Scituate, Massachusetts 02066, U.S.A.

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

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

CHESNAKOV, A. Elements of music and harmony in the study of the Classical Guitar. Theoretical and practical training in modern technique as a basis for developmen, of artistic playing and for elimination of faults, self acquired or instilled by wrong teaching. Progressive, selected studies. 48a Cathcart Road, London, S.W.10. (FLA. 4354.)

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

WANTED : Past issues of "Guitar News". Write to : Mr. M. Horava, 2285 O'Brien Blvd. Montreal 381, Quebec, Canada .

WANTED: Back issues of "Guitar News" , Nos. I to 6; 8 to 14 ; 16 ; 33 to 38. Willing to take a few other copies to get the above. State price. Mr. J. R . Robertson , 96 Woodstone Avenue, Stoneleigh, Epsom, Surrey, England .

MADISON CLASSIC GUITAR SOCIETY The second meeting of the Madison Classic Guitar Society was held on July 7th at the

home of Mr. Fred Dilzell in Madison, New Jersey, U.S.A. The programme consisted of: Sonata in E (Scarlatti) , Barcarolle (Tansman), Gavotte en Rondeau (Bach), Study in D , No. 6 (Sor/Segovia), Mr. Tom Stringer; Suite in D (Visee), Miss Carol Hammersma; Etudes Nos. l, 3, 10 and Preludes Nos. l , 2 (Villa-Lobos) , Valse (Ponce), Fantasia No. JO (Mudarra), Variations on a theme by Mozart (Sor), Sonata in G (Scarlatti), Recuerdos de la Alhambra (Tarrega), Mr. Fred Dilze/1; Variations on the Conde Claros and Romanesca (Mudarra), Variations on " Guardame las vacas" (Narvaez), Studies Nos. 16, 17, 18, 19, 20 (Sor/Segovia) , Chaconne (Bach) Mr. Mike Newman.

The meeting was well attended and all played well. - Michael Newman

24 G UITAR N EWS OCT./OEC., 1972

FOR THE FIRST TIME IN THE HISTORY OF THE GUITAR

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

etc., throughout the guitar.

GUITAR WITH MOBILE BRIDGE

PATENT PENDING

Invented by

Mobile Units for Each String

MANUEL RODRIGUEZ GUITAR MAKER

From MADRID, SPAIN

For more information write :

MANUEL RODRIGUEZ 8408 WEST THIRD STREET

LOS ANGELES

CALIFORNIA 90048, USA

OCT./D EC., 1972 G UITAR N EWS 25

26 G UITAR N EWS OcT. /DEc., 1972

NEW CLASSIC GUITAR MUSIC

CO 185 G omez-Crespo, N ortena

CO 184 A V olume I and CO 184 B Volum e II

N ine Sonat as by D omin ico Scarl atti Transcribed fo r Guitar by Carlos Barbosa Lima.

$1.00

each $2.50

CO 187 A V olume I and CO 187 B V olume II each $1. 75 Six Lute Pieces from the Baroqu e by S. L. W eiss T rans. by Carlos Barbosa Lima

CO 188 T en Brazilian Folk Tunes by I saias Savio $1.50

CO 189 H omage t o Unamu no by Albert H arr is

F ingered by C arl os Barbosa L ima

CO 190 Suite N o. 1- Five Pieces-by Leonard o Balada

Fingered by Barbosa Lima

COLUMBIA MUSIC CO. P .O . Box 19126, Washington, D .C., 20036 USA

$2.00

GUITAR MAKERS' SUPPLIES WOOD : Brazilian Rosewood , Cypress, Spruce, Maple , Mahogany.

FINGERBOARDS : Semi-finished Ebony or Rosewood . Wood fibre Purflings, celluloid bindings. Rosettes - black and white or colored. Mother-of-Pearl Inlays. Ivory for Nuts and Saddles.

GUil AR NECKS - BRIDGES - MACHINEHEADS

STRINGS : SAVAREZ, LA BELLA, AUGUSTINE, D'ANGELICO

GUITAR CATALOG MAILED UPON RECEIPT OF $2.00 This amount deducted from minimum purchase of $5.00

VITALI IMPORT co. 5944 Atlantic Blvd., Maywood, California, 90270, U.S.A.

OcT. /DEc., 1972 G UITAR N EWS

Made in

520-R 520-8 520-J 520-RZ

"SAVAREZ" RECTIFIED NYLON GUITAR STRINGS

No. Each Doz. 521 E-lst, plain nylon $.85 $10.20 522 B-2nd, plain nylon . .90 10.80 523 G-3rd , plain nylon .. . ····· •· " """"'""'""''' .95 11.40 528 B-2nd , plastic wound on nylon .95 11.40

527 G-3rd, silver plated copper on nylon .95 11.40 529 G-3rd, plastic wound on nylon I.OS 12.60

524 D-4th, plated copper on nylon . 1.00 12.00 525 A-Sth, plated copper on nylon .. I.OS 12.60 526 E-6th, plated copper on nylon .. 1.10 13.20

When ordering single strings, please specify tensions desired by the following letter code :

" B" WHITE CARD-LIGHT TENSION " R" RED CARD-STRONG TENSION " J" YELLOW CARD-VERY STRONG TENSION " RZ" RED CARD-Golden metal wound basses ( red card only)

SAVAREZ BY SETS: I st, 2nd, 3rd plain, basses wound RED CARD

I st. 2nd, 3rd plain , basses wound WHITE CARD

1st, 2nd, 3rd plain, basses wound YELLOW CARD

1st, 2nd, 3rd plain, basses golden wound RED CARD

520-P I st plain , 2nd & 3rd wound, basses silver plated copper on nylon RED CARD

520-PJ-R I st & 2nd plain, 3rd plastic wound, basses silver plated copper on nylon RED CARD

I st & 2nd .plain, 3rd plastic wound, basses silver plated copper on nylon WHITE CARD .

France

.... $ 5.85 5.85 5.85 5.85

6.00

5.95 520-PJ-B

520-J / R 520-R/J 520-JP/ R

3 treble plain YELLOW CARD, Basses wound RED CARD ..... .

5.95 5.85 5.85 3 treble plain RED CARD, Basses wound YELLOW CARD ..

1st plain YELLOW, 2nd & 3rd plastic wound RED CARD, Basses wound RED CARD

520-J /RZ 3 treble plain YELLOW CARD, Basses Golden wound

6.00

RED CARD .. ...... ................ 5.85 6520 All red card, Basses pure silver ..... 15.00

VITALI IM PORT co. 5944 Atlantic Blvd., Maywood, California 90270, U.S.A.

27

28

NYLON CLASSIC

HIGH TENSION

N 0.450

GUITAR N EWS

ONE SET

A L L 0

OcT./DEc., 1972

GUITAR STRINGS

SILVER PLATED

PRICE $

Quality in guitar strings does not just happen. It is the result of planning, engineering and skill in manufacture by experienced craftsmen. WALLO classic guitar strings are QUALITY strings which will satisfy the most discrim­inating guitarist with their tremendous response and tonal purity.

Price information and quantity discount available to dealers, teachers and others.

WALLO CLASSIC GUITARS are now made only to prior order. Waiting period about two years.

Price $2,000.00.

JOSEPH F. WALLO ENTERPRISES 1319 F STREET, N.W., WASHINGTON, D.C. 20004

OCT. /DEC. , 1972 GUITAR NEWS 29

classic guitar construction By Irving Sloane

This unique, comprehensive book gives all the

information necessary for the building of a fine ,

classic guitar. Handsom ely illustrated, it is an

indispensable guide for the nov ice luthier, and

convey s much of the romance of the Spanish

c lassic guitar, gives a brief history and discussion

of guitar construction theory, and prov ides a picture

ga ll ery of gui tars by the great makers: including

Torres, H auser , San tos , Esteso , Arias , and Barbero .

Th e author' s m ethod of constru ction conforms to

c lassic guitar-making principles and is superbly

well-suited for the amateur crafts m a n, Specific

diagra m s and 1 25 c lear, professional photographs

illuminate eac h step. A simple w ood 'san dwich '

yi e lds th e principle e le m en t s of the basic forms

necessary to build a g uitar: A mold, bending form , purfling forms, and template.

The author te ll s one how to make hi s ow n c lamps, purfling cutter, and even th e

r osette (the sound hole m osaic inlay ). H e explores each aspect of gu itar co nstruc­

tion , and includes a directory of suppliers for w ood, tools , and a ll gui tar-m ak ing

accessories .

Send m e .................. copies o f CLASSIC GUITAR CO NSTRUCTION by Irving Sloane at $7 .50 each ( includes postage and handling)

Distributed by : VITALI IMPORT COMPANY 5944-48 Atl antic Blvd . Maywood , Californ ia, 90270, USA

30 GUITAR NEWS OCT. /DEC., 1972

MUSIC

FOR

GUITAR

in

[E] Edited by

KARL SCIIEIT

UNIVEltSAL EDITION 2 /3 Fareham Street London, WI V 4Dll

FRANCISCO TARREGA

The Complete Technical Studies

This edition represents the first compre­hensive collection of authentic studies. The editor has arranged the collection in logical order, omitting unnecessary fingerings and including notes on the individual exercises

price £1.60

New Publications for Solo Guitar

Logy, A. Partita in C .55

Selected Easy Pieces .45

de Visee, R. Suite in C minor .60

Bennett, R.R. Impromptus .70

Paganini, N. Sonatina .55

Please write for complete guitar catalogue.

OCT./DEC., 1972 GUITAR NEWS

PtESTORATIONS & VALUATIONS

.. I LTD . ' ALL RISKS ' INSURA.NCE . ~ '~ ',' :!he t;~s;;;_• PLAYER 4 MAKER

49 BERKLEY STREET

BIRMINGHAM BI 2LG TELEPHONE : 021-643 0088

NYLON STRINGS "FISOMA"

These strings are the result of many years of patient research by the makers, with 175 years of experience as string makers to the World's Artists. "FISOMA" strings are used and recommended by Luise Walker. We can supply 3 distinct types which are specially designed for different tonal standards. Some instruments will produce best results by using a mixed set of strings.

Alloy D 4th A 5th E 6th

G 3rd

E 1st Nylon 0.14 B 2nd ,, 0.16 G 3rd ,, 0.18

covered Bronze covered Pure 0.18 0.32

silver covered 0.38

0.21 0.35 0.47 0.23 0.47 0.58

Nylon, covered with Tape-section nylon 0.30 Set with Alloy lower strings 1. 11 Set with Bronze lower strings 1.63 Set with Silver lower strings 1.92

Any set with covered G 3rd will be 0.13 extra to above The Bronze and Pure Silver lower strings are finely burnished and

very highly polished. Trade enquiries invited British Isles.

"AUGUSTINE" NYLON Segovia's Choice

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

GUITAR MAKING All parts and materials for the professional and amateur maker.

Please send for lists, post free.

3[

32 GUITAR NEWS OcT. /DEc. , 1972

JN THIS ISSUE Page

Rey de la Torre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Per-Olof Johnson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Berti/ lngwaldsen 3 Book Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Wil/rid M. Appleby 4 When was Segovia born? . . . . . . . . . . . . . . . . . . . . . . . . . . . . Wi!/rid M. Appleby 4 Evangelos Boudounis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Cheltenham Classic Guitar Circle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Forthcoming Concerts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Ithaca College 1972 Course . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Lebanon Guitars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 International Study Conference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Stella Simonsen 10 Ladies' Guitar Ensemble ...................... , . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 l For the Gramophone ........ . .. . , . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Anthea Gifford . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Harold Dench 12 Julian Bream .................... . ........... .. . ..... .... . ...... ..... W.M .A. 13 Guitar Fingering (3) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Miguel Abloniz 14 Technique versus Tradition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Harold Dench 17 Duo Santos-Caceres . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Milwaukee Classical Guitar Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sue Koehler 18 Guitarists at the Acropolis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Exartiinations in Guernsey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Carlos Barbosa-Lima . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Members' Announcements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Madison Classic Guitar Society ................................ Michael Newman 23

THE INTERNATIONAL CLASSIC GUITAR ASSOCIATION (A non-prnfit making Organisation)

President : Harold Dench ; Honorary Treasurer: Mrs. Kay Appleby Auditor: E. J. Dance; Corninittee Member: E. V. Ridge

Hon . Organiser: Wilfrid M. Appleby, 47 Clarence Street, Cheltenham (Glos.), England, to whom all p,ayments should be sent.

Membership Fees Great Britain only

Foundation Member - £1.20 (6 issues) Supporting Member - £1.00 (6 issues) Ordinary Member - - £0.80 (6 issues)

All other countries (Overseas) Foundation Member - Five Dollars (6 issues) Supporting Member - Four Dollars (6 issues) Ordinary Member - Three Dollars (6 issues)

or equivalent USA payments are best made in Dollar Bills or INTERNATIONAL Money Orders which should be made payable to Wilfrid M. Appleby. Cheques require the addition

of 50 cents for bank charges. ' Foundation ' and ' Supporting ' members subscribe the extra amounts to help maintain

the financial stability of I.C.G.A. and "Guitar News". Membership includes " Guitar News "- 6 issues, as issued.

"GUlT AR NEWS" Hon. Editor: Wilfrid M. Appleby. Business Editor: Kay Appleby. Copyright reserved.

The Editors do not necessarily agree with the opinions expressed by contributors.

Gloucester Printers Ltd ., Blacktriars Press. Ladybcllcaate Street, Gloucester.