Soundboard V22 n3 1996

op.
WINTER 1996 GUITAR FOUNDATION OF AMERICA VOLUME XXII, NO. 3
SPECIAL BACH ISSUE $7.00
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■
WINTER 1996 VOLUME XXII, NO.3
Letters to the Editor 3

On the Cover 5
Reverberations 7
Bach's Unaccompanied Cello Music - By Stanley Yates 9
•
The Transcriber's Art - By Richard Yates 25
Prelude XIII Well Tempered Clavier - Book I Transcribed By Richard Yates 28
Samuel Zyman: A Mexican Composer in New York 31
A Day With The Editor:
A Conversation With Peter Danner - By Frederick M. Noad 37
Return With Us Now:
Komm, Siisses Kreuz By J.S. Bach - Annotated by Peter Danner 42
The GFA Contemporary music series, No.28 - Introduced by Peter Danner 53
The Society Page - Germaine Marie Gombert 57
A Letter From France - By Mary Criswick 58
• z41
The Man From Ipanema: Antonio Carlos Jobim (1927-1994) - By Marvin Falcon . .63
Falsa Balana (bossa nova) - Arr. By Marvin Falcon 66
The 13th GFA Guitar Competition: An Inside View - By Leon M. Brown 68
GFA 1995 - By Richard M. Long 71
1995 Stetson Guitar Workshop - By Sharon Ketts 75
Publication Received - Compiled By David Grimes 79
Reviews 83
Works In Progress/Completed - By Thomas F. Heck 90
GFA Archivist's Report - By Thomas F. Heck 91
Soundboard Classified 96
1
Soundboard is published quarterly by the Guitar
Foundation of America, a non-profit 501(c)(3)
educational and literary organization, devoted to
furthering knowledge of and interest in the guitar
The Guitar Foundation
and its music. All gifts are deductible for income
tax purposes. The opinions expressed in the pages
of Soundboard are those of the authors and do not
of America
necessarily reflect the opinions of the Editors, the GFA ADVISORY BOARD
Executive Committee, or the Board of Directors.
Soundboard invites contributions. All manu- NEIL ANDERSON P.O. Box 424, Farmingdale, NJ 07727
scripts should be sent to the editor-in-chief on MICHAEL ANDRIACCIO 197 Wellington Rd., Buffalo, NY 14216
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such contributions, Soundboard and GFA are not RICARDO IZNAOLA 3824 South Frazier St., Aurora, CO 80014
responsible for loss or damage. FRANK KOONCE (Chair) School of Music, Arizona State University,
Deadlines for submissions: January 15 (Spring Tempe, AZ 85287
issue), April 15 (Summer issue), July 15 (Fall NORBERT KRAFT 39 John St., Thornhill, Ont., Canada L3T 1Y1
issue), October 15 (Winter issue).
Delivery dates (approximate): April 15 (Spring SECRETARY TO THE BOARD
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issue), January 15 (Winter issue).
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BACK ISSUES:
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Claremont, CA 91711 COPYRIGHT 1996 BY THE GUITAR FOUNDATION OF AMERICA, INC.
2
he writes about "booboos," allegedly theory, ear training, keyboard, en-
quoting the late Gustave Reese. Pro- semble, a two-year guitar harmony
fessor Reese introduced me to the course, twice-weekly private lessons,
Letters to the Editor intricacies of preparing a critical edi- and twice-weekly performance
tion when I was his graduate assis- classes. Most of the high school stu-
tant, and bringing the Francesco edi- dents live on campus where they at-
tion to a finis. He would be appalled tend coutless music, dance, and dra-
• In the apologia John Milton that one might so flippantly dismiss matic performances—taking full ad-
Ward offers for the critique of his mistakes in ones own or another vantage of our unique professional
edition of Elizabethan lute music by scholar's work. Before being accepted arts evnironment. In the summer ses-
John Johnson (Soundboard 22/2 [Fall for publication, the Francesco edition sion, we typically enroll 12-15 junior
19951: 3-4), I read with dismay the was refereed by Howard Mayer high and high school guitar students
many conspicuous, gratuitous refer- Brown and by a professional lutenist. who participate in a similar, though
ences to my edition of works by the Their valuable advice, which I somewhat less demanding five-week
Renaissance lutenist Francesco heeded, was very helpful in assuring curriculum. We at the North Caro-
Canova da Milano (Cambridge, MA: the accuracy of the musical text. The lina School of the Arts are committed
Harvard Univ. Press, 1970; Reprint errata that Ward's tutee Hopkinson to providing the finest possible edu-
Ann Arbor: UMI Books on Demand, Smith furnished in 1972 consist of cation and training for all our stu-
Order No. 2057946). Ward's recollec- two and one-quarter pages of double- dents; high school, college, and gradu-
tion of its gestation, three decades spaced typescript, not the seven-page ate. We are not, therefore, "essen-
ago, is conveniently less vivid than litany Ward describes. tially a collegiate program," enroll-
mine, when he suggests that it is in- Ward's specious references to the ing "only two students below college
fested with "booboos," and that I Francesco edition will not miracu- level" as reported in the article.
"failed to provide" critical notes. lously ameliorate the serious defects
All of the critical notes were com- that the Soundboard reviewers and Gerald Klickstein
pleted well before the edition was others have discovered in the Johnson John Parris
sent to the Press' editorial office. I edition. Winston-Salem, NC
checked and collated over a million
tablature ciphers and rhythm signs in Arthur Ness, Ph.D. • Concerning the summer 1995
order to select for the edition the best Boston, MA issue, in reply to David Harris's let-
of the some 600 extant old readings. ter, the editor's note failed to mention
For Ward to cast aside the relevance • Thank you for publishing Dou- F. Sor, who had a seven-string built
of such work demonstrates an appar- glas Back's informative article ("Cre- by Lacote (Helene Charnasse, La
ent lack of familiarity with established ative Teaching Techniques with Guitare,1985). Personally, I don't have
musicological method. I have always Young People") in the Fall issue; we a 6-string guitar; mine are 10- and 13-
shared my notes with others—a scant applaud Mr. Back's efforts to bring string guitars. Beside the advantages
half dozen times in the past 25 years. guitar instruction to younger students advanced by Narciso Yepes, to me
One recipient was Robert Toft, who and to gather information about other they look much nicer than 6-string
used the information in his mono- guitar programs. We were happy to guitars.
graph on musica ficta practices in respond to his survey and be men-
Josquin's music. Moreover, in the tioned in the article. Due to a misun- Jacques Mercier
Francesco edition I have provided derstanding, however, some inaccu- Rouyn-Noranda, Quebec
"instant" critical notes (see page 10 of rate information was printed regard-
the introduction), and all ornamented ing our high school guitar program, • In response to David Harris'
versions and related pieces are in- and we would like to offer a correc- letter published in the Summer 1995
cluded in an appendix. The extended tion. issue: I suggest you refer your read-
Francesco notes merely record errors At the North Carolina School of ers to Michael Kasha's excellent ar-
compounded from source to source, the Arts, we currently enroll 22 guitar ticle "A New Look at the History of
unlike pieces in the Elizabethan rep- majors: eight high school, 13 college, the Classic Guitar" in Guitar Review,
ertory, which often survive in many and one graduate—the proportions No. 30 (Aug. 1968). The last two para-
discrete versions, all of which are of change somewhat from year to year, graphs of the article, on page 12, are
interest to today's scholars and per- and the high school program is cur- especially pertinent. They lead off
formers with a serious interest in his- rently growing. The rigorous high with, "One of the real marvels in the
torically informed performance. school curriculum includes a full load history of the guitar is the fact that it
Ward is being disingenuous when of general study courses, plus music survived the tendency of other in-
GFA Soundboard Winter 1996
3
Letters to the Editor
struments to become so complex as to only find such material wholly fasci- have used some with students.
become obsolete from the cumber- nating and helpful. I have included many in my "Vic-
some disadvantages of too many Paul Hurley torian Parlor Evening," a presenta-
strings." Personally, I think the six- Auburn, CA tion of classic guitar music, songs,
string classic guitar provides the op- stories, poetry, news items, and hu-
timal balance between musical range • I play the Early Guitar Music mor of the 19th century performed in
and technical complexity. and the Contemporary Guitar Music. period attire.
In response to your "Note" in the I don't play the music in Return With Once when I performed "Shaker
same issue: I find the inclusion of Us Now, or any of the 19th century Dance" a man from the audience
music very valuable. Please keep up guitar music. asked me where I had gotten it. When
the excellent selection, ranging from I explained that it and many other
Renaissance to contemporary. You Jim Tosone pieces I had played came out of Sound-
would halve the value of Soundboard via CompuServe hoard, he was surprised—I was a sub-
by deleting the music. scriber himself! He had not realized
• I am responding to your request what could be found there.
Jay Wilber of Soundboard readers to comment on These pieces requires a player who
Ridgecrest, CA the music you publish. By way of is willing to approach them on their
introduction, I have played guitar for own ground and for what they are,
• The "Note from the Editor" in 30 years, classical guitar for the last rather than criticizing them for what
the Summer 1995 Soundboard invited 15. Although Jam not a professional, they're not. A certain panache and
reader feedback on the music con- I have reached a fairly high technical sentimentality is required, and it helps
tained in the Soundboard. I personally level (my repertoire includes Barrios, to understand something of the so-
find it one of the most interesting Bach lute suites, Tango Suite, etc) and cial context. Many players simply
features, and hope that it will con- my sight-reading is good. don't know how to handle these
tinue. I appreciate the coverage of I have read Soundboard for about pieces, I believe, so they don't make
many different periods and types of 5-6 years, purchasing copies at the the most out of them. I hope you'll
classical music. local Tower Records. Compared with keep up the good work, and thanks
Soundboard is a very well-balanced its competitors, I think Soundboard's for all the music so far!
magazine catering to readers of strength is its articles. The music I use
widely varying interests. I think you primarily to practice sight-reading; Michael Bryce
are doing a marvelous job as editor, with few exceptions (some Bog- West Bloomfield, MN
especially when one considers that danovic comes to mind) these are not
most of the contents must be solicited pieces I would add to my repertoire. • I read with interest your request
from members, and that you are de- In regard to music, I would put Guitar for reader suggestions and contribu-
pendent on the quality of what they Review at the forefront (among En- tions in the "Note from the Editor" in
submit. glish language journals; Gendai Gui- the Summer issue.
My thanks and appreciation for tar is at least as good), and Soundboard You include few transcriptions,
your work. ahead of Classical Guitar magazine. although we have a solid and honor-
That said, I would be unhappy if you able tradition of adapting music from
Richard Kenyon were to discontinue music publish- other instruments. A substantial pro-
Irvine, CA ing. I would be happier if you would portion of recordings and recitals are
include more duos, and perhaps tran- transcriptions. Indeed, I think of tran-
• You wondered in the latest scriptions / arrangements by well- scription as one of the ways in which
Soundboard if your readers find all the known guitarists (eg. Barbosa-Lima, guitarists rovide an invaluable ser-
printed music you include to be Tanenbaum, Fisk, etc.). vice to the music world by discover-
worthwhile. Speaking for myself, I Thank you for the opportunity to ing and making available great music
can only say that I read every note at comment, and keep up the good work! that would otherwise never be heard.
least once. It becomes my sight-read- A considerable portion of my week is
ing practice during the time I'm read- Prof. Robert A. Margo spent in mining old music to find the
ing your magazine. The best of the Nashville TN gems which shine when transcribed
material, such as Dusan Bogdanovic's for guitar. Publish more transcrip-
article on polymeter, I absolutely • Yes! I like the public-domain tions.
study. music published in Soundboard. I have I would like to propose that Sound-
It seems to me that any guitarist xeroxed almost all such pieces, and board institute a regular column about
wishing to stretch his horizons can performed many of them publicaly. I transcription. This column would be
4
Letters (cont.)
a highly interactive one based largely The 1996 GFA Convention is in
on reader's input. Each issue would the capable hands of John McClellan,
include a complete transcription with who has already lined up an out-
an invitation for readers to send in standing roster of artists. So, plan to
comments, suggestions, and ques- "Meet Me in St. Louis" in October.
tions about the decisions that were We want to thank the many read- I'll be looking forward to meeting
made in producing the transcription ers who responded to your editor's you October 20-26.
(or other music that raises questions request for information about the mu- Finally, our thanks to those read-
or problems of this sort). Readers' sic in Soundboard. The response has ers who volunteered to take over the
contributions of complete transcrip- been very encouraging. A number of duties of the "Society Page" column,
tions of their own would be solicited. readers might have concluded that which fell vacant on the death of
The next issue would present and this request signalled our intention Wynn Morrant. This position has
discuss these ideas and explore alter- to stop including music in these been filled by Penny Phillips. We
nate solutions. The column would be pages. Rest assured. We plan to con- look forward to her reports.
a forum for discussion of ideas, a tinue presenting music here, as long
source of music for players, a teach- as suitable material is available.
ing tool, and a way for guitarists to One outcome of our request has
cooperatively expand the literature had at least one most promising re-
of our instrument. sult: a new column proposed by Ri-
chard Yates, which begins in this is-
Richard Yates sue and which we hope our readers
Salem, OR will find of interest. Quite justifiably,
Mr. Yates points out that the guitar
• I am currently researching a repertoire own much of its vitality to
book on California Classical and Fla- the great wealth of music transcribed
menco luthiers and invite any and all for it from other instruments. We
readers to write me should they have certainly agree. He cites Segovia's
an instrument made in California. landmark guitar transcription of the
The art of guitar building nears a Bach Chaconne for starters, but the
golden era again, but there were mak- list could go on almost indefinitely:
ers working as early as the 1920s of Albeniz, Granados, Scarlatti. And
which little is known. It is my hope to surely Tarrega's arrangement of that
correct this error and place in focus beautiful Mendelssohn "Barcarola"
the innovations and the importance must figure in there somewhere. We
attributed to makers working in Cali- invite readers to accept Yates' invita-
fornia. tion and help turn this forum into a
Please sent all correspondence to genuine dialogue. Please feel free to
701 Anchor, Morro Bay, CA 93442. Our cover illustration this quarter
become involved. was contributed by John Grimes of
Speaking of Bach, we find he Morro Bay, California, whom we are
John Grimes
makes his presence known in several assured is no relation of GFA's es-
Morro Bay, CA places in this issue, almost giving it a teemed President.
theme. So be it! It's hard to get too It is an ivory miniature (10.5cm x
• Trivia department: One of the
much of the great Leipzig cantor. 12.8cm) painted with oils. Given the
Pierrots on the Winter 1995 cover is
Those unable to attend GFA's an- player's costume (notice her mutton
identified as playing a recorder. How-
ever, my wife, a player of both the nual convention in California missed sleeves and dapper straw hat), the
an outstanding experience. Guitars instrument, and the original ornate,
clarinet and the recorder, observed
everywhere. Ron Purcell and his as- hand-carved gilt frame, the painting
the belled shape of the lower end of
the instrument, as well as the single sociates (especially Greg Newton and was probably executed sometime
reed attached at the upper end. These Ron Borczon) are to be congratulated during the 2nd or 3rd quarter of the
features mark it as an early form of for keeping things running smoothly 19th century.
clarinet, not a recorder. in the face of such adversities as the The painting is in the collection of
death of a featured artist (Laurindo Lorraine and Richard Reynolds,
Michael Bryce Almeida) and the aftermath of a dev- Windicori Antiques, Morro Bay, Cali-
West Bloomfield, MN astating earthquake. fornia. Photo: Jennifer Reynolds.
5
The
Cleveland
Institute
of Music
DAVID CERONE
President
JOHN
HOLMQUIST
Head, Guitar Department
JASON
VIEAUX
Student of John Holmquist
and Winner of the Guitar
Foundation of America
International Competition
"An opportunity to work

with award-winning
faculty and students in an
environment of artistic and
academic excellence. This
is the essence of the guitar
program at The Cleveland
Institute of Music."
Bachelor of Music
Master of Music
Doctor of Musical Arts
Diploma
Artist Diploma
Professional Studies
For further information, contact

William Fay, Director of Admission
The Cleveland Institute of Music
11021 East Boulevard, Room 412
Cleveland, Ohio 44106
(216) 795-3107
6
Soundboard's News and Personalities Column
Scott Saari
3434 N. 11th St., Unit 5
Phoenix, AZ 85014
Goni Wins GFA '95 GFA 1996: "Meet Me in Saint Louis" guitar ensembles who would like to
participate to contact:
The 13th GFA International Solo The GFA Artistic Board is pleased
Guitar Competition was won by to announce that the 1996 CFA Con- Manley Mallard
Antigoni Goni. Elena Papandreou ference and 14th annual Guitar Com- 1996 GFA Ensemble Director
placed second and Maximilian petition will take place in St. Louis, 1560 W. Riverview
Mangold third. In an unusual move Missouri, from October 20-26. John Decatur, IL 62522
this year, the jury allowed five, rather McClellan will serve as director of (217) 425-2604
than the usual four, performers to the Conference with Jeff Cogan again
compete in the finals. The fourth-place being in charge of the Competition. Gala tributes are planned honor-
prize was awarded to Alan Thomas, The site is to be the well-appointed ing two Missouri figures who have
with Ernesto Diaz Tamayo receiving campus of Webster University located made their marks in guitar history:
an honorable mention. The Naxos in the picturesque suburb of Wester William Foden and Mel Bay. The 1996
Prize, which rewards a recording con- Grove. Conference will hold many surprises
tract to the most deserving finalist, Among featured artists scheduled for all who attend, so plan to "Meet
was awarded to two performers: Ms. to appear are David Starobin, David Me in St. Louis!"
Goni and Ms. Papandreou. Be sure to Russell, the Los Angeles Guitar Quar-
read Leon Brown's review elsewhere tet, the Pearl/Gray Duo, Scott New England Competition Winners
in this issue for a full report of the Tennant, and the Strano Sisters, a
competition. young Australian duo. Other high- The 4th Annual New England
Antigoni Goni is a native of Greece lights will include appearences by Guitar Competition was hosted by
and studied with Sharon Isbin. She Aaron Shearer and Gerald Klickstein, The Boston Conservatory andThe
was recently appointed head of the and the world premiere of a major Boston Classical Guitar Society on
Pre-College Division at the Juilliard new concerto by Andrew York for November 18, 1995 as part of Guitar
Conservatory of Music. Earlier this two guitars and orchestra. Ensemble Mini-Fest '95. The winners of the
year, she had placed third in the playing is to be a major focus of the Collegiate Division were: Felipe
Stotsenberg Competition at the Uni- event, and we encourage directors of Amaral, 1st place; Igor Golger, 2nd
versity of Southern California. place; Thomas Fowler, 3rd place. The
7
Newsworthy
winners of the High School Division of Chicago. This work, still untitled, Winston, Salem, NC 27117-2189,
were: Walter Rodriguez, 1st place; will be premiered in the spring of phone: (910) 770-3204/fax: (910) 770-
David Kirkham Potts, 2nd place; 1996. 3275.
Alexander Henry, 3rd place.
Plans are already being made for D'Addario's Bowdoin Fellowship Susan Grisanti
next year's event which will take place
in November, 1996. For more infor- The D'Addario Foundation Fel- U.S. Embassy Touring Artist Su-
mation contact William Buonocore, lowship will once again be awarded san Grisanti completed a critically
Guitar Dept. Chair, The Boston Con- for study with guitarist David Leisner acclaimed tour of seven East German
servatory, 8 The Fenway, Boston, MA at the Bowdoin (pronounced "BO- cities during July 1995. Her new CD,
02215. (617)536-6340x124. d'n") Summer Music Festival. The Great Classics, Vol. 11: Music along the
six-week program, June 22-August 3, Romanesque Road, features music from
Castellani - Andriaccio Master Class 1996, in Brunswick, Maine, includes the tour including four world pre-
weekly private lessons, masterclasses, miers: "Taqseem" (Loris Chobanian,)
Fleur de Son Records is pleased to and chamber music coachings. The Jazz Vignette and "Toccata in Blues"
anounce that duo guitarists Joanne fellowship will go to a guitar student (James Bogle,) and "Tribute" (Dave
Casstellani and Michael Andriaccio with exceptional artistic promise and Schwartz.) Also featured are over a
will once again conduct a two-week need for financial assistance. The ap- dozen photos of the tour. For order
master class for advanced players in plication postmark deadline is March information or press materials, see
Rome, Italy, in 1996. The event is 31,1996. Last summer's recipient was the advertisement in this issue of
scheduled for June 20 to July 4, 1996. Celso Cano, a student of Thomas Soundboard or write:
Class size will be strictly limited and Patterson at the University of Ari-
some scholarships will be awarded zona, and winner of prizes at several Susan Grisanti
based pon an audition tape to be sub- guitar competitions. For further in- Blaze of Glory Records
mitted with the application. formation please contact the Bowdoin Park Tower
Tuition is $500.00 U.S. for perform- Summer Music Festival, Bowdoin 1617 27th St.
ers and $250.00 U.S. for auditors. College, Brunswick, ME 04011, tele- Lubbock, TX 79405
Applicants must submit an audition phone (207) 725-3322.
tape of at least five minutes duration, 1996 Idaho Festival
which must be received by March 1, 1996 North Carolina Workshop
1996. Paid applications are due Spril The Sixth Annual Northwest Gui-
1. Special room and board arrange- The annual Summer Classic Gui- tar Festival will be held March 28-30,
ments will be available, so join us for tar Workshop will be offered for jun- 1996, on the campus of the University
an exhilarating two weeks of music ior high, high school, and college stu- of Idaho in Moscow. The festival will
in the "Eternal City." dents from June 23 through July 26, include concerts, lectures, master
1996 at the North Carolina School of classes, and a competition.
Chicago Guitar Quartet the Arts. Under the direction of Gerald Evening recitals will be presented
Klickstein, the five-week, intensive by David Feingold, James Reid, and
The newly-formed Chigaco Gui- workshop will explore classic guitar Gerald Klickstein. Other performers
tar Quartet completed its fall season technique, music reading, interpreta- will include Kevin Callahan, Hanh
with concerts in St. Louis, Columbus, tion, memorization, and performance Nguyen, Dale Ketchison, and Bryan
Dayton, and Chicago. The quartet development. Johanson. The competition will be
(Brian Torrosian, Julie Goldberg, Students receive weekly private open to residents of the Northwest
Steve Vazquez and Mathhew Heaton- lessons plus a variety of classes in- and will carry a first prize of $750.
Murphy) performed a program which cluding: guitar ensemble, music Information: James Reid, Hampton
included Patrick Roux's "Tango Con- theory and ear training, guitar his- School of Music, University of Idaho,
tretemps Go" and Leo Brouwer's tory and literature, performance de- Moscow, ID 83844-4015. Phone: (208)
"Toccata" (both performed at GFA velopment classes, plus faculty and 885-6231.
'94 in Quebec) and Dave Burdick's guest artist recitals. The NCSA Sum-
"ABE," which was commissioned for mer Session provides the ideal set-
the 1994 Mid America Guitar En- ting for intensive study and artistic
semble Festival. Currently, the quar- growth in an environment where
tet is working with composer David musicians, actors and dancers live •; (1%;*
;; To/6;
g4 :) ;•
Pavkovik on the creation of a new and work together. Contact: Sum-
piece funded by a grant from the city mer Session, NCSA, PO Box 12189,
8
BACH'S UNACCOMPANIED
CELLO MUSIC:
The Nature of the Compound Line and
an Approach to Stylistic and Idiomatic
Transcription for the Guitar
by Stanley Yates
Since its inception, the unaccompanied string music of THE NATURE OF THE COMPOUND LINE
J.S. Bach has been subjected to almost continuous tran-
scription—a process initiated by Bach himself in his By compound line is understood a series of single
adaptations of a substantial portion of this music for the pitches that, exhibiting logical and cohesive voice-lead-
lute and for the keyboard.' Continuing into the 19th ing at more than one level of pitch, provide an implication
century, adaptations by both Schumann and Mendelssohn of contrapuntal and harmonic structure. The technique is
provided piano accompaniments to the violin works, and encountered in the early 17th-century vocal concerti and
in the present century numerous arrangements have instrumental canzone of Ludovico Viadanna, where a
appeared for guitar, lute, piano and harpsichord, among pseudo-polyphony is projected by one or more self-
other instruments. Beyond affirming the long-lasting imitating voice parts and, in a more developed form, in
attractiveness of the music, these adaptations (including the later 17th-century Corellian sonate a due, in which the
those made by Bach himself) suggest that a degree of solo violin simulates the trio texture of the sonate a tre
alteration is required in providing an adequate realiza- through the use of multiple-stops, arpeggios, and dis-
tion of the implied polyphony of the unaccompanied junct scale motion.
originals when transferred to harmonic instruments. Most Ranging from sparsely-accompanied melody to full
recently, however, arrangements of this literature for the fugal texture, Bach's manipulation of the compound line
guitar (which may well be more numerous that those for is given a most thoroughgoing exploration in the unac-
any other instrument) have tended toward unaltered companied string music. Despite the frequent use of
renditions, respectful of the note-content of the originals. multiple-stopping, however, the chief means of poly-
Clearly, both approaches derive their inspiration from phonic implication in this music lies in a quasi stile brise
Bach himself—one in emulating his arrangements, the texture of arpeggio and disjunct scale motion, contained
other in respecting his originals—but to what extent are within the profile of a single melodic line. Three methods
these approaches valid? In arranging after Bach's models of polyphonic implication may, therefore, be discussed:
we assume that the model is good. In making pristine multiple-stopping, arpeggiation, and disjunct scale mo-
editions, on the other hand, we imply that the music is tion.
indelible, as perfect as it can be. Multiple-stopping. A multiple-stopped chord is, of
This article explores the arrangement process from course, an actualized rather than an implied or suggested
three perspectives: 1) the nature of Bach's compound polyphonic event and is treated as such in the unaccom-
lines; 2) Bach's arrangements; and 3) transcription for panied string works—that is, as a simultaneity resulting
modern guitar. from the verticalization of otherwise independent linear
9
voice-parts. In the violin works, prolonged passages of "Fuga" of the G minor sonata for unaccompanied violin
double, triple, and even quadruple stops are common (BWV 1001), is just a small portion of a prolonged multi-
and routinely exhibit highly consistent voice-leading. stopped passage of some 32 measures' duration.
The passage in Figure 1, for example, taken from the
Figure 1. Fuga, G-Minor Violin Sonata, BVW 1001, mm.27-32.
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On the few occasions that faulty voice-leading is en- The treatment of multiple-stops in the cello works, on
countered in the violin works, it is usually the result of a the other hand, is considerably less consistent. Due to a
technical compromise in a passage of quadruple-stopped less facile technical idiom, quadruple-stopped chords
chords. In the passage in Figure 2, for example, the inner almost always result in faulty voice-leading; triple-stops
voices are exchanged due to technical difficulties, result- also often lack satisfactory resolutions, and even some
ing in a faulty resolution of the seventh. double-stopped passages are problematic. The Sarabande
from the D-minor suite, for example, is plagued through-
Figure 2. Sarabande, B-minor Violin Partita, BWV out by problematic multiple-stopped chords, as can be
1002, mm. 11-12 seen in Figure 3—the low tendency-tone C-sharp in mea-
sure 22 is neither prepared nor resolved, the harmony on
11 12
that beat does not resolve in register, and the chromatic
ascent in the lower of the two notated parts in measures
25-27 is disrupted by octave-displaced resolutions.
•
Figure 3. Sarabande, D-minor Cello Suite, BVVV 1009, mm. 21-28.
24
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25 26 1 127 I 28 I
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•
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Such multiple-stopped4verticalizations, containing Representing a compromise between sonority and an

unresolved tendency-tones, and even doubled sevenths implied polyphony on the one hand and an attempt at
and leading-tones, are found throughout the cello works. legitimate voice-leading on the other, these situations
10
clearly result from the technical idiosyncrasies of the the mature French baroque in which a free-voiced contra-
cello. Indeed, the low C on the downbeat of measure 15 of puntal texture is produced through arpeggiation and
Figure 9, later, is the lowest possible note on the cello and, scale motion based around expedient chordal fingerings.
therefore, cannot be resolved downwards in register. The passages shown in Figure 4 demonstrate implied
Arpeggiation. Bach often gives the impression of a multi-voice textures supporting harmonic change at a
free-voiced polyphony through a quasi stile brise localized level: three functional voices are implied on the
arpeggiation of a single melodic line, stile brise (French: last beat of measure 1; and at least four implied voices
"broken style") referring to an idiomatic lute texture of resolve into the next harmony at the end of measure 4.
Figure 4. Alemande, C minor Cello Suite, BVVV 1011, mm. 1 2.
- -
In addition to very localized instances such as these, allegro movements, where the broken style combines
Bach often makes systematic use of the technique set over with typical Italian string figuration in the elaboration of
greater sparks of time. This is particularly so in the violin an underlying polyphonc structure (Figure 5).
Figure 5. Allegro, A-minor Violin Sonata, BVVV 1003, mm. 7-11.
1 10
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Disjunct Melodic Lines. Disjunct melodic motion is at model of contrapuntal structure is represented by me-
once the most subtle and the most useful means of sug- lodic activity at each pitch-level of an underlying tonic
gesting a multi-voice texture on a single-line instrument. arpeggio. At a local level, however, bass motions and,
Taking stepwise motion as a theoretical melodic ideal, extremes of high register are not necessarily included in
anything otherwise may be interpreted as an implied the stepwise melodic model (although at less local levels
entry of another voice-part. In other words, an idealized such connections are present at all levels of register). The
11
stepwise melodic model does not deny the concept of a the pitch levels bounded by the melody. Thus, in the
melodic leap (one of the major rhetorical devices of passage cited in Figure 6, a three-voice texture is sug-
baroque expression), but recognizes that with a melodic gested at measure 3 and, more subtly, at measure 4, where
leap comes a defining interval, and thus, an implication of the descending augmented second B, Ab) implies two
harmony and counterpoint created through the opening correctly-resolved voice-parts.
of new registers and reinforced by subsequent motions at
Figure 6. Allemande, C minor Cello Suite, BWV 1011, mm. 3 4

- -
a Ci
A combination of arpeggio and disjunct melodic mo- phraseological feature of much of Bach's music. This is
tion provides for a wide range of texture and implied well demonstrated by the passage in Figure 7, where
voicing in prolonged single-line movements. The rhyth- regular rhythmic placement of voice-parts is contrasted
mic displacement of many resolutions in this style pro- with such syncopated linear connections.
duces a "contrapuntal syncopation," in which lies a chief
Figure 7. Double to the Sarabande, B minor Violin Partita, BWV 1002, mm. 5 6, 11 14 and 29 30.
- - - -
Polyphonic Integrity. Having examined ways in which nied cello. Taking the Allemande from the C-minor Suite
a compound line may suggest an underlying polyphonic (BWV 1011) as an example, Figure 8 provides several
structure, and applying these ideas through several stages renotations of the opening measures of the movement
or re-notation, we may assess the integrity of the implied according to the follow scheme:
polyphony of one of Bach's movements for unaccompa-
12
a) the durations and stemmings of the cello original; 2 d) indication of harmonic structure and further clari-
b) a rhythmic reduction to the eighth-note level with fication of voice-leading through verticalization;
ornamental and passing tones removed; e) indication of pitches essential to the harmonic and
c) representation of the implied polyphonic back- contrapuntal structure but not provided in the original;
ground through re-stemming; f) realization with durations and reconstructed po-
lyphony.
Figure 8. Allemande, C-minor Cello Suite, BWV 1011, mm. 1-5
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The complete first half of the Allemande in the original the doubled leading-tone in measure 8 has been removed
cello version is provided in Figure 9, along with a poly- and measures 11-13 now resolve in register, as does
phonic realization derived from the procedure outlined measure 15. There are places, however, where the treat-
above. In the realization, an attempt has been made to ment does not seem entirely satisfactory. For example,
provide a consistent lower part, especially in measures although Bach does resolve the bass in register in mea-
11-18. Beyond this, significant departure from the origi- sure 15, astonishingly he also retains the original octave-
nal was found necessary only in measure 15 (to avoid displaced resolution that, even though somewhat dis-
doubling the resolution of a seventh), demonstrating the guised by the trill, does not produce a strong effect.
high degree of integrity in the implied polyphony of the Elsewhere, the low E on the third beat of measure 4 would
original compound line. Since such a realization corre- perhaps be improved by a G-sharp, the bass motions in
sponds to a texture appropriate for (or produced by) measures 13-14 and 15-17 do not connect in register, and
performance on a harmonic instrument, comparison may the locally unprepared bare six-four sonority created at
be made with Bach's own polyphonic realization of the the end of measure 2 (through literal imitation of the
movement in his transcription of the C-minor Cello Suite opening upper line) is weaker in effect than it need be. The
for the lute (Figure 9, line c). overall impression provided by the lute version of this
movement, then, appears to be one of expediency. Bach
BACH'S TRANSCRIPTIONS re-stemmed the cello original, tightened a few rhythms,
In his transcription of the Allemande for lute, Bach's re-registered some of the basses, but did not go out of his
solution is close to the polyphonic realization already way to significantly improve the voice-leading, clarify
given, as can be seen by comparing b) and c) in Figure 9— the harmony, or create strong bass lines.
13
Figure 9. Allemande, C-minor Cello Suite, BWV 1011, mm. 1-18: a) cello original; b) polyphonic
realization; c) lute version.
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Of course, this is not to suggest that Bach's lute tran- formed by the simple imitative treatment in the lute
scriptions are poor—on the contrary, the treatment is version and, similarly, the single-line texture of the sec-
often masterly. In the same suite many significant im- ond Gavotte is provided an independent bass-part which
provements are made over the cello original. For ex- produces a richness of harmony in the lute version not
ample, the rather weak opening of the Gigue is trans- hinted at in the cello original (see Figure 10).
Figure 10. G-minor Lute Suite, BWV 995; a) Gigue, mm. 1-8; b) Gavotte II en Rondo, mm. 12-16.
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15 Transaction: 0081841643
Despite these examples, however, it does seem that in writing and texture that is maintained throughout the
the transcriptions for the lute, at times Bach does not entire sonata. 3 The "Fuga" of the sonata is transformed
provide the degree of textural and polyphonic elabora- into a full-scale keyboard fugue in which a three-voice
tion that we would expect. The transcription for clavier of contrapuntal texture is maintained throughout the
the A-minor Violin Sonata (BWV 1003), on the other movement's 290-measure duration. The transcription is
hand, demonstrates how far he could go when working so convincing that, although the violin original is ever-
with a more familiar instrumental medium. The passage present, buried within the texture, no hint is given to
cited in Figure 11 exemplifies the consistency of part- suggest that the movement was conceived as anything
Figure 11. Grave, A-minor Violin Sonata, BVVV 1003, mm. 1-3.
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other than a fuga a tre for clavier (see Figure 12). In the In several ways, then, the clavier transcription of the
keyboard version of the Andante, the lower part assumes A-minor Violin Sonata stands in contrast to the adapta-
a true bass register, explicating the trio texture hinted at tions of the unaccompanied string music in the versions
in the violin original (see Figure 13). Although few notes for the lute. In the clavier transcription, Bach applies a
are added to the Allegro, wholesale re-stemming applied wide variety of techniques of polyphonic realization:
in the version for keyboard provides a clear indication of wholly consistent contrapuntal textures; melodic,
the polyphony implicit in the violin original, as well as an accompanimental, harmonic, and textural clarification;
idiomatic technical solution to the performance of the ornamental elaboration; and voice-defining re-stemming.
movement (see Figure 14). The arrangements for the lute, on the other hand, often do
Figure 12. Fuga, A-minor Violin Sonata, BWV 1003, mm. 1-7
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not progress beyond the addition of a supporting bass, or provided as appropriate idiomatic texture, rather than as
the filling of a chord. Since the unaccompanied violin solutions to voice-leading ambiguities of the original.
music is reasonably complete in texture and voice-lead- However, such integral polyphony is far from the case
ing in its original form (as shown earlier), translation onto with the unaccompanied cello music, and it certainly is
a harmonic instrument is relatively unproblematic. In unfortunate that Bach left no clavier transcription of these
this context, Bach's additions in the clavier version are works.
17
am aware of none that solves the voice-leading dilemmas
TRANSCRIPTION FOR THE GUITAR of the cello originals. The transcription process is almost
always one of transposition, the filling-out of chords, and
The guitar has received a large numberof contempo- the addition of basses to an unadjusted upper compound
rary transcriptions and performances of Bach's unaccom- melody—a line that more than likely already contains the
panied string literature, probably more than any other bass pitches (albeit not consistently in a single register).
instrument. Of this repertoire, the violin works are most Since a procedure for arriving at the polyphonic back-
readily accommodated: the notated tessitura is similar, ground of a piece has been given already (a player versed
almost all multiple-stops can be comfortably reproduced in continuo playing may well deduce this background in
and sustained and, in many ways, the music is more many stages less than those outlined earlier), the follow-
technically feasible on the guitar than on the violin. The ing may be offered as representative examples of further
most important reason for the success of this music when common situations in which changes may need to be
played on the guitar, however, is the polyphonic com- made to the pitches of the cello originals: sustained notes
pleteness of the original—very little needs to be changed (that may be swelled on the cello) may need to be divided
or added. Clearly, and for the reasons already discussed, on an instrument that offers less sustain or aftertouch (see
this is not the case with the cello works, and unaltered Figure 15); redistribution may be necessary in placing the
renditions of this music on the guitar are likely to produce fundamental bass in a suitable register without resorting
disappointing results. The technical limitations of the one to doubling (see Figure 16 and Figure 9, earlier); less
instrument are superimposed onto the other and, in the objectively, changes to the original line are usually neces-
case of the guitar, an ability to sustain overlapping sonori- sary in realizing a more detailed harmonic and contra-
ties reveals a compromised polyphony only too easily. Of puntal expression (see Figure 17).
the numerous published arrangements for the guitar, I
Figure 15. a) Allemande, G-minor Cello Suite, BWV 1007, mm. 1-2; b) Courante, D-minor Cello Suite, BWV 1008, mm.
1-2; c) Prelude, D-minor Cello Suite, BWV 1008, mm. 59-63.
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18
Figure 16. Sarabande, D-minor Cello Suite, BWV 1008, mm. 24-28.
Figure 17. Allemande, D-minor Cello Suite, BWV 1008, mm. 7-12
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Although such changes most often cater to the addi- which an imitative texture is suggested by the intervalic
tion or explication of the lower register, there are also structure of the original line (see Figure 19). This is often
situations in which the completion of the polyphony the case at the beginning of a gigue, where a few well-
suggests addition to the upper register of the original (see placed notes may go a long way in suggesting an imita-
Figure 18). Other additions may result from situations in tive opening to the movement (see Figure 20).
Figure 18. Gigue, D-minor Cello Suite, BWV 1008, mm. 48-57.
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Figure 20. a) Gigue, C-major Cello Suite, BWV 1009, mm. 1-8; b) Gigue, D-minor Cello Suite, BWV 1008, mm. 1-8 and
32-40.
34 38
Changes made to the original may also reflect the the suite, traditionally the allemande and sarabande. The
stylistic and expressive character of the particular move- galanterie (minuets, bourrees, gavottes, etc.), may be ap-
ment at hand. For example, richer harmony (i.e., realiza- propriately harmonized in a simple and direct manner,
tions containing sevenths, and other dissonances, as well reflecting the galant character of these dances. The cello
as a faster harmonic rhythm) may well be reserved for the courantes and preludes, almost all of which are set in
more musically substantial and expressive movements of Italian rather than French style (with the exception of the
20
Figure 21. Allemande, G-minor Cello Suite, BWV 1007, mm. 1-16.
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21
fifth suite), are also better suited to a somewhat simple tural marker, thematic motif, expressive rhetorical ges-
harmonic treatment. Gigues are often imitative pieces ture, variation, virtuosic filigree, etc.), it is necessary that
and, as already mentioned, it may be possible to suggest the initial transcription not be so over-filled with notes as
such texture at the beginning of each binary section of the to compromise the execution of added ornamentation.
dance. This type of suggested imitative opening (i.e., one Since information regarding the performance of stan-
restricted to the first few measures of each half of the dard ornamentation in French style is readily available,
binary form) is a common feature of five-course guitar and generally well known, it may be appropriate here to
tablatures and is found, for example, in de Visee (Suite in provide an example of the Italian-style passaggi that,
D minor, 1686), Corbetta (Suite in G minor, 1671), Roncalli although less systematically documented, are undoubt-
(Suites in F major and C major, 1692), Murcia (various, edly appropriate to the music at hand (see Figure 21).
1732), and others.
Conclusion
Key Choice and Fingering In seeking an idiomatic solution to the transcription of
From a practical standpoint, the choice of an appropri- baroque music for modern instruments, it is certainly
ate key for transcription is determined by tessitura—that instructive to examine the processes used by the musi-
is, a range in which the highest and lowest notes can be cians of the period in their own transcriptions. As we have
comfortably accommodated on the guitar. In these works, seen, Bach's clavier transcription of the second unaccom-
the cello uses a range of approximately two-and-a-half panied violin sonata is virtuosic, yet idiomatic. In other
octaves (from C two ocatves below middle C to G or A words, the transcription takes full advantage of the capa-
above middle C).4 Since a usable two-and-a-half-octave bilities of the receiving instrument. An even less well-
tessitura may be generated on the guitar starting from known transcription of the time, Francesco Geminiani's
any pitch between D (with scordatura) and A, several version for clavier of Handel's orchestral suite, The Water
transpositions appear to be possible for each suite. In Music, is also idiomatic, but in a different way. No at-
practice, however, it is desirible to have pitches available tempt was made to capture every note of the orchestral
below the lowest-sounding note of the cello (as demon- original; rather a subtle recomposition provides the basis
strated in Figure 9, earlier). This somewhat reduces the for an idiomatic transcription. 6 This is also the approach
number of available keys to those found at the fourth or taken by Robert de Visee (1686) in his arrangements for
fifth above those for cello. Ignoring "hostile" keys, the the five-course guitar of orchestral overtures by Lully and
more likely tranpositions for each suite are as follows: Santiago de Murcia (1732) in his guitar arrangements of
Corelli sonate a due (accompanied violin sonatas). 7
Cello Guitar In conclusion, we are unlikely to produce satisfactory
Suite I G major C major or D major musical results by playing unaltered renditions of the
Suite II D minor G minor or A minor unaccompanied string works on the modern guitar. Nor
Suite III C major G major or A major are we likely to produce anything "authentic," if authen-
Suite IV Eb major G major or A major ticity is, in fact, a desirable commodity. The holistic
Suite V C minor G minor or A minor approach advocated here, therefore, embraces many pos-
Suite VI D major D major or E major5 sibilities, both traditional and modern, theoretical and
practical, stylistic and, ultimately, individual.
Of these, the slightly lower transposition at a fourth
usually provides greater opportunity for chordal-based [Stanley Yates holds a Doctorate from the University of North
fingerings in brise style (although this is in contrast to the Texas, where he received the Morgan Dissertation Award for
keys traditionally chosen). Moving through the suites excellence in music performance. A native of Great Britain, Dr.
(which, technically, musically and texturally, are set in a Yates is currently professor of guitar at Austin Peay State
progressive order), however, the opening tonic and domi- University in Clarksville, TN.]
nant basses resulting from transposition at a fifth (or even
a sixth) become more technically expedient. My prefer- End Notes
ences are C major, A minor, G major, A major, A minor,
and D major, respectively. 1. Of the six Partiten and Sonaten for unaccompanied violin (BWV
1001-1006) and the six Suitten for unaccompanied cello (BWV
Ornamentation 1007-1012), Bach made alternate versions of the following: 1) the
An important factor in the process of transferring Suite for Cello in C minor (BWV 1011) was set in G minor for the
baroque music to the modern guitar lies in the ability of lute (BWV 995); 2) the Partita for Violin in E major (BWV 1006)
the transcription to support idiomatic and stylistic im- was also set for lute (BWV 1006a); 3) the "Fuga" from the G minor
provisatory ornamentation. Owing to the multi-func- Violin Sonata (BWV 1001) exists in versions for lute (BWV 1000)
tional role of the baroque ornament (as cadential struc- and organ (BWV 539); 4) the A minor Violin Sonata (BWV 1003)
22
was arranged as the Clavier Sonata in D minor (BWV 964); 5) the 6. Francesco Geminiani, Handel' s. celebrated Water Musick: com-
Adagio from the C major Violin Sonata (BWV 1005) was given a plete: set for the harpsichord/ George Frederic Handel; to which
clavier setting in G major (BWV 1005); 6) the "Preludio" from the is added, two favorte minuets, with variations for the harpsichord/
Violin Partita in E major (BWV 1006) was used as an orchestral by Geminiani (London: I [i.e., J.1 Walsh, n.d. Modern facsimile
Sinfonia in two cantatas: Wir danken dir Gott, wir danken dir edition: New York: Performer's Facsimiles, ca. 1980).
(BWV 29) and Herr Gott Beherrs her alter Dinge (BWV 120a). 7. De Visee's arrangements of Lully's orchestral overtures are
2. The autograph, by Anna Magdalena Bach, employs a scordatura contained in Robert de Visee, Oeuvres Completes Pour Guitarre,
notation in which the highest string of the cello is notated with transcribed and edited by Robert Strizich in Le Pupitre 15 (Paris:
respect to finger placement rather than sounding pitch. To facilitate Heugal, 1969). Accounts of Santiago de Murcia's transcriptions
comparison with Bach's version for the lute, the version given here are found in Craig Henry Russell, "Santiago de Murcia: Spanish
has been transposed to A minor (the key most commonly used for Theorist and Guitarist of the Eighteenth Century" (Ph.D. disserta-
performance of this work on the guitar) and adjusted to take tion, University of North Carolina, 1981), 265-78; "An Investiga-
account of the scordatura. A written A will now be the lowest tion into Arcangelo Corelli's Influence in Eighteenth-Century
sounding note of the cello. Spain," Current Musicology 34 (1982), 44-52; and in Craig Henry
3. In the examples cited here, the clavier version of the Sonata Russell and Astrid K. Topp Russell, "El Arte de Recomposicion en
(BWV 964) has been transposed from D minor to A minor, la Mosica Espanola para la Guitarra Barroca,"RevistaMusicologia,
allowing for easy comparison with the violin original. 5 (1978), 26-35.
4. The Sixth Suite employs a five-string accordatura, extending
the range of the instrument by the interval of a fifth. Copyright © 1994 by Stanley Yates; All Rights Reserved
5. See footnote 4 above.
THE GUITAR PROGRAM

at West Chester University of Pennsylvania ••
The guitar program was established in 1980 by Glenn Lyons.
_,,j
The WCU Guitar Ensemble, founded in 1981, has become the
largest in the region. The ensemble performs regularly both on
and off campus in addition to its well-attended spring and fall
concerts. Students in the program have won competitions and
have gone on to graduate programs at Yale University and the
Peabody and New England Conservatories. Courses include
Guitar Ensemble, Guitar Literature, Guitar Master Class, and Jazz
Improvisation in addition to private guitar instruction.
GUITAR FACULTY: Degrees offered:
Glenn Lyons: Head of program, BM in Guitar Performance
Master of Music, Peabody Conserva- BS in Music Education
tory, studied with Aaron Shearer, MM in Guitar Performance
master classes with Turibio Santos,
Benjamin Verdery, John Mills, and
Christopher Parkening. Frequent re-
citalist, concerto soloist.
David Cullen: Graduate of Hartt
For additional information please contact:
School of Music, three recordings, fea-
tured on the Windham Hill Guitar Glenn Lyons (610) 436-2927
Sampler. Teaches jazz and classical West Chester School of Music (610) 436-2739
guitar. University West Chester University West Chester, PA 19383
23
PEABODY PROFILES
"Simply and consistently awesome."

LOS ANGELES TIMES
MANUEL
BARRUECO
has been a classical guitar superstar for
many years, considered by many to
have taken up the mantle of Segovia as
the greatest living guitarist.
Born in Santiago, Cuba, Manuel
Barrueco began by playing popular
Latin–American tunes by ear on the
guitar by the age of eight. While still a
15–year–old teenager, he managed to
leave Cuba with his family in 1967 just
before the exits were sealed, arriving in
Miami to make a new life. "Perhaps the
hard years helped to make him the
appealing personality he is today,"
noted one interviewer. Barrueco's face
is so well known that he was chosen to
appear in a national television ad cam-
paign for the Lexus luxury car.
The young Manuel came to study at
Peabody with Aaron Shearer, becom-
ing the first guitarist ever to win the
Concert Artists Guild Award and the
first guitarist ever to appear with the
Boston Symphony Orchestra under the
baton of Seiji Ozawa. His career has
spiraled upward ever since. Barrueco
has released seven best–selling com-
pact discs through Angel/EMI with
whom he has an exclusive contract.
Barrueco has been on the Peabody
faculty since 1981, with a home in
Lutherville, Maryland. In spite of the
demands of his global performing ca-
reer, he meets with his students on a
regular basis. In addition, he also gives Of his Peabody life, he says: "I enjoy to give my students what I would like
master classes and occasional individ- teaching tremendously. Teaching keeps to have given me — honest feedback
ual lessons to other Peabody students. me in touch and keeps me learning. I try and honest appraisal."
FOR FURTHER INFORMATION, PLEASE CONTACT OFFICE OF ADMISSIONS, The Peabody Conservatory of Music
of The Johns Hopkins University ONE EAST MOUNT VERNON PLACE, BALTIMORE, MARYLAND USA 21202-2397
TOLL FREE 800/368-2521, IN MARYLAND 410/659-8110
24
The Transcriber's Art
by Richard Yates
A new column devoted to transcriptions and arrangements

Throughout the history of the guitar, players have less editorial decisions about details that are not speci-
searched for ways to add to the repertoire through the fied. Who of us has not looked at some measure of music
transcription of music written for other instruments. and thought, "Why in the world would anyone try to play
Some of the results of these searches are legendary. The it that way?", and then re-fingered or re-arranged as we
story of Andres Segovia's performance of the Bach thought best. Second, there are many equally valid tran-
Chaconne is well known as a highlight in the history of scriptions. Editing decisions involve weighing many
our instrument and for further establishing the legiti- tradeoffs, both technical and musical. The "best" solution
macy of transcription. As significant as this was, it was to these tradeoffs is different for each player and depends
only one event in a much longer history. Indeed, the very on many factors such as ability, strength, size, experience,
earliest written instrumental music includes transcrip- and performance setting, as well as highly individual
tions of vocal works. Although not a direct ancestor of the inspiration, appreciation, and expression of musical ideas.
guitar, the Renaissance lute was often used to perform Although we are clearly emerging from the period in the
such music. Collections of lute music from the 16th cen- development of our instrument in which "My way is the
tury by such outstanding composers and players as only way" was drilled into students, we should still strive
Francesco da Milano include original works as well as to promote the idea that real music is ultimately indi-
intabulations (transcriptions) of the vocal music of the vidual and personal and so is based on the individual
time. This noble tradition has continued to the present player's decisions about what is best for him or her. This
day, and a significant proportion of our repertoire was cannot come from rigid rules and formulae, but, ideally,
originally written for other instruments. is based on a conscious consideration of all of the factors
This article begins a series that will explore the process involved. Exchange of ideas among players will raise
of transcription of music for performance on the guitar. It everyone's awareness of these factors, of the decisions
is intended to be an interactive column that relies heavily that we all already make, and of their effect on the sounds
on readers' ideas, suggestions, questions, and contribu- that we produce. Of course, these two assumptions are
tions. Each issue will include both a complete transcrip- open for discussion also. Remember, this is your column,
tion and readers' reactions to the previous issue's piece. and your opinions and ideas are both valid and valued.
In this way the column will be a forum for discussion of This issue's transcription is J.S. Bach's Prelude 13 from
ideas, a source of music for players, a teaching tool, and The Well-Tempered Clavier—Book 1. The collection of pre-
a way for guitarists to cooperatively expand the literature ludes and fugues from which this was taken was written
of our instrument. for keyboard instrument and was completed in 1722.
Before describing this issue's selection, a few words What was the process by which this particular transcrip-
about my own assumptions are in order. First, I believe tion was produced? As with most transcriptions, it re-
that all guitarists are transcribers. We all change the quired many choices among alternate solutions. I will
fingerings that are in published music and make count- focus only on those which illustrate some of the ideas I

have about transcription, and which I hope will be of considerations about transposing the bass line are neces-
interest to, and elicit reaction from, readers. sary at several other points in the prelude. Would you do
The selection of a piece from The Well-Tempered them differently? One especially interesting spot is at
Clavier requires little explanation. J.S. Bach is certainly a measure 10 (here transposed to G major):
giant in the history of music and a source of a great many
successful guitar transcriptions. Are there any guitarists Figure 2
who have not played a piece by Bach? The first prelude (C
major) from this same collection is familiar to most play-
ers, but are there others that might sit well on the guitar?
Surely, these musical monuments have been examined
extensively before by guitarists, but, for myself, there is
an added excitement in discovering transcriptions where
1-7 r"--) J
others have been overlooked. Such is the case with the
present prelude.
Initial considerations include tempo and texture. Pieces
that rely on a pianist's luxury of playing rapid passages In the original the bass line has been descending
with each hand simultaneously, or that comprise dense stepwise for two and a half measures when it suddenly
counterpoint are unlikely candidates. Surveying Prelude jumps up a seventh and then continues down the scale
13 shows a reasonable tempo, an exclusively two-voice again. It is as if Bach had to decide, just as we must in
texture, and only half a measure of simultaneous six- making a guitar transcription, where to break up the bass
teenth notes in each voice (more on this later). What about line so he would not run out of room!
the range of pitch? In the original, the pitch range spans Measure 13 presents a different problem. The original
nearly four octaves. As is frequently the case with the (again, in G major) is as follows:
transcription of baroque keyboard music, the range will
need to be compressed, usually by octave transposition of Figure 3
parts of the bass line. What of key selection? The original
is in F-sharp major (that is, six sharps!). Not one of my
favorites. By choosing the key of G major, the highest note
will be a C#, and we will have almost three octaves on the
guitar to work with. So far, so good. Let's go ahead and
start writing the music out in this key to see what other
problems arise.
The first obstacle comes in the third measure when, on
the fourth beat, the bass line drops to a D below the range
of the guitar, and we reach the first decision about com- This is not impossible. It is, however, rather difficult
pressing the range. compared to most of the rest of the piece. The solution I
have chosen is to simplify the bass line slightly, and it is,
Figure 1 for me, the best tradeoff among the various technical and
musical factors. It makes it possible to play the measure
smoothly, leaves a bass line that is still coherent and
convincing, and does not disrupt the harmonic progres-
sion. Others with undoubtedly disagree with this choice.
• # • What do you think?
Measure 27 was originally:

Moving the bass notes up an octave is necessary and is
usually not a problem if there is more than an octave Figure 4
distance between the two voices, but an important factor
to consider is how moving part of the bass line will affect
the continuity of the line. The scalewise descent of the
bass line in this prelude is essential to the character of the
piece as a whole, and we should try to maintain it wher-
ever possible. Happily, the first note that we must con-
tend with is not part of this scale, and, when moved up an
octave, does not (quite) overlap the top voice. Similar
26
I have chosen to leave out the pedal point on D and interval is heard as a melodic one as (I believe) was
rewrite the top voice as two lines consistent with the intended. In fact, the character of the piece seems to me to
texture in the rest of the prelude. What are other possible call for playing many of these notes staccato before leaps,
solutions? Redo the whole piece with a dropped D tun- and this is reflected in the fingering I have chosen in most,
ing? Give up on the whole transcription? Move the top but not all, similar places throughout the piece. Notice
voice up an octave? that these characteristic melodic leaps occur both on and
One last observation about this transcription, which off the beat and, when articulated as I have described,
appears on the next page, concerns left-hand fingerings. produce a pleasant, bouncy, syncopated effect. Are there
As with many of the preludes in this collection, this one other views? How would you do it?
is like a study that presents the player (keyboard or There are probably many other aspects to this tran-
guitar) with particular technical tasks. One of these is to scription about which you have strong opinions. Please
maintain the continuity and character of the top voice send them in. What are your thoughts about transcription
given the many, large melodic leaps that it contains. This in general? Are there examples which you would like to
is mostly a matter of articulation. Allowing notes in the discuss? Have you produced transcriptions which you
line to ring past their written duration will detract from would like to share with other players? Would you like to
the line's melodic continuity. Fingering can and should see more transcriptions? Send your contributions of all
facilitate the solution of this technical problem and the kinds to:
expression of this musical idea. For instance, in measure
two the E in the top voice could be played on the open Richard Yates
string. However, the sound would continue past and 840 Judson S.E.
overlap the A which is the next note in the melody. As I Salem, OR 97302
have fingered it, the E can be released before the A and the
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27
Prelude XIII
Well Tempered Clavier — Book 1
transcribed by Richard Yates
J.S. Bach (1685-1750)

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29
OBERLIN
O berlin's classical guitar program, established in1991, offers
classical guitar as a major leading to the Bachelor of Arts degree.
The major includes private classical guitar study, secondary piano
study, guitar ensembles and ensembles for guitarists, and courses in
conducting, music theory and aural skills, music history, and electives
from the Consen/atory of Music and the College of Arts and Sciences.
Oberlin is devoted to the training of undergraduate musicians and offers

extensive performance opportunities to all guitarists, including solo,
accompanying, and chamber music performances. In addition, Oberlin offers
unparalleled possibilities for collateral studies drawing on the historical
kw more infOrmation, contact: performance program and the jazz and contemporary music departments.
Office of Admissions
Conservatory of Music Oberlin owns an extensive collection of early plucked instruments including
Oberlin College several tenor Renaissance lutes, a treble lute, Baroque lute, chitarrone, avihuela
Oberlin, Ohio 44074 and cittem.
(216) 775-8413
Classical Guitar
ephen Aron received the Bachelor of
Music degree from the Haat College of
Music and the Master of Music degree
from the University of Arizona. A prize
winner in the 1983 Guitar Foundation of
America Competition in Quebec, Aron has
performed across the United States and
Canada, including performances with
New York's Albert Ried Dance Company
and with the Ohio Ballet He has given the
world premieres of several works, and his
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critical acclaim. The director and host of
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chairman of that organization's board
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writer for several trade periodicals,
including American String Teacher and
Soundboard. His latest solo compact disc
Sketches was released in June 1994 on the
Digital Revolution Label.
- ,(1( her of Classical Guitar

Young Mexican Composers:
A series of interviews by Alejandro L. Madrid
SAMUEL ZYMAN:
A MEXICAN COMPOSER
IN NEW YORK
Samuel Zyman was born in 1956 in Mexico City where A.M.: Would you give us a brief description of your relation-
he studied piano and conducting at the National Conser- ships with your composition teachers?
vatory of Music and composition under Humberto S.Z.: I attended something called the Composer's Work-
Hernandez Medrano. He received a Master of Music and shop of Humberto Hernandez Medrano; the emphasis
D.M.A. degree in composition from the Juilliard School, was on learning counterpoint and harmony, and, al-
studying with Stanley Wolfe, Roger Sessions, and David though the workshop was called a composition work-
Diamond. Since 1987 he has been on the Juilliard faculty. shop, the object wasn't so much to encourage students to
Samuel Zyman has received numerous awards and com- compose their own works, but for them to develop as
missions from both American and Mexican organiza- polished a technique as possible, to get to know the
tions, among which is a commission by Absolut Vodka repertoire, and to get to know basic technical aspects of
for a Concerto for cello and orchestra for the world- writing music. So, what I did with him was mostly studies
renowned Mexican cellist Carlos Prieto. Zyman's music of counterpoint, but he was my first exposure to someone
is published by Theodore Presser and AIG Music, and is who called himself a composition teacher.
recorded on Island Records and I.M.P. Masters. When I came to this country, I spent a year in the
Extension Division of Juilliard studying with a composi-
Alejandro Madrid: Samuel, how did you first start writing tion teacher called Stanley Wolfe. I had a very good
music? relationship with him; he specifically encouraged his
Samuel Zyman: I started writing music in 1974, back in students to compose and tried to let them compose in
Mexico City. It came as a necessity. I had been accus- their own style. Obviously, the personal preferences of a
tomed to improvising, because I used to have a pop- teacher always have an influence on how he reacts to
music band. I was used to making music with other whatever you bring to the lessons, but I had a certain
people and making arrangements and there came a time affinity with his style. It could be described as neo-
when I started writing. I had a piano teacher who was romantic. The problems can start when the student writes
very creative and imaginative, and he sort of encouraged something and feels very strongly about it, but the teacher
me to start writing music because he saw that I was doesn't like it and proposes to change it; then there can be
interested and was improvising. some friction.
31
When I was studying for my Master's at Juilliard, I all of this. I'm all for creativity and for change, for imagi-
studied with the famous American composer Roger Ses- nation, and for variety.
sions. He was already very old. He had problems with his Having said that, however (and I do believe that very
eyesight and he couldn't hear very well, so I couldn't play strongly), I would hate to be quoted as someone who
my music for him. I had to show him the score, and when dislikes a certain kind of music to the point of wanting it
you show someone a score in progress, it doesn't really to disappear; that's definitely not my position. Like ev-
have everything—the dynamics and so forth—so it's sort erybody else, I think that one is entitled to have his music
of difficult. Sessions would look at the music and make performed. Obviously, I prefer the style in which I write.
comments, and I would sometimes disagree, but I had I choose that style because I can be more expressive that
such respect for him as a creator, as a man, as a composer, way. The reason I was attracted to music in the first place
as a teacher, that I couldn't really contradict him very was that I find music to be an incredibly communicative
much. I would agree with many of the things he said, but and expressive language. I think the audience has to be
with other teachers I wouldn't agree and would just tell taken into consideration. I think the music has to express
them that. things that are compatible with human emotion; that at
Eventually I studied with David Diamond. My rela- least one should be able to remember what one has heard,
tionship with him has always been very good. He is very etc., and I find some of these other trends go directly
supportive and has an incredibly strong personality. He against that. I have to say that in the end one has to judge
is very opinionated and is always convinced that he is individual works more than general styles; in many
right. Again, I was fortunate that there was quite an styles I have encountered works that I have found very
affinity both personally and musically. compelling. Milton Babbitt is someone I respect very
much. I know him personally—he teaches here at Juilliard.
A.M.: So when you came from Mexico you were already He has been personally supportive of my career as well,
working in the style of composition that you have right now, or and I have great respect for him. I admire some of the
were you still experimenting? pieces he has composed and think they reflect an incred-
S.Z.: I was still searching; that is the toughest thing for a ible mind. The style he chooses to write in is sometimes
young composer it seems to me. Besides having to decide unintelligible to me; I think it's too far removed from my
to become a composer, the hardest thing is to decide in overall concept of what music is or what music should
what style you want to write. My style was even more be—especially some pieces where I really just can't see
traditional and conservative before I came. The first years the point; I can't relate to them at all—I try and try, and I
I was here I did feel a lot of pressure that the music listen to them, and they don't make any musical sense to
shouldn't be so consonant, so traditional, that I had to me. But I mean no disrespect when I say that because I
become more aware, more receptive, to things that had have found some other works by Babbitt himself that I
happened more recently, and, as a result, the music I have found very appealing and interesting (up to a point),
wrote as a student has more experimentation. I didn't feel I will not lie to you, and I will not say that his style appeals
I had my own voice when I came, and it would be too to me as much as anything else. I do have reservations,
presumptuous of me to say that I have it now. Now I and I think his style has contributed to alienating parts of
know more-or-less where I belong, but this is a continu- the public. When the public says, "Well, this music is
ously evolving process. incomprehensible and sounds totally abstract and math-
ematical, I can't remember a single tune," I understand
A.M.: Now that we're talking about different styles, what is what the audience means. I'm a member of the audience
your opinion of schools of composition like the Darmstadt as well.
School, the Babbitt school, or this other trend of composition Babbitt is someone who is completely devoted to
started by John Cage? music, and what he does is done in a very serious,
S.Z.: You ask a very controversial question. I've been professional, and musical way, but Cage is a different
asked this before. The first thing I want to say is that there story. Nobody can deny the impact and influence that he
is plenty of room for all styles and all tendencies. I've has had on cultural life in general, so I'm not going to be
known composers who act, think, and behave quite dif- the first one to come here and deny his influence, but I
ferently. They are crusaders and believe in what they do have a terrible time accepting him as a composer. What he
to the extent that they would be ready to try to wipe out did was to challenge the establishment. He always made
everything else; they think other styles are not permis- people talk and think, and he was a very interesting
sible, or are dangerous, or ought to be banned. I don't feel person, very intelligent and fascinating. When it comes to
that way at all. In other words, I think it is very healthy judging his works, his music as a composer, I don't
that any composer from any style or trend should go particularly like it. I don't think that was the way to go. I
ahead and experiment, because there is plenty of room for don't find much musical expression and artistic merit in
32
the specific works. With Cage it seems that the most I remember having long conversations with the gui-
important aspect is everything he said, wrote, or com- tarist who commissioned my pieces, Dennis Koster, and
mented about the music. Everything peripheral to it is every time I tried to write music that struck him as being
always more interesting than the piece itself, and music a little more experimental, or avant garde if you wish
shouldn't be like that. The substance of the music should (which I really wasn't doing), he wasn't particularly
be in the music, not in all the other conceptual discus- happy. Whenever things were just a little too pointilistic,
sions. or too disembodied, he felt that wasn't at the service of the
guitar.
A.M.: Could you speak briefly about your guitar sonata?

S.Z.: Certainly. Dennis is a very special guitarist because
he is both a flamenco and classical guitarist. It seems to me
that he brings to his classical approach a lot of his fla-
menco outlook on the guitar. The idea of the sonata was
to meet his request, and his request was, "I wish we
guitarists could have along, substantial, ambitious, quasi-
romantic piece for the guitar the way pianists have
Beethoven's sonatas and Schumann's Novelette; that
would be long and expressive, more-or-less in a classical
form and in many movements." That was the purpose. So
it was an ambitious project, because there is very little
19th-century, romantic, fully developed repertoire for
the guitar—or at least that was his opinion—I don't know
if he was right. So, this is what I tried to do. I don't know
whether I succeeded or not, but it was great fun to do it
and to work with him. We were approaching a deadline,
because we had a performance date, and at the end it was
a little bit crazy to get it on time for him to be able to learn
it—I realize it is very tough for guitarists to learn a new
piece, and this one turned out to be long and difficult.
The piece has some contrapuntal sections. The last
movement is very flashy, using tremolo, because Dennis
Samuel Zyman happens to have an incredible tremolo technique that
comes from his flamenco training. The second movement
A.M.: As most of your music is contrapuntal, are you able to is very cantabile, expressive, and dolce. The first move-
keep your style when writing for the guitar? ment is a fully-developed sonata structure with a first and
S.Z.: I think the guitar has considerable capabilities as a second theme, an elaborate development, and recapitula-
contrapuntal instrument. The most obvious and most tion. I tried to write a contemporary piece that would
direct inspiration for that would be Bach himself—his exploit the idiomatic aspects of the guitar, that would
music for lute. I have always thought of the guitar as an have this additional element from 19th-century music,
instrument that certainly can play two lines at the same and that would bring Dennis' own personal approach to
time. But, of course, when you write for the guitar you guitar playing. His approach is to try to get as much
don't want to keep the music contrapuntal all the way sound as possible out of the guitar—to try to achieve real
through, because you would be wasting many other fortissimos, real attacks, real contrasts—rather than just
capabilities of the guitar: the attack, for example, the keeping the range of sound relatively narrow.
accents, the tremolandos, and the harmonic power of play-
ing chords. I think I have retained my style when writing A.M.: Did you write any other pieces before that one?
for the guitar. Of course, guitar music has to be idiomatic S.Z.: Well, after this piece, Dennis wrote an arrangement
up to a point; it cannot be any music that happens to be for of the second movement of a woodwind quintet. He liked
the guitar. Guitar music has to be guitar music, perhaps this movement—it's very tonal, sort of a semplice move-
a little more so than music for some other instruments. I ment—and asked whether I would agree to let him ar-
recently wrote a piece for harp, and harp music has to be range it for guitar. I said it was fine, so he did it, and
very "harpistic," so to speak. If you make every effort to although it wasn't conceived for the guitar, I think it
write for the harp in such a way that you avoid glissandi sounded very nice on the guitar. It was called "Madrigal"
or arpeggios, then you are writing against the instrument. for guitar. I had never written for the guitar before, and
33
having a guitarist to work with is essential, because it is
very tough to write for guitar when you're not a guitarist A.M.: Have you written any chamber music with guitar?
yourself. I went through rather frustrating periods when S.Z.: No, I haven't. That would be a very appealing
I needed to do and say certain things with the music that project. It would be very interesting because I love the
I didn't really know how to put on the guitar. sonority of the guitar, and I think that to combine the
guitar, especially with wind instruments, would be very
A.M.: How did the idea of a guitar concerto come about? appealing, but it is something that hasn't happened.
S.Z.: Again, the original idea came from Dennis. He had Maybe Dennis will come up with another commission.
played with a wonderful community orchestra in New Maybe someone else at some point; it would be very
Jersey called the Westfield Symphony Orchestra, and interesting.
Dennis thought, since we had been working on the sonata
and were in touch and so on, he could approach the music A.M.:Just to finish, how can someone interested in your guitar
director of this orchestra, Brad Keimach, to see if they music get it?
would be interested in commissioning a concerto for S.Z.: The easiest way to get my sonata is to get in touch
guitar and orchestra and then give the premiere with with the American Institute of Guitar, or just look for it
them. There was some interest on their part, but it ended wherever guitar music is sold. The piece is published by
up being a relatively small project, because they had a the AIG, which has its headquarters in Manhattan, and is
limited budget, and there was limited time, and there presently distributed by Theodore Presser. I don't know
were all sorts of limitations, but the commission did come the present status of "Madrigal." I don't know if Dennis
through, and I did write the piece, which is only for guitar eventually got it in print or not.
and strings. It's in only one movement, about ten minutes As far as the guitar concerto is concerned, that is not
long. It is a very compact, short piece that attempts to being published. If anyone wants to do it (and it's been
include enough variety so that almost all aspects of a full played, by the way, beyond the premiere in New Jersey—
concerto will be compressed into one relatively short it has also been played in Mexico City by Juan Carlos
movement. Laguna and the Mexico City Chamber Ensemble con-
My present feeling about the concerto is that it is ducted by Benjamin Juarez), the best thing is just to call
probably incomplete. I like it as far as it goes, but I have me, because, at this point, I have the material at home. It
continued to ponder the question of whether I should just hasn't been published partly, because, as I told you, I
expand it, writing a second and third movement. I haven't think I should work on it some more. But the piece is
had the opportunity yet to really find the time or the there, and it has been played. If anyone wants it, they
circumstances to do it. could call me; my number is (718) 379-1491.
PO3Elo< LUTHIER
Joe Poshek
751 Rembrandt Dr • Laguna Beach, CA 92651
714-497-7210
•4•••°-
34
announcing....
The National Guitar Summer Workshop
Classical Guitar Seminar

June 23 - 27 in New Milford, Connecticut
Nathaniel Gunod, Seminar Director
featuring the
1996
61,1ddario/ NGSW
Guitar Concerto Competition
First Prize Second Prize
• $4,000 award • $1000 award
• Perform the concerto in concert at the NGSW • 1996 NGSVV tuition
with the Connecticut Concerto Consort • Room and board
under the baton of Maestro Mackenzie Albert
(to be broadcast on public radio).
• Full 1997 NGSW tuition
• A recording of the
1st prize performance with the orchestra.
• Room and Board
REQUIRED CONCERTO:
Mauro Giuliani's Concerto in A Major, Opus 30
(shorter version, for strings)
Deadline for entry - May IS, 1996 (See other side for competition rules)
To receive a listing of this year's guest artists and a full catalogue of course descriptions for the NGSW.
Call I -800-234-NGSW
For information regarding the competition, cal

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e-mail: school@aspenmusic.org
A DAY WITH THE EDITOR
A conversation with Peter Danner
by Frederick M. Noad
The festivities and remembrances surrounding the "speed reading." His mother was a professional land-
20th anniversary of the GFA have come and gone without scape painter who, as Peter puts it, spent much of her life
more than passing recognition of some the principal trying to reconcile a life in art with a very Victorian
architects of the foundation. It is typical of nonprofit upbringing. His father died in 1945 when he was nine,
organizations run by dedicated volunteers that a few and he and his mother subsequently moved several times
people work very hard for the benefit of the many, and between Santa Barbara and Philadelphia.
sometimes it is appropriate for those of us who reap the "The first classical guitar player I ever heard was in
benefit of this hard work to stop and consider how much 1951. We were back in Santa Barbara again, and my
is done for us and to express the appreciation that so often mother had learned that someone was playing Bach on
is taken for granted. the guitar, which certainly sounded better to her than the
In this article I should like to focus on Peter Danner, the hillbilly stuff I was listening to then. This, of course, was
current editor-in-chief of Soundboard, whose work has grown Segovia. Through friends, my mother managed to locate
in proportion with the size and sophistication of the peri- a classical guitarist who was a composition student at
odical to become what many would consider a full time job. Santa Barbara State, Donald E. Wilson, and he became my
Readers will be familiar with Peter's many articles and first teacher. We still see Don from time to time, and I'm
editorial comments, and, of course, the long-standing "Re- glad to say he's a GFA member. He's a delightful person.
turn With Us Now," the regular Featured Facsimile, with "At first I had no intention of going into music. I
his able and informed commentary. But only a small pro- started college at a place called Ursinus College in Penn-
portion of the membership will know about Peter's back- sylvania as a history major. My roommate was a folksinger
ground as a scholar and player, and the environment that (his hero was Burl Ives), and he had a fine tenor voice. In
produces the contents of this fine magazine. the fall of 1953 he dragged me along to a rehearsal of
Peter lives with his wife Liza on a quiet street in Palo Messiah being planned for that Christmas, and I was
Alto, some 30 miles south of San Francisco, in a comfort- simply blown away. I had never heard anything like that
able craftsman-style house nestled into the fine old trees before. I have often said its Handers fault that I got into
that reflect a long-settled area. A native Californian, he music at all. Ursinus offered no music major, so I came
was born on January 10th, 1936. His father was a psy- back to UC Santa Barbara and combined history and
chologist much involved during the thirties in studying music to became a musicology major. I took up the piano
the physical properties of silent reading, known also as and cello and graduated in 1958.

"When I came up to Palo Alto in 1958 to do my MA at Macintosh desktop publishing setup in his home office,
Stanford, I was coming back to the place where I had Peter has been able to streamline the pre-press operation
started life, since this was where my father had done his down to a manageable task. The Macintosh also serves to
work on speed reading up to 1943. I got married and set much of the music.
stayed on to do a Ph.D.. I wasn't thinking of doing In the course of a visit that stretched into most of a day,
anything serious with the guitar. I was working on a we discussed many aspects of the guitar and its reper-
dissertation dealing with Renaissance cantus firmus tech- toire. I asked him about the origins of Soundboard and how
nique, and was fortunate enough to get a grant to do he came to be editor.
research on this subject at the British Museum in 1962, "Marty Poort put it together for the first couple of
which resulted in a year's stay in London.. I was still years, and John W. Tanno had it at UC Riverside after that
playing the guitar and took lessons throughout the year for perhaps five years. It was still typewritten, and I
from Len Williams [John Williams' father] there at his remember hearing that John would get his family all
Spanish Guitar Centre. Williams revived my interest in assembled with his daughters pasting up pages. It began
the guitar and helped me improve my rather shaky to get bigger when Jim Forrest took over at the end of
technique. I also became interested in Elizabethan lute 1979—you can tell just when from the right-justified
music and probably spent more hours in the library columns—and it went from being 16-20 pages to over 100,
copying that than working on my dissertation. These, of with some issues 120, 130 pages. He loved his new word
course, were the days before Xerox machines, and the processor, and he was a good typist.
B.M. had all those great manuscripts! I even got to meet "Jim Forrest basically became overburdened—he was
Diana Poulton [celebrated author and compiler of The keeping the books, he was general manager, he was
Collected Works of John Dowland, Faber Music, London, keeping the membership rolls. I'm sure Gunnar Eisel is
1974]. feeling some of that pressure now—stepping in to fill
"After I finished my doctorate, I spent a season or two voids just to keep the organization going. Well, I had just
concertizing with a fellow named Randy Conger, a gui- gotten this new IBM computer, one of the early PC's, and
tarist who had taken some lute lessons from me. But I said I would help Jim type up some of the articles, so
didn't like life on the road and, frankly, don't think I had when he stepped aside I was the natural choice to take
the technique or drive to really do justice to that kind of over, having edited a magazine before. But I certainly
a career. I'm much more of a homebody and found more wouldn't do it if there was manual paste-up involved like
enjoyment in working with the Lute Society and later the old lute society days. At the urging of my son I bought
with the GFA. I was introduced to the Lute Society by a Mac Plus, which just came out then."
Stanley Buetens, who came from New York to study at In spite of modernization, Peter single-handedly re-
Stanford. He had recently made a record for the None- types articles not submitted on disk, and "engraves" the
such label. Being somewhat of an outsider in the lute major part of the music. He is thankful to be a fast typist
community, I found I was able to help settle some of the ("In retrospect, the most valuable course I ever took in
internal squabbles such groups often find themselves high school"), and his music-setting skills have grown
involved in. Much in the same way I first discovered with a tremendous amount of practice. At times he refers
Handel and managed to combine an interest in history to himself ruefully as a keyboard player, not a guitar
and music, I find I have been lucky to be able to combine player—the keyboard being that of the computer.
my interests in musicology and the guitar to do what I'm We discussed the "Return With Us Now" featured
doing now. The guitar, which was my first love, has also facsimile, originally conceived by Tom Heck. Peter be-
helped to keep me focused. When I was studying musi- came involved during John Tanno's editorship, partly
cology, I didn't know if I wanted to concentrate on the because of an emerging interest in early American guitar
operas of Alban Berg ( Wozzeck knocked my socks off the music.
first time I heard it) or the Masses of Josquin (now, there "I sent him some music, and told him I had more if he
was a composer who had his act together)." was interested. He was delighted, since nobody was
Peter came to the GFA as an already experienced responding to his appeal for material, and as a result I
society officer and editor. He was president of the Lute more or less took it over. I'd gathered all this early
Society of America from 1977-1982, and edited that American guitar music for a bicentennial project. It was
society's Journal for five years between 1975 and 1980. At actually Paul Cox who discovered it and brought it to my
that time all layout was done by hand, and articles and attention. He had found a pile of old guitar music in the
music were manually pasted up. Such was the labor dusty basement of a music shop in Cleveland. He and I
involved that when the suggestion arose of Peter taking went down there, and under the accordion music and
over the editorship of the Soundboard his feeling was "no band parts was all this 19th century guitar music. A good
way without a computer." Fortunately, thanks to a deal of it was American, and I didn't even know there was
38
such a thing. I didn't know they played the guitar in the One topic that came up was that of "neglected master-
U.S. in the 19th century. The banjo, yes, and maybe the pieces," a phrase suggested to me years ago by a music
mandolin, but I had no idea that there was a repertory of publisher as a possible book title and project. I told Peter
American music; so Paul and I bought the lot! that my conclusion at that time was that most guitar
"This was in 1975 and an anthology seemed like a pieces that had fallen into oblivion had done so for good
great bicentennial project. I ran this by Ron Purcell, who reason. He only partially agreed.
suggested it to Belwin Mills, and they put it together [The "One never knows—there's always the hope of dis-
Guitar in America, 19781. Actually it turned out to be covering that unknown gem. There are always new things
Murphy's Law all the way. We asked them what format being uncovered. For instance, who had heard much
they wanted for the music, and they said it didn't matter. Agustin Barrios 20 years ago? I myself came across a
I decided to do it right, and had the music shot on a U.S. couple of etudes by Antonio Cano I think are as good as
document camera at the Presidio in San Francisco-5 by anything by Tarrega. Then there's this major new Sor
7 negatives, and you could see every grain on the paper. autograph Pepe Romero just edited for Richard Long's
It turned out that this was just the format they couldn't Tuscany, and Matanya [Ophee] discovered these Etudes
use, and in reshooting they overexposed every single of Regondi. I can't say I particularly like those Etudes—
image! Then they left out the picture of Justin Holland, I think they're a bit long-winded—but that could just be
spelled Colombia wrong, and all these beautiful photo- sour grapes since I can't play 'ern! Still, John Holmquist
graphs they didn't return but simply tossed away. swares by them, and I've heard David Starobin play them
"When I was putting this together Tasked for contribu- wonderfully. What's impressive about them is the way
tions and got a number from John Tanno Sr. (editions of they modulate and go through a very sophisticated array
Foden and others) and Vahdah [Olcott Bickford] sent me of keys.
a whole bunch of stuff; much more than I could use for the "Of course what composers have published, or what
anthology. So I had all this material to feed to Soundboard, has been reprinted, isn't always the best thing in their
and this began my association with RETURN WITH US NOW." output. An example is Carulli's solo music. Some of those
programmatic things ('The Fall of Algiers,' for
instance) are pretty weak. The student works are
important and will known, but the pieces he
would have played himself like the Sonata Opus
21 tend to show up arranged for four guitars or
watered down in some way or another."
I asked Peter for a general comment on what
he would like to see in the future for Soundboard.
"When you're in the midst of the battle it's
hard to lay plans for the future; what I really
worry about is there being an issue due and
having nothing good to put in it. One is always
dependent on contributions, and this goes in
cycles. A couple of years ago the cupboard was
getting rather bare, though I always keep some
things in reserve to put in. But at the moment
we're lucky to have more coming in than I can
publish and people are calling up asking 'How
would you like an article on such-and-such' or
'I've done an interview with ....,' yet I can't say
sight unseen 'yes that's just what we want—I
want to publish it'; but if it sounds interesting I
tend to say 'yes do pursue and let me look at it.'
As a result, I have all this stuff under review I
guess, though it's not a juried magazine. Cer-
tainly we're currently in a position where there's
more that comes in than I can publish.
"I like diversity—articles on a variety of sub-
jects. There are a lot of topics, such as guitar
Music setting in progress
-
building, history, repertoire and technique, medi-
cal problems, and the situations that teachers
39
face in the studio. I think I prefer to have a magazine that Espariola though most of the music wasn't Spanish—it
has an article on each of those topics rather than the was Italian. 'Spanish Guitar' today—probably the only
'theme' magazine, like, for instance, an all-Brazilian is- negative thing about it is that it pigeonholes the guitar as
sue, or the all this or that. We can do that once in a while being a national rather than an international instrument,
if there just happened to be a whole collection of appro- and people identify it so much with one culture that they
priate submissions, but that's unlikely to happen, unless overlook the fact that it's a phenomenon that's very
you go out and solicit them; and when you do solicit widespread. I can't say I'm happy with the term 'acoustic
something, you feel more obliged to publish it than guitar,' either; it's rather an oxymoron like 'live record-
something that is just submitted independently. ing.' I rather like the word they came up with in Kenya for
"I would certainly like to see a shorter turnaround the unamplified guitar, 'dry guitar,' electricity having the
time. Probably one of the biggest aggravations I have image of being wet.
when one of these magazines leaves my desk is the "Getting back to the future of Soundboard, I'd like to see
amount of time it takes to go through the printing process more contemporary music in it, more primary source
and come out the other end. I don't know all of what goes materials, and more bibliographical items, like, for in-
on down there. They make the halftones, and the ads have stance, lists of complete works, like that little thing I did
to be stripped in. But I know what my limits are—I'm not on Ferrer (Vol. XXI/1), although I know it's not complete.
going to have anything to do with distribution or adver- That article that Jim Smith did a few years ago (Vol. XVI/
tising—there's enough on my plate as it is without being 4)) on contemporary ensemble music with guitar was
involved in those kinds of things, I just hope the maga- great. I heard him give that talk at the GFA Fullerton
zine improves as my learning process goes on, as produc- event with a handout, and I thought that's what I want in
tion software improves, and as the number of submis- Soundboard. I went up to him afterwards and suggested it,
sions increases, giving us more variety in topics. and although he hadn't thought of publication, he had
"There are some areas that we haven't really covered done the whole thing complete with comments—just a
enough. South America is one, Spain is another—there word or two—about the style. It was a nice list of about
hasn't been enough on either of those topics. Spain has 100 ensemble chamber works for guitar with different
been a well-trodden path elsewhere, but South America instruments. I'd love to see more of that sort of thing."
hasn't, and there's a lot of unknown territory to explore I mentioned enjoying the historical segments, particu-
down there. Also, for some reason, there currently seems larly the Fiset articles and letters ["Letters from the Past:
to be a shortage of articles dealing with the vital subject of Correspondence of C.F.E. Fiset," annotated by Ronald C.
contemporary guitar composers and their music. I'd cer- Purcell]. Peter agreed that letters were a tremendous
tainly like to cover that more. historical source, and had the advantage of being primary
"Color covers—hard to find—that's become probably rather than secondary material, but wondered where
the biggest single hassle. Gunnar wants to run color more were to be found. While commenting that perhaps
covers, and so do I. If you've got any good iconography, some remained in the possession of descendants of well-
I'll be there with my begging bowl!" known figures from the past, he quoted from Robert
We discussed the inclusion of jazz as a topic. Spencer, who has done so much to collect and preserve
"Every once in a while I get a letter saying, 'Why do lute manuscripts. "When you're doing historical research
you have anything having to do with jazz in there—it's don't forget the telephone book!" We discussed the cor-
not in the classical guitar tradition.' Yet I think Marvin respondence of Philip Bone, author of The Guitar & Man-
Falcon has gotten some very positive response since he dolin (Schott, London. 1914, revised edition 1954) which
started his column 'Between Two Worlds,' which strikes has never seemed to surface as a collection. He then went
me as a very nice title. It seems to be doing all right, and on to a new area of historical interest.
he does make a connection to the classic guitar. The "I have started going through old magazines to find
pigeon-holing of musical styles and that word 'classic' the occasional thing that may be amusing. For instance,
are things I've always been disturbed by. Obviously, the Summer 1994 issue reprints the review of a concert in
you've got to call our instrument something, because the London in 1912, and I followed that up with a second one,
guitar means so many different things to different people, from an old Etude magazine. This last issue had some-
and to most people it means electric guitar, rock guitar, or thing from the Giulianiad that wasn't covered in the Guitar
Chet Atkins, folk guitar, country and western, Nash- Review about the English bringing back the guitar from
ville—that sort of thing—so there needs to be something the Peninsular wars—how all of a sudden it became all
to distinguish it, but 'classical' —what does it really the rage. These sources, and what they have to say are
mean? The word's been so debased. Or take the term often very amusing and interesting because it's from a
'Spanish Guitar'—there was a time when 'the guitar' and perspective that's their own; and the wording and ver-
'the Spanish guitar' were used interchangeably; in fact, biage and attitudes can sound very odd even after a
the baroque guitarists started that referring to the Guitarra comparatively short period of time, like 40 years. But
40
where are more going to come from? These are just some that had he known he would have chosen another piece!
things some I ferreted out on my own." I asked him if he had any particular views on compe-
We discussed the GFA Archive, which I felt had not titions—things he would like to see in the future.
yet quite turned into the tool that we envisaged when we "I think our competition is fine the way it is. It has done
first set things up. Peter felt that this was putting it kindly. a lot for GFA and I would hope for the competitors as
"It's because someone hasn't taken it over and vigorously well. It's given GFA visibility and credibility, because, at
pursued an acquisition policy. It was started by Tom least from my perspective, I think there's a lot of integrity
Heck when he was collecting Giuliani, and that particular in the way it's run. And the tour is a nice symbiotic
material is no longer in great demand, because the music's relationship—it's good for the performer, and it's good
all in print elsewhere through Jeffery [Brian Jeffery, The for the organization, since it makes it more visible in parts
Complete Works of Mauro Giuliani]. We're going through of the country that may not know of the GFA. There was
the big names one by one—Aguado with Jeffery and the one I personally ran, and I've been on the jury two or three
Mertz and Coste with Chanterelle. I don't know how our times, so I appreciate the remarkable job Jeff Cogan is
archive is actually going to wind up. Until recently the doing. As to the whole philosophical question of whether
public domain part of it was at the Wisconsin Conserva- I think competitions are good or not, they can be used or
tory of Music under the care of George Lindquist and the abused—they do become a spectator sport, and I don't
other part at the University of Akron. The Akron part is know if that really advances music, but from the point of
what Tom Heck called the 'reference collection'—copy- view that they encourage people to fine-hone their art,
righted materials, periodicals, and the like. (The entire they're probably beneficial."
collection has been recently united in Akron. See Heck's Eventually it was time to take my leave, and on the
"Archivist's report later in this issue.) journey home I had time to reflect on how fortunate we
"I'm always on the lookout for the new, unknown, are to have an editor with such balanced and broad-
interesting piece—I've got pages to fill and readers to ranging interests, who combines a player's affection for
satisfy—I'm always looking for things in the public do- the instrument with the curiosity of the scholar. And,
main that will not duplicate things that! know are already remembering the labor and tedium that inevitably ac-
in print elsewhere." Inevitably I mentioned the recent companies this type of job, I, for one, feel extremely
publication of Obregon's "Amanda," which was already grateful to this distinguished volunteer. Long may he
part of my Romantic Guitar collection. Peter made it clear continue his association with us!
41
Goturn With rIls 6o)47
SOUNDBOARD'S FEATURED FACSIMILE
KOMM, SUSSES KREUZ

By J.S. BACH
Annotated by Peter Danner
While based on a facsimile (see example below), this Sometime during the 1740s a manuscript of the St.
column departs from its usual format in order to present Matthew Passion was prepared by Johann Christoph
what appears to be a major discovery involving J.S. Bach Altnickol based on the first version. (No copy of this
and the lute. At least this writer and those he consulted earlier version is known to exist in Bach's own hand.)
have found no previous mention of it in the literature. The Altnickol (1719-1759) was a close member of the Bach
discovery was made by Abel Nagytothy-Toth, long-time household. An organist in his own right and a trusted
GFA member and one of its original Board of Directors, copyist, Altnickol had studied with J.S. Bach and married
and concerns the aria "Komm, sasses Kreuz" from the St. his daughter, Elisabeth Juliane Fridericke (Lisgen), in
Matthew Passion (BVVV 244). A lute part from Bach's St. 1749. Moreover, he was entrusted with the care of Bach's
John Passion (BWV 245) has long been known (in the retarded son, Gottfried Heinrich, after Bach's death.
arioso "Betrachte, meine Seel") but there is now evidence Nagytothy-Toth reports that the manuscript on which
to show that Bach also included the lute in his even better- he bases his edition is preserved in the Berlin
known Passion According to St. Matthew. Since Bach's Staatsbibliothek and is in Altnickol's hand. The score of
association with the lute has always been a lively topic the complete Passion is in two volumes—probably MS. 5
among scholars, Mr. Nagytothy-Toth and I offer the and 6 in the Amalian collection, the library of Anna
following preliminary observations. Amalia von Preussen (1723-1787). The aria 57, "Komm,
The St. Matthew Passion exists in at least two versions. susses Kreuz" is for bass and continuo and clearly has
The first version was definitely written before 1729 and a been marked as containing an elaborate obligato for lute,
first performance is reported to have taken place two instead of the later version, which substitutes an obligato
years earlier in 1727. The version of the masterpiece we for viol da gamba. The previous recitative also makes use
generally know today is based on a later performance of a lute. The instrument used is the conventional baroque
from 1736, in which "Komm, susses Kreuz" is accompa- lute in d-minor tuning. Adding credence to the use of lute
nied by a gamba obligato. in the St. Matthew Passion is the observation that the
42
Passion contains a number of borrowings from the addition to our repertoire. He also notes that "the lute
Trauerode (BWV 198), a work known to have included two part can be played also as a solo to our greatest satisfac-
lutes in the recitativo "Der Glocken bebendes Geton." tion." In this case, I suggest that a few notes from the bass
Mr. Nagytothy-Toth remarks that almost everything line be incorporated. Trills should also be added at ca-
in the lute part of "Komm, stisses Kreuz" is playable on dence point. Perhaps this piece could serve as an interest-
the modern guitar with a few bass notes moved an octave ing subject for Richard Yates' transcription column de-
higher, and that this aria by J.S. Bach makes a valuable buting in this issue.
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Komm, siisses Kr euz
(St. Matthew Passion, BWV244b)
Basso, Guitar (Original Lute) & Continuo
Edited by Abel Nagytothy-T oth J.S. Bach (1685-1750)
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Copyright 1995 by Abel Nagytothy-T oth
49
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52
THE GFA CONTEMPORARY
MUSIC SERIES, NO. 28
Introduced by Peter Danner
The GFA New Music Series presents previously-unpub- augmented chord and then continues to ring the changes
lished compositions by contemporary composers. Easy-to-in- on this evocative harmony. The work is not particularly
termediate technical levels are given preference, but works are difficult, although it contains some upper-position chal-
selected for lasting value. lenges.
Many exceptional pieces remain unknown because they are A native of Durban, South Africa, Timothy Walker is
not published or distributed, while, on the other hand, guitar- professor of guitar at the Royal Academy of Music in
ists complain of a lack of high-quality repertoire. GFA hopes to London. He studied with Narciso Yepes, Ida Presti,
help rectify this by making available outstanding works by Alexandre Lagoya, and John WIlliams who recommended
living composers. him for work with the Fires of London, the modern music
group directed by Peter Maxwell Davies. He now plays
regularly with this ensemble.
He is guitarist with the London Sinfonietta and has
A STUDY OF THE
played with the London Symphony, the BBC Symphony,
AUGMENTED CHORD Royal Philharmonic and other orchestras, as well as in
for Guitar such groups as the Melos Ensemble and Ensemble
Musique Vivante. Several of his compositions have been
by TIMOTHY WALKER published by Belwin Mills.
We hope our readers will use and enjoy these pieces. If you
The augmented triad, so the harmony books define it, know of deserving-but-unpublished works that should be shared
in one with a major third on top of another major third. It with the GFA membership, please contact David Grimes or
is thus fitting that the aptly-named"Study of the Aug- Peter Danner.
mented Chord" begins with the simple statement of an E
53
for Tony Dinner
A Study of the Augmented Chord

Timothy Walker
slightly quicker Singingly. >-
4
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7
May 1995
55
Doctoral, master's, and
bachelor's degrees in
guitar
Resources of the Sibley

the guitar program study Music Library, the larg-
with Nicholas Goluses, est academic music
director of Eastman's library in the western
guitar program and hemi, here
professor of guitar. The
guitar program provides Academic resources of
intensive preparation for the University of
professional life through Rochester
courses in fretboard
harmony, guitar history For an application and informa-
tion on programs and auditions

and literature, and
write to: Charles Krusenstjerna,
Director of Admissions, Depart-
as master classes and
recitals featuring promi- Music, 26 Gibbs Street, Rochester,
SCHOOL OF NICSIC
\ !VIRI I) ()I- 10(. I IL , I UR
nent artists.
56
The Society Page
and arranger, having created a sig- mental level of proficiency that en-
The Knoxville-Oak Ridge ables them to enjoy the guitar for the
Classical Guitar Society nificant repertoire of original music
for the classical guitar that ranges rest of their lives.
from the level of the beginning stu- Many Knoxville-Oak Ridge Gui-
by Germaine Marie Gombert tar Society members (some now gui-
dent to that of the advanced master.
He has composed and arranged many tarists of substantial professional cali-
Originally founded in 1971 to pro- ber) were introduced to the guitar
vide a forum for local artists and stu- works for well-known guitarists. Still,
approximately 90 of his best compo- through Long's folk guitar class. It is
dents to perform before audiences, often collectively opined among us
our guitar society has grown to a sitions are as yet unpublished—
largely because he is too busy teach- that, if only there were a way to 1)
participation of approximately 200. have Larry Long "cloned," and 2)
Although the principal focus contin- ing and performing to find time to get
them to the printer. have his eight-week folk guitar course
ues to be the classical instrument, "franchised" like a McDonald's —
other styles of guitar playing are also Although he plays several instru-
ments masterfully and was a long- soon everyone in America would be
embraced. In addition to presenting a playing a guitar!
students' recital, the guitar society time member of the Knoxville Sym-
phony Orchestra, Larry Long's true We who reside in the Tennessee
sponsors seven to nine public con- cities of Knoxville and Oak Ridge—
certs each year which feature guest forte is the classical guitar. For many
years (in addition to performing for whether we be performers, students,
performers from throughout the or members of the audience—share a
United States and other countries. diverse cultural and social events and
teaching his customary slate of 75 genuine passion for the classical gui-
Recent guest performers have in- tar. The fact that a publication like
cluded Lily Afshar, Tim Sparks, Ed private students), he has taught an
eight-week course in folk guitar— Soundboard exists suggests that our
Gerhardt, Bill Mize, Peter Finger, Ben- appreciation for the instrument is
jamin Bolt, Pierre Bonsusan, Michael offered on a continuum for the adult
education non-credit program at the apparently paralleled throughout this
Chapdelain, Christopher Parkening, country. Truly, placed in skilled
and many others. University of Tennessee. Long cre-
ated and developed this extraordi- hands, the guitar is a wonderful
As you may have guessed, inter- means for communicating what many
est in the classical guitar is alive and nary program in order to introduce
the guitar to people interested in learn- believe to be mankind's highest form
flourishing in east Tennessee. This is of expression: classical music.
largely attributable to one man: ing—but who have had little or no
Lawrence ("Larry") Long. A classi- previous exposure either to the in-
strument or to reading music. The Knoxville-Oak Ridge Classical
cally-trained symphonic musician Guitar Society
who began teaching the guitar in 1953, course—an informal, entertaining
process—is very popular. The mate- Lawrence Long, President
Long could aptly be described as the 106 Gore Road
"Johnny Appleseed" of guitar play- rial presented is comprehensive, yet
so easily assimilated that even those Knoxville, Tennessee 37919
ing in this part of the country. An (615) 588-5363
estimable guitarist in his own right, students who never pursue further
he is also a phenomenal composer study are able to achieve a funda-
57
LETTER
FROM
FRANCE
by Mary Criswick
Paris - International Guitar Week ists, and was extremely un-memo- mustachioed Cuban. Here Danielle
rable. By the intermission a number Ribouillault, director of the French
Although this was the second of people in the audience had classic guitar magazine Les Cahiers
year without a competition, Robert decided to join those who had de la Guitare, takes over from me.
Vidal, the founder and organizer, stayed at home. I stuck it out for
arranged a week of international the second half (music by Abril) "Fortunately, a warm and
recitals. In the past we in Paris but Estarellas' highly unexciting sensitive musican arrived from
have become accustomed to a high playing failed to keep my neighbor Cuba. We feared the worst at the
level of recital with usually at least on the edge of his seat, and he was start when, like many sensitive
three established performers soon in happy oblivion, fortunately souls, he stumbled and squeaked
during the week, and one or two not snoring. During the polite and suffered from tuning prob-
younger performers who would applause for the final piece, I lems, especailly in Bach's Alle-
more than likely be previous prize- decided to make a quick getaway mande and Gigue. But in Sor's
winners from a year or two ago. under the cover of darkness, but I Fantaisie Elegiaque it was the music
This year started ominously. At was barely halfway up the stairs that dominated and subjugated
the first concert given by Gabriel before I was caught, like an escap- both performer and audience with
Estarellas I knew only one single ing prisoner, in bright light. all its magic. This artist, with his
face among the members of the Turning around, I saw the reason sense of the tragic, with his warm
audience (normally even on an off- why: the remainder of the audience colors and romantic rubato, knows
night there will be a good half- had passed judgement, pro- how to reach out to our soul. Little
dozen) and began to wonder if all nounced sentence, and decided on slips count for naught when we are
the other friends and acquaintances no encores, so the house lights whisked off to a world where we
knew something I didn't. The first came up full. (The number of guitar shake hands with Tarrega, rub
half was dedicated to the music of recitals without encores is, as the shoulders with Gismonti, dally
Angel Barrios, which was, sadly, French say, as rare as hen's teeth.) with Rodrigo, Barrios, Morel, and
second-rate music of the sort that The second night was the turn Piazzolla; such a glorious program
was composed during the '20s and of the 1993 Paris prize-winner, Luis reflects the art of the lyric guitarist
'30s exclusively by and for guitar- Zamora, a handsome young at the very apogee in his interpreta-
58
Letter From France
tion of Brouwer's Sonata, which he and his playing is admirably suited Gangi solely as an arranger for
plays to all the greater perfection to the music he favors: Brouwer, Berben editions, I was more than
for having learned it at the com- Piazzolla, and Barrios Mangore. interested to hear how he fared on
poser's feet. Brouwer's "Elogio de la danza" our chosen instrument. Somehow
"Can one say whence comes this was the most wistfully nostalgic the result was not surprising, for he
charisma, this breath of fresh air homage I have ever heard, and is certainly competent, but the
that delighted the public in Paris? should serve as a reference, as the audience failed to be deeply moved
How is it one guitarist can shine so definitive interpretation. Despite by any single piece. The tone is not
brightly and capture our hearts, Cotsiolis' attempts to stifle clap- warm, but largely suited the
while another leaves us unmoved? ping within a programmed group mainly 19th-century music with
It remains a mystery that we can of pieces, the audience broke into which he began. The Giuliani
feel it so intensely and yet be spontaneous applause during the Sonatine, op. 71, was given a very
unable to say why. So let us just Brouwer group more than once, so Romantic interpretation, and he
listen." great was their enthusiasm. Fast brought out the humor inherent in
music, slow music, loud or soft, Carulli's Sonate setimentale L'Orage.
Incidentally, I asked Zamora every single note is under the most But 20th-century Granados fared
(actually, "asked" is a very big impressive control, and dominated less well, although Gangi seemed
word for what really happened. by great musical instinct. The to have more affinity for a suite of
Luis speaks next to no English, and Domeniconi Koyumbaba Suite with Torroba pieces. Underlying the
I speak—well, let's be generous— which he ended his recital calls for entire performance, however, was
four words of Spanish. Our efforts a scordatura in C sharp minor, and an overly businesslike tendency to
at communication did at least although it was most attractive get on with one piece as soon as the
involve us in communal laughter), music, with its flattened leading previous one was over, which led
if he had completed the impressive notes reminiscent of English to an abbreviated amount of time
list of some 30 recitals that formed folksong, the tuning was a little spent on tuning, with the result
part of the 1st prize for Paris. He ragged by the end. Despite all that the guitar was never quite in
had in fact performed something applause and shouts of bravo, tune the whole evening. The single
like a quarter of them; the rest just Costas, looking a little pale, dog- encore was a rather clever arrange-
melted into nothingness. gedly refused encores, and I soon ment of Gershwin's "Summer-
On the third night the young discovered why in the dressing time," which one assumes to have
French guitarist Paul Ferret took room, where he confessed in a half- come from his hand.
the stage. He took precious little whisper to having run a tempera- I had hoped to be able to
else, however, and certainly not ture for the four previous days. We announce to you that the competi-
people's attention; as so many left wish you better health, Costas; you tion is back, organized by . . ., but
at the intermission it is not known have sustained our faith in the Robert Vidal now tells me that, as
if there were any encores. He guitar during a very variable week. the final signature is still lacking,
apparently stumbled through the Finally it was with curiosity that all is still hush-hush. At least half a
entire studies of Villa-Lobos, which I went to see Mario Gangi on the dozen names have been suggested
have in the past caused the down- final night. Many people try to to me during the past two years as
fall of greater than he. contradict me when I say I can't serious contenders, all surrounded
Well, with Costas Cotsiolis really play the guitar; as I have a by varying levels of secrecy. Now
booked on the fourth night it certain number of compositions the final choice is known to the
seemed little could go wrong. And, and arrangements to my credit, it is public at large, the guy actually has
indeed, this grand, generous- thought I must be able to perform an office in the Radio France
hearted guitarist, already a dab at least half-decently. Well, my building, but, like many govern-
hand on the guitar, had noticeably tone is thin, the left hand squeaks ment institutions, Radio France
improved since I last heard him. and splutters, and the fingers are moves ponderously, and I am not
He has such a mastery of the not as nimble as they might be, but at liberty to reveal his name in
instrument and the music that his I can get around the fingerboard print. I sincerely hope that I will be
pianissimo notes carry to the and sightread. So, as I, in common able to do so very soon.
furthest recess of the concert hall, with many others, knew Mario
59
The GFA Tablature Piece
Prelude in D Major
Francesco Molino
(1775-1847)
• =:11 , .71W JINElli

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60
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2 2 2 2 2 2 2 2 3 3 3 3 3 3 3 3
0 2 4 0
61
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62
Between Two Worlds
THE MAN FROM IPANEMA:

ANTONIO CARLOS JOBIM (1927-1994)
by Marvin Falcon
In the early 1960s I was playing with a group of Laurindo Almeida was one of that group), many scat-
strolling musicians in a posh Las Vegas hotel. The music tered and a few landed in Las Vegas.
was commercial/continental (waltzes, pop songs, semi- It was there that I learned of the quiet revolution
classical arrangements, etc.) and, considering the vagar- taking place in the musical world. Nestor Amaral, Lulu
ies of the music business, I was happy to have the gig. Fereira, and especially Joe Carioca, the spark plug and
Dress was balloon pants, silk shirt, sash, and the requisite mandolin player and guitarist extraordinaire, invited me
smile pasted on our faces. To complete the picture of to listen to some recordings newly arrived from Brazil.
togetherness, our instruments were provided by the These Brazilians were extremely animated about the
leader, Dave Apollon (everyone matched). We were the latest musical developments from their country, hereto-
perfect idealization of romantic serenaders; music to lose fore unavailable in the United States. Their enthusiasm
your shirt by. To the gamblers and drunks, we were was especially great for a new young composer named
musical wallpaper, Muzak with legs. But in that group Antonio Carlos Jobim. This new sound was music for
were some of the finest and most accomplished musi- musicians. From the first moment I heard it, I knew it was
cians I've ever had the privilege to work with. something special. It was so much more subtle than the
The nucleus of the group was a band of Brazilian brash, aggressive 2/4 samba beat. In its place was a
musicians who had been the permanent accompanists for subdued pulse with melody more integrated with the
Carmen Miranda, the "Souse-American Bombshell," she syncopated rhythms and the cool jazz harmonies with
of the heaped banana hat and the kootchy-kootchy wiggle. strong hints of classical influences. The singing had a
Watch any old late-night movie of the '40s in which she tranquil, almost whispery quality in its gentleness, the
appears, and you will find her samba band, known as the phrasing musically impeccable, with no signs of bom-
Banda da Lua. Bedecked in ruffled shirts and sombreros, bast. To my added pleasure was the first emergence of the
this band would sing and dance and play in their infec- classic guitar in a pure popular setting. A cross-cultural
tious Rio street style. When Carmen Miranda died, the cocktail was born, with intoxicating musical results. While
boys were stranded in southern California without a rock-'n'-roll was coming on full blast, this fresh breeze
patron, and suddenly found themselves scuffling for was blowing from the south; this bossa nova was a balmy
work. Though some stayed in Los Angeles (the late oasis in a parched cultural desert.
63
Antonio Carlos Jobim (pronounced zho-bean, but promoters tired of the new fad, it became the province of
known by his friends as Tom) was born in Rio de Janeiro jazz musicians and their public.
in 1927. He and his sister grew up in the neighboring Getz and Gilberto, with Jobim on piano, recorded
beach community of Ipanema (really!) and enjoyed a another album, called appropriately Getz/Gilberto, featur-
childhood of sunshine, boating, but mostly nature. "In ing the song "The Girl from Ipanema," with a sexy vocal
those days, Rio was a bucolic place. I fished and swam by Astrud Gilberto, and won a Grammy award for Record
every day." He took formal lessons on the guitar and soon of the Year. After the success of "Ipanema," singers of the
the sensitive lad was studying theory and harmony. "I quality of Sarah Vaughn,. Ella Fitzgerald, and Frank
studied some classical piano, but I became a surveyor, Sinatra added Jobim compositions such as "Meditation,"
always with the chords, the chord changes. And the "One-Note Samba," "Quiet Nights" (Corcovado), "Wave,"
nature of Rio, I believe, helped me a lot—the sea, the "Triste," "How Insensitive," The Waters of March" (A
forest, the mountains, the birds, the lagoon. They had an Stick, A Stone), and others to their repertoire.
effect. I am a son of mother nature." In a revival of bossa nova in the '80s, brought about in
After passing over a brief career as an architect, he part by Paul Simon, The Manhattan Transfer, and David
decided to pursue his musical bent. His exposure to Duke Byrne of the "Talking Heads," many of the early record-
Ellington and other American jazz musicians made his ings were reissued and a new generation was listening. In
choice inevitable. By the late 1940s, he started performing an interview in 1989, Jobim insisted he was unimpressed
his own compositions at local bars and nightclubs. "Tom's by the sudden resurfacing of bossa nova. "Now it's the
phrasing, harmony, feeling, even his sense of rhythm— big thing all over again. The only word we use anymore
although he played the samba—had a completely differ- is new—nuova, nuevo, bossa nova—the new trend, the
ent approach," noted trumpeter Bill Home. "It sounded new wave [New Age], the new Gillette disposable ra-
soft and sophisticated in much the same way an Ameri- zor—Bah! What's really new? Only the sun when it rises
can pop tune sounds, with a subdued modern jazz treat- in the morning. How boring, how annoying, to be mod-
ment." ern. I want to be eternal, not modernal."
In 1956, after marginal success, he finally turned his Tom just might have achieved his wish. To some,
fortunes around when poet and diplomat Vinicius de Jobim was known as the Gershwin of modern times. Pop
Moraes invited him and guitarist/composer Luis Bonfa idol Sting in a recent interview said, "His music will last
to write incidental music for his movie, Black Orpheus, forever, like the Beatles and Mozart. As long as people
directed by Marcel Camus. Black Orpheus won many play music, they will sing Jobim's songs." Jazz saxophon-
international awards and catapulted both Bonfa and ist Joe Henderson adds, "Jobim ranks right up there with
Jobim to world fame. In that same year, he wrote and Cole Porter as one of the great composers of this century.
recorded with singer/guitarist Joao Gilberto his "Chega He was an incredible tunesmith who left a vast legacy for
de Saudade," later known to American audiences as "No us as musicians." His contribution was great. He wrote
More Blues." "Chega became such a hit that Gilberto soon over 400 songs, almost all about romantic love or nature.
after cut an album in the liner notes of which Jobim Once he interrupted an interview in his lush garden to
introduced the term "bossa nova" for the first time. To listen to the chirping of a bird that had perched on a
create this new music, he merged Brazilian samba and nearby branch, "Now, that is perfection itself."
European pop with such classical and jazz influences as When he died, on December 8, 1994, in New York City,
Chopin, Debussy, the great American Broadway com- tributes poured in from all over the world, and memorial
posers, and Miles Davis during his cool jazz period. concerts were held in his honor. The music that started
Stephen Holden wrote in the New York Times that its style with a gentle pulse was, to many, a quiet protest against
is "unmatched in its delicate sensuality, especially when the technological and marketing steamroller overwhelm-
the music is interpreted in the caressingly guttural into- ing a helpless public. It became a counter-revolution; one
nation of the Portuguese language and played on the which stressed taste, beauty, sensuality, nature, and the
guitar." introspective—everything of which the world is in des-
In 1962, Stan Getz, tenor sax artist, and Charlie Byrd on perately short supply. Like the pretty bird in the garden,
guitar recorded the album Jazz Samba, which climbed to Tom's song was perfection and the message one of love.
number one on the pop album charts and started a bossa
nova craze in the U.S. The big hit that year, "Desafinado." References:
swept the nation with the usual tacky commercial copy- Current Biography Yearbook 1991
cat imitations ("Blame It on the Bossa Nova" for one). New York Times, December 9, 1994
Originally, it was hoped that it would become a new New York Times, April 16, 1995
dance sensation, like the bugaloo. But after commercial
64
BY ALEX DE GRASSI
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65
FALSA BAIANA
(bossa nova)
for two guitars with rhythm changes
arr. by Marvin Falcon A.C. Jobim
tap for
drum intro.
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67
THE 13th GFA GUITAR COMPETITION:
AN INSIDE VIEW
by Leon M. Brown
We thought it would be interesting to have this year's compe- The qualifying round was held throughout the day
tition reviewed by one of the actual competitors. Leon Brown before a panel of judges on Monday through Wednesday
lives in Menlo Park, CA, and holds an MA in music from San in the newly constructed Satellite Student Union. The
Jose State University. He teaches guitar at the Palo Alto Adult required pieces were the set piece competition winner,
School and other organizations in the Bay Area. "Dreamscapes" by Tiffany Sevilla, "Bagatelle No.1" by
William Walton, and a free choice not to exceed five
The annual CPA Competition and Festival took place minutes.
October 9-14 at California State University in Northridge, For what it's worth, I entered the contest for some
California. Themes included the life and music of Mario basic reasons. The festival was held in nearby southern
Castelnuovo-Tedesco (1895-1968), commemorating the California, only a busride from my suburban San Fran-
centenary of his birth; American guitar music; and a cisco residence to the north. Having never entered a
tribute to Laurindo Almeida (1917-1995). A truly interna- competition before, this would be a prime opportunity. It
tional group of guitar enthusiasts assembled for what would be a chance to introduce myself to the professional
proved to be a richly rewarding week of activities. guitar world. The festival also offered many non-com-
Approximately 50 contestants from around the world petitive events such as concerts and master classes. I
came to give their best in pursuit of the coveted prizes. could probably learn a lot for my own teaching and
First place would win the La Bella Grand Prize of $5,000 performing endeavors.
plus the CPA Concert Tour; second place, $1,500; third My time to play was scheduled for 4:15 on Monday
place, $750; and fourth place, $350. In addition, the Naxos afternoon. In addition to the above mentioned pieces by
Prize would go to the finalist most deserving of a profes- Sevilla and Walton, I chose to play, as my free choice, a
sional recording project. This prize alone has a $12,000 required piece from the semifinal round, "Porque fue
value! Contestants were evaluated as to musicianship, Sensible" by Castelnuovo-Tedesco (in case I didn't ad-
technique, originality, programming, and presentation. vance). Overall, I would say my performance before the
Judges were responsible for devising an appropriate judges lacked technical polish. One could say I wasn't
point system. very well prepared and apparently hadn't practiced re-
It was clear that a very high level of performance cently. However, I do think I made a musical point by at
would be the order of the day. Strolling through the least offering an individual, perhaps even original, inter-
dormitories, one could continually hear what sounded pretation of the music.
like an avant garde guitar orchestra furiously warming On Wednesday evening, between concerts, the an-
up. There were hints of who would possibly make the nouncement of semifinalists was made. There was hope
semifinals and/or finals. This was based on hearsay, for a moment, but, alas, my name was not called. I felt a
advanced word, and some fairly objective criteria. The tinge of disappointment, but the decision was fair as far
competitive spirit was alive and well! as I was concerned. At this point I decided the best thing
68
to do would be to encourage and support those who were because of a misunderstanding about the starting time.
chosen. This seemed noble and honorable. Unfortunately, My roommate and several others insisted that Papandreou
not everyone thought so. Some felt that they had been had been superb and that Izquierdo had some tuning
literally cheated of a place in the semis! problems. Through the force of their arguments, I ac-
In an attempt to bring some objectivity to the proceed- cepted Papandreou as a probable finalist and eliminated
ings, I appointed myself an unofficial judge of the event. Izquierdo.
I should point out that I had not heard any of the contes- The next player I actually heard was Alan Thomas,
tants play prior to the competition. I also had no direct who performed well, but seemed rather uninspired (7).
knowledge of their personal background, experience, or Up to this point, except for Mangold, I was not particu-
reputation. I only learned tidbits of information from the larly impressed with the players (considering the pres-
Fall '95 Soundboard, which I did tige of this competition). But then
not read until returning home came Goni. My first reaction was
after the festival. to wonder what she was even
What follows are my overall doing in this contest. Her play-
impressions of each player's ef- ing was so exceptional that she
forts. At the time of the semifi- stood out like a lighthouse bea-
nals I did not realize I would be con in the fog. Unless someone
writing an article, so I didn't take else had a sudden epiphany, she
detailed notes. However, I was would easily go on to the finals
paying close attention. I used a and eventually win the competi-
ten point ranking system. 1-5 are tion (9). Grove followed with two
minimum competence, 6 is fair, 7 nail-biting attempts that were
is good, 8 is excellent, 9 is ex- ruined by overwhelming nerves.
traordinary, 10 is beyond com- He apologized and thanked ev-
petition level. Remember, these eryone and was awarded with a
are world-class players, so the generous ovation (2). Finally, the
expectations are necessarily high! round ended with Rocchietti dis-
The semifinals were held on playing a powerful technique and
Thursday before a jury and a robust spirit. His execution, how-
public audience. Twelve deserv- ever, was not as smooth as it
ing and lucky contestants were could have been (8).
chosen to continue competing. My candidates for the four
The required pieces were "Baga- finalist positions were clearly
telle No.1" by Walton, "Porque Goni, Mangold, and Papandreou,
fue Sensible" by Tedesco, and Antigoni Goni with Tiffany Sevilla, with some uncertainty between
composer of "Dreamscapes"
the judges' choice, chosen from (Photo by Maurice Canuel)
Rocchietti and Nicolella. On
the contestant's proposed reper- Thursday evening, in an unusual
toire for the finals. The morning move, the judges selected five
session featured Michael Nicolella, Cem Duroz, Ernesto finalists, instead of four. They were Thomas, Goni,
Diaz Tamayo, Matthew Greif, Jeffrey Hanlon, and Papandreou, Tamayo, and Mangold. Three out of five
Maximilian Mangold. ain't bad! Admittedly, with respect to Goni, Mangold,
Nicolella turned in a very solid and workman-like and Papandreou, the results were particularly obvious to
performance (7). Duroz followed with a fine effort, but his everyone.
tone was a bit too brittle (7). Next up were Tamayo (6), The finals were held before a panel of judges and a
Greif (6), and Hanlon (5). As a group, their playing packed house on Friday in the Performing Arts Center.
suffered from technical errors, mental lapses, and an The jury consisted of Eli Kessner, Douglas James, Tom
overall academic interpretation of the pieces. Finally, Johnson, Frederick Noad, John Holmquist, Alexander
before lunch, Mangold proved to be a revelation. He had Dunn, and Peter Segal. Each contestant was required to
a warm, mature sound that endeared one to his overtly play a chosen program not to exceed 25 minutes, plus the
romantic style. He stood out as the clearly superior player set piece "Dreamscapes," which was to be included in the
from this group (9). program at the player's discretion. The electric energy in
The afternoon session commenced with Elena the hall was almost palpable, as everyone anticipated the
Papandreou, Rene Izquierdo, Alan Thomas, Antigoni long-awaited climax of the competition. I'm still using the
Goni, Paul Grove, and Jean Luc Rocchietti. Unfortu- ten point scale, but the curve is now higher. Excellence is
nately, I was unable to hear Papandreou or Izquierdo the standard for this round!
69
Alan Thomas was first to perform. For some reason, it outlook (7). Next came Bach's familiar Preludio, Fuga,
stood out to me that his shoes weren't shined. Perhaps and Allegro (BVVV 998). Papandreou displayed a youth-
that was irrelevant, but it did distract me somewhat. ful exuberance in her approach to the work, but somehow
Overall, his tone was dry, and his technique was squeaky it seemed as if the music could not come fully to the fore
in places. He opened with "Dreamscapes," which (to my (7). "Primavera Portena" by Piazzola presented some
recollection of the score) was not a very accurate reading technical problems and again her rendition had a closeted
(5). Next came two rather light pieces by MacDowell feeling (7). "Cocktail" by Boudounis is a piece similar in
entitled "A Tin Soldier's Love" and "To a Hummingbird" depth to the before mentioned MacDowell pieces played
5,5). These pieces were perhaps better left out of compe- by Alan Thomas. Though cute, it is too lightweight to
tition programs because of their paucity of effect. Thomas follow any of Bach's extended works. Besides that, the
followed with an abrupt change of style by playing piece was marred by a slow start and some sloppiness in
Carter's "Changes." His interpretation came across as the technical area (6).
lacking shape and structured and turning into so much The final round continued after a lunch time intermis-
noise (7). He closed with Three Spanish Pieces by Rodrigo. sion. Ernesto Diaz Tamayo came out in an elegant tuxedo
Though generally well-played, they missed a distinctive accented by very shiny shoes. No matter what the out-
groove and were rendered as non-Iberian in flavor (6). come, he was dressed for success! He played a guitar that
Antigoni Goni lived up to the standard she had set in had a massive tone that seemed to emanate purely from
the semifinals. She was tastefully dressed and had an the center of the soundhole. Overall, Tamayo has a very
almost regal quality in her posture. Her playing exuded formal approach that sometimes appears to be too disin-
an old-world sensibility that harkened back to the Europe terested. His program also ran overtime, which worked
of Chopin and Tarrega. She proceeded with a purely to his disadvantage when he was interrupted midway
Spanish repertoire to which the set piece was perfectly through one of the pieces.
integrated. Her body movements flowed with the music, Tamayo opened with Rondo No.2 by Aguado. His
as she deftly handled the harmonics, dynamics, and interpretation was perhaps too cerebral, and lacked fire
special effects most impressively. and passion (7). He followed this with the Prelude, Fugue
She opened with "Dreamscapes" and displayed a and Allegro (BWV 998) by Bach. The piece was well
confident artistry in the accuracy of her interpretation. played with a solid feel. Inadvertent squeaks took away
Goni was the only contestant to truly render the set piece from an otherwise elegant rendition (8). Next was the
in its many quirky fits and starts. The composer was "Gigue" by Ponce, which could be characterized simi-
undoubtedly pleased with this "world premiere" (9). larly to the Aguado Rondo. It was solidly performed, but
Next, Goni performed Sonatina in A Major by Torroba. was perhaps too monotone (8). Tamayo closed with
This piece was distinguished by imaginative tone color "Dreamscapes" in a less-than-atmospheric reading where
and shading, as well as a distinctive rhythmic swing (9). he was apparently not clear on the nuances of the score
The Invocation y Danse by Rodrigo was just as impres- (8)
sive, particularly the well-controlled tremolo on display Maximilian Mangold ended the competition with an
in much of the piece (9). Goni rounded out the set with an inspired and heartfelt performance. Again, his romantic
excellent rendition of "Sevilla" by Albeniz (9). approach was evident in all he played. And, yes, his shoes
Goni is a performer of excellent accomplishment. If were polished! Mangold was the most original of the
there are any criticisms that can be directed at her, they finalists (perhaps to his detriment, when a different ap-
are that she has a propensity to stomp her foot at seem- proach is called for).
ingly random points and can be seen to audibly inhale a Mangold opened with a delightful work by Dowland
big gulp of air at various times. Nevertheless, her playing called "A Fancy." His tone was marvelous, even with the
and overall presentation are so immaculate that I would use of a capo. The occasional rhythmic misstep stopped
go so far as to say that she is beyond this sort of competi- this from being a near perfect effort (8). The Fugue in G
tion and should be exposed to the general public as much minor (BVVV 1001) by Bach was beautifully played in a
and as soon as possible. Hers is an artistry that begs to be most expressive manner. He presented the work with
heard beyond the confines of society concerts. several nuances, which were perhaps out of character for
Elena Papandreou appeared next in casual attire. In the period, but, nevertheless, effective (9). He followed
contrast to Goni, her style was demonstrably more intro- with "Eligie" by Mertz in which he really cranked up the
verted. She played with a rather thin, dry tone (as if her romanticism and bordered almost on schmaltz. This is
guitar were not fully broken in). Papandreou is, however, apparently his forte, and the piece was, indeed, exquis-
a fine and promising player. She opened with itely rendered (9). The "Danza del Molinero" by Rodrigo
"Dreamscapes," which suffered from some intonation was performed with too much of the above affectations
peculiarities and an overall rushed feeling. The piece (8).This was balanced by the following "Fandango" by
needed more tone color and more of a dreaminess in Rodrigo, which displayed a good beat and sure rhythmic
70
intent (8). The intended "Zapateado" of Rodrigo was Papandreou in second, Maximilian Mangold in third,
scratched due to lack of time, so Mangold ended with with Alan Thomas and Ernesto Diaz Tamayo sharing
"Dreamscapes." Aside from a gorgeous tone and strong fourth. Unexpectedly, the Naxos prize was shared by
emotion, he seemed (like all the others except Goni) to not Goni and Papandreou.
be clear as to the composer's intent (8). The judges' decisions evoked a bit of controversy, as
My scoring resulted in Antigoni Goni winning the the election of Papandreou over Mangold seemed to be
competition hands down. The Naxos recording was clearly gratuitous at best. There were battles of contention being
hers as well. Maximilian Mangold came in a strong sec- fought on all sides (including this author's). Some even
ond. The most apparent differences between these two speculated that the Naxos label was involved in the one-
players was Mangold's relative lack of rhythmic security. two finish of the Greek women, thereby justifying a
In third place I had Ernesto Diaz Tamayo displaying subsequent recording called Greek Guitar Girls or some
excellent technique, but not enough musicality. Fourth such concoction. Hmm...maybe there's something to that.
place went to Elena Papandreou for musicality, but not It was, indeed, a fine week in the southern California
enough technique. Of course, everyone got a 10 for mak- heat and smog. The GFA Festival and Competition de-
ing it to the finals! serves its reputation as one of the premiere events for
On Saturday evening, between concerts, the winners guitar players and enthusiasts. I look forward to next
were announced. In yet another unusual decision, five year's session in St. Louis. Whether one enters the compe-
prize winners were chosen, instead of four. The judges' tition, or just enjoys the many concerts and activities, this
final decision was: Antigoni Goni in first, Elena is a annual festival not to be missed.
GFA 1995
by Richard M. Long
The GFA's 1995 Convention and Competition was both the city and the campus seemed remarkably normal,
held on the campus of California State University, and the facilities CSUN provided the GFA were all first
Northridge, located in the San Fernando Valley, Los class: the concert hall was new with very good visibility
Angeles' famous bedroom suburb. Arriving from either and acoustics; both the lecture room and Grand Salon
airport (LAX or Burbank), an American feels instantly at (where the exhibitors assembled) were sunny and spa-
home here—the names on the freeway signs are familiar cious, and all adjoined the Student Union, where restau-
from countless Johnny Carson monologues or from car rants and other amenities were readily available (al-
chases on prime time cop shows. The golden haze in the though the Pub's hours were inconvenient and unreli-
distant mountains also evokes a sort of cleja vu—one able). The dormitories were so new and clean that one had
remembers seeing it in that old Hollywood movie about the impression of being their first resident. Apparently
medieval England, or Asia during World War II, or on many of these buildings had been under construction
that TV show about detectives in Palm Beach. when the earthquake struck, and had been completed
"The Valley," separated by the Santa Monica moun- only recently.
tains from some of the smog and traffic of L.A., was also Throughout the festival, any problems which arose
familiar to everyone who had seen the telecasts of the were dealt with promptly and cheerfully by the team
destruction caused by the great January 1994 earthquake, efforts of hosts Ron Purcell, Gregg Newton, Ron Borczon,
the epicenter of which had been in Northridge. A few Mike Long, Darien Mann, and many helpful staff mem-
remnants of that disaster were still to be seen: a cracked bers of the university. Those attending the festival were
wall here, a toppled chimney there. Just north of the never made aware of the effect the earthquake had had on
CSUN campus an enormous block of apartments stood our hosts' private as well as professional lives (the Purcells'
vacant, fenced off, posted with large caution signs in home in particular had been seriously damaged, I was
English and Spanish. On the campus, the proliferation of told); or how the plans for the festival had to be revised
temporary classrooms reflected the fact that more than several times, first because of the death in July of guitar
half of the university buildings still had not been restored legend Laurindo Almeida, and again when Eleftheria
to full use. But considering the enormity of the quake, Kotzia suffered a hand injury, and then because of van-
71
ous scheduling conflicts involving the orchestra. And, in an evocative performance of Brouwer's Cuban Landscape
their spare time, Purcell et. al. managed to stage a Laurindo with Bells.
Almeida scholarship concert just two weeks before the In the first evening concert, Lily Afshar, who has
festival, and restore the earthquake-damaged Bickford championed and recorded Castelnuovo-Tedesco's
Collection to good order so that festival-goers could Caprichos de Goya, Op. 195, played several exerpts from
consult it. In short, a smoothly functioning festival was that series, interspersed with Domeniconi's Koyunbaba,
the result of heroic efforts, long hours, careful planning, Op. 19, and the world premiere of Omar's Fancy by Dusan
as well as a high-tech data base and even walkie-talkies. Bogdanovic. Afshar's programs are invariably interest-
And the weather was perfect, too, as one has been led to ing, carefully prepared, and sometimes exotic; this night
expect of southern California. was no exception. The second evening concert featured
another rarely heard work by Castelnuovo-Tedesco-
his Romancero Gitano for chorus and guitar, Op. 152,
based on seven poems by Federico Garcia Lorca. The
performers were guitarist Gregg Newton (tastefully
amplified) and the L. A. Chamber Singers, conducted
by Peter Rutenberg. Different members of the en-
semble served as soloists throughout this fine perfor-
mance, and also on four good-humored American par-
lor songs. Newton, whose accompaniments were subtle
and polished, also played a solo, a moving Pavana for
Pancho by the late Laurindo Almeido, who had origi-
nally been scheduled to perform at this festival.
Wednesday, October 11, 1995
In the morning, festival goers had the opportunity to

hear three diverse lectures: Eric Jones on "Framework
and Methodology for Collegiate Fingerboard Har-
mony;" Peter Danner on "The Meaning of American
from left: Jeff Cogan, Ronald Purcell, Antigoni Goni Parlor Music;" and Douglas Back on "The Music of
William Foden, American Pioneer." Danner described
Many of the concerts (one each afternoon, and two the social setting in which American parlor music flour-
each evening) and lectures featured the music of Mario ished; Back interspersed biographical information with
Castelnuovo Tedesco (1895-1968), who had lived in Los
- spirited performances on a period instrument. In the
Angeles and been one of the teachers of festival organizer afternoon, an Oscar Ghiglia masterclass was followed by
Ron Purcell. Once introduced to the guitar by Segovia,
Castelnuovo-Tedesco fell in love with the instrument and
composed prolifically for it for the remainder of his life.
No guitarist himself, his works for the instrument are
usually daunting and sometimes require extensive edit-
ing; many of them, especially the chamber music and
song cycles, are almost never performed in spite of their
importance to the repertoire and the composer's stature.
The opportunity to hear so many rare and wonderful
works by this gifted composer was one of the special
delights of the festival.
Maurice Canu
Tuesday, October 10, 1995
Margarita Escarpa, the 1994 GFA competition winner,

played the opening concert: Weiss and Bach (Sonata No. 1,
0
BWV 1001) were followed by Rodrigo's Invocacion y Danza;
a sweet sentimental version of Regondi's Reverie, Op. 19
(with a beautiful tremolo); Wolfgang Lend le's Variations
capriceuses d'apres Paganini (a virtuoso bag of tricks); and
Carlos Barbosa-Lima master class with Eric Osterhoff
72
Mexican guitarist Antonio Lopez Palacios playing the the Castelnuovo-Tedesco Quint etto, Op. 143. The ensemble
music of Ponce. Lopez's ably performed selections dem- could have stood an additional rehearsal, but got it to-
onstrated the versatility of the composer—the Sonata gether in time to be called back for an encore of the Andante
Romcintica, Variaciones y fuga sobre un tema de Cabezon, the mesto.
Suite in D, and several shorter works.
David Leisner played the first evening concert; he Friday, October 13, 1995
began with a transcription of Bach's Partita for flute BWV
1013 and ended with Ginastera's Sonata, Op. 47; between The affable, soft-spoken architect Lorenzo
the two, he was joined by baritone Kurtt Oilman in a rare Castelnuovo-Tedesco gave an informal talk "The Life
performance of seven songs from Castelnuovo-Tedesco's and Music of My Father." In his early years, he related,
cycle Vogelweide, Op. 186. This work, named for the 12th Mario Castelnuovo-Tedesco had taken two degrees at the
century Minnesinger whom Wagner made famous, is a Conservatory in Florence, one in composition and the
treasure of the guitar repertoire; it is inexplicable that other in piano. By the 1930s he had become an acclaimed
works of this quality are virtually ignored, but this memo- composer of operas, symphonic music, violin concertos,
rable performance by Oilman and Leisner may inspire us widely known songs such as "I cipressi," and even song
to correct this. In the second evening concert, Sergio and cycles. He was also a music critic, a champion of Falla and
Odair Assad performed some dazzling duets— three Stravinsky, a friend of the elder Puccini, and hailed as one
sonatas by Scarlatti, pieces by Sergio Assad and Piazzolla- of the Italian "Five," together with the likes of Malipiero
and then were joined by the CSUN Symphony, con- and Respighi. His works were being performed by Heifetz,
ducted by Jonathon Stockhammer, in Ca stelnuovo- Gieseking, and Piatagorsky as well as Segovia, whom he
Tedesco's Concerto for Two Guitars and Orchestra, Op. 201. met in Venice in 1932. The rise of fascism and antisemitism
in Europe doomed his career; encouraged and aided by
Thursday, October 12, 1995 his friends, he emigrated, together with his family, to the
United States. The first guitar concerto (No. 1 in D, Op.
Peter Segal's insightful morning lecture "The Role of 99), was written during this period of dislocation, and the
Andres Segovia in Re-shaping the Repertoire of the Clas- beautiful second movement was his addio to his beloved
sical Guitar" was drawn from his DMA thesis at Temple Florence. Once established in California, Castelnuovo-
University (summarized by Thomas Heck in the Summer Tedesco found the studio system and the composers' lack
1994 Soundboard). Segal's observations, which described of control a source of frustration, but he also found the
the negative as well as the positive aspects of Segovia's process a challenge and determined to master it. He also
influence, provoked much discussion. Also that morning never ceased to compose his own music, operas and
Stanley Yates brought his vast knowledge of the Baroque chamber music, even after his retirement in 1956.
style to "Bach's Unaccompanied Cello Music," empha- Earlier that morning, Jim Westby had discussed "The
sizing guitar transcription, and Jose Maria Gallardo del Film Music of Mario Castelnuovo-Tedesco." The lec-
Rey taught a well-attended masterclass. turer, who had completed a dissertation on this topic,
Most of the festival participants had heard Segovia's showed video extracts from films such as When Ladies
recordings of ten solo guitar excerpts from Castelnuovo- Meet (1941), And Then There Were None (1945), and The
Tedesco' s Platero y Yo, Op. 190, but few had heard the Loves of Carmen (1948), and explained the nuances of film
work as it was intended—with a narrator reading the scoring, coding, motifs, etc. Castelnuovo-Tedesco, who
Nobel-prize winning poetry of Juan RamOn Jimenez. had been highly recommended by the likes of Heifetz and
Guitarist Frank Koonce and narrator Don Doyle, a pro- Toscanini, was uniquely suited to the profession because
fessional actor and storyteller, presented a charming and of the unusual speed and accuracy of his work, and
moving performance in English of seventeen pieces (out because of his almost instinctive orchestration. Since film
of a total of 28) drawn from one of Castelnuovo-Tedesco's had only emerged from the silent era about a decade
finest works—surely one of the highlights of the festival. earlier, Castelnuovo-Tedesco was a pioneer in a new
The evening concerts featured both British fenomena Nicola genre, and was later a highly sought-after teacher to the
Hall and Italian legend Oscar Ghiglia. Hall's eclectic likes of Jerry Goldsmith, Andre Previn, and Nelson Riddle.
program included four dances by Praetorius, the Moreno Friday afternoon featured a masterclass by Carlos
Torroba Sonatina, two Walton Bagatelles, Brouwer's Elogio Barbosa-Lima and the exotic sounds of the Kaohsiung
de la danza, and Rodrigo's En Los trigales, as well as two Chamber Ensemble from Taipei, Taiwan. In the first
works which have become her trademarks: Mertz' Hun- evening concert, Stephen Robinson and flutist Angeleita
garian Fantasy and Paganini's Caprice No. 24. Ghiglia Floyd performed Castelnuovo-Tedesco's Sonatina, Op.
performed superbly Falla's Homenaje, Milhaud's quirky 205 for flute and guitar, the entertaining Trois Esquisses by
Segoviana, and Castelnuovo-Tedesco's Tarantella,and then Benoit Schlosberg, and an effective transcription (by
was joined by the Armadillo String Quartet to perform Robinson) of Rodrigo's Fantasia para un gentilhombre.Floyd
73
and Robinson each have successful careers as soloists but Tamayo played the set piece from memory, then Aguado's
have also performed as a duo for years; they have the sort Rondo Op. 2, No. 2, a work both challenging and seldom-
of polish and musical understanding that take years to heard. Bach's Prelude, Fugue, and Allegro, BWV 998, was
acquire. Their encore was a tuneful South American piece rock-steady, perhaps too much so, and the Gigue by Ponce
for which Robinson traded his guitar for a charango. The taken so quickly that it occasionally lost coherence. Diaz'
second concert was to have been Eleftheria Kotzia's, but tone, volume, and technique were all excellent.
she suffered an injury. Jose Maria Gallardo del Rey thus Maximilian Mangold chose to demonstrate his versa-
had three weeks to prepare a demanding program of tility with a program of shorter pieces: a Fantasy by
Castelnuovo-Tedesco works: the melodic and rarely heard Dowland, the Bach Fugue BWV 1001, Mertz' Elegie, Falla's
Ecloghe, Op. 206, for guitar, flute and English horn (beau- Danza del Molinero, and the Fandango and Zapateado by
tifully performed by Laura Halladay and Michele Forest Rodrigo. Mangold did a fine job bringing out the counter-
respectively), and the world premiere of Capriccio diabolico point in the fugue; his Mertz was evocative and romantic,
as arranged by the composer for guitar and orchestra. The but I thought his Falla perhaps too controlled and emo-
CSUN Symphony returned for a second night, this time tionally detached. Both Diaz Tamayo and Mangold were
conducted by Daniel Kessner. cautioned in mid-performance, perhaps unnecessarily,
to watch the time. After the warning, Mangold played the
Saturday, October 14, 1995 mandatory set piece and segued directly to the Fandango
to complete his performance.
After the Luthier's Workshop, a discussion directed Five technically gifted young musicians, and another
by David Schramm and featuring John Gilbert and Rick tough decision for the judges! If any one player stood out
Turner, the long awaited finals of the guitar competition from the rest it was Ms. Goni, who had played with the
had arrived. Because of a draw in the semifinals, the most passion and spontaneity, had taken the most chances,
judges had agreed to hear five finalists rather than the and also made the only real slip. There was general
usual four. The competition set piece (it could have been approval of the judges' decision to award her first place,
Legnani's Terremoto, Op. 1!) was Dreamscapes by Califor- and Papandreou's musical Bach certainly earned her
nia composer Tiffany Sevilla, a three-movement work second place, but the remaining three must have been
which was not technically virtuosic but which made very difficult to rank. The judges awarded third place to
demands on the musicianship of the performers. Mangold, fourth to Thomas, and honorable mention to
Alan Thomas played two pieces by MacDowell, Diaz Tamayo. The Naxos prize, a recording contract, was
Changes by Carter, and Tres Piezas Espanolas of Rodrigo. awarded by Norbert and Bonnie Kraft to both the first
The MacDowall transcriptions were excellent, the Carter and second place winners.
piece is hardly a crowd pleaser even when well-played In the afternoon concert, Jose Maria Gallardo del Rey
(which it was), but the Rodrigo pieces were redemptive played a suite by Sanz, a nicely ornamented Tocata by
and rousing. Thomas, in spite of a tendency to substitute
facial expression for musical dynamics, is a player of
great technical facility and he made few if any errors.
Antigoni Goni immediately commanded attention
with her big sound and broad dynamic range. Her
Dreamscapes were more restless than the others', and her
all-Spanish program showed off her dramatic flair and
broad palette of tone colors. She stamped her foot during
her energetic rendering of Moreno-Torroba's Sonatina
and gracefully bobbed her head like a Greek dancer
during Rodrigo's Invocacion y Danza. An almost perfect
performance was then marred by a bad start to Sevilla by
Photo by Maurice Canue l
Albeniz, which thereafter never quite became a sevillanas

or any other kind of dance.
Elena Papandreou played the set piece competently,
followed by a beautiful, flowing performance of Bach's
BVVV 998 Prelude and Fugue and a breathless Allegro. She
completed her program with Primavera Portefia by Astor
Piazzolla, and a playful jazz and ragtime-influenced show-
piece entitled Cocktails by Boudounis, featuring bent notes,
soundboard slaps and complex strumming. Competition director Jeff Cogan congratulates 2nd prize
After the intermission, the Cuban-born Ernesto Diaz winner Elena Papandreou
74
Santiago de Murcia, and two flamenco-influenced origi- were well worth the wait. Bellinati played works by
nal compositions—Bander/as de Tiniebla and Rosales. He Garoto and Jobim and a number of his own pieces.
was then joined by soprano Maria Jette in Argento's Barbosa-Lima performed brilliant arrangements of Bra-
Letters from Composers; Jette is a fine actress, as one must zilian standards: Pernambuco's Sons de carrilhdes, Bonfa's
be to perform these songs well, and the understanding Manha de Carnaval, Almeida's Baa-too-kee, Pixinguinha's
between the two was extraordinary. They also performed Cochichando, a Carioca by Nazareth, and Stone Flower by
four of Falla's Canciones populares espafiolas; two songs by Jobim. Jazz guitarist Oscar Castro-Neves sang, performed
Minnesota composer Randy Davidson; several songs by solo, played duets with Barbosa-Lima (Nazareth's
Castelnuovo-Tedesco including the Ballata del esilio, based Apanhei-te, Cavaquinho and a rousing Tico-Tico), and
on a poem by Guido Cavalcanti and originally composed jammed with Bellinati. Assad performed a variety of
for voice for guitar; and two stunning Canciones de la vida pieces—Valseana by her brother Sergio, Brazilian pop by
by Gallardo himself. Gallardo was one of the revelations Chico Buarque, a piece by guitar wizard Marco Pereira—
of the festival: Seville born, he is a solo player who brings and brought down the house with her vocalizations.
Andalucian exuberance to his scales, plays chamber music Assad defies categorization or description and even her
with taste and precision, and acknowledges the audience's latest CD did not prepare me for her electrifying stage
enthusiastic applause with a toreador's nod; he is also a presence: simply stunning.
formidable composer. The encore was a charming setting After the performance, the pub was closed and dozens
of Mozart's "Voi che sapete" from Le Nozze di Figaro. of us milled around, reluctant to leave, saying farewells to
The final concert of the festival, "An Evening in Bra- new and old friends until next year, and of course practic-
zil," started late but the performances of Paulo Bellinati, ing our new mastery of the in the local dialect. So I went,
Carlos Barbosa-Lima, Oscar Castro-Neves, and the enor- "Where's the festival next year?" and this dude goes, "St.
mous talent of Badi Assad, the sister of Sergio and Odair, Louis, fer sure." And I'm like, "Cool." ...Just like a native.
1995 Stetson Guitar Workshop

by Sharon Ketts
As soon as they picked up their schedules, name tags, "Libra Sonatine." A rousing ending brought him back for
and room keys in the lobby of Presser Hall at Stetson a curtain call before intermission.
University, DeLand, Florida, on Friday, June 9, the 72 In the second half, Robinson performed the world
participants in the 1995 Stetson International Guitar premiere of Kari Henrik Juusela's "Ilta Pala(a)." He re-
Workshop knew they were in for an exciting and busy lated that Juusela had said the piece "evolved," and
week. It would be total immersion in the classical guitar depending on whether you used one of Pala(a)'s a's or
world—a world in which they would enjoy listening to, both, the title could mean "night snack" or "night fire."
learning and playing guitar from the wee small hours of Though it was written to put Juusela's daughter to sleep,
the morning, to the wee small hours of the next morning. Robinson said the fiery piece would seem more to test her
After checking in, renewing friendships in the cafete- ability to stay asleep!
ria at dinner, the participants joined community support- He continued the second half with dynamic perfor-
ers for Stephen Robinson's standing room only opening mances of Lennox Berkeley's Sonatina, Op. 51 and "Czech
concert at the DeLand Museum of Art. Playing a totally Fairy Tales" by Stepan Rak. Miles McConnell, one of the
new program, Robinson, the Artistic Director of the work- youngest workshop participants, summed up the
shop and professor at Stetson University, opened with audience's reaction to the concert very simply, "It was
Barrios' "Julia Florida, Vals," Op. 8, No. 4. It was a fitting GREAT!"
welcome to Florida to participants from as far away as Robinson commented during the reception that fol-
Mukilteo, Washington, and Sudbury, Ontario, Canada, lowed his concert, "I was really delighted to overhear the
accompanied by the unexpected guest appearance of a conversations of people greeting old friends and renew-
Florida cockroach which Robinson dispatched with a ing acquaintances while I was warming up. The social
shoe and the comment, "This is Florida!" He continued contact is a big part of this workshop."
the program with Barrios' "La Catedral" and Dyens'
75
Saturday morning began bright and early with greet- and Nocturnes by Chopin, "La Danza" (Tarantella
ings, introductions and general information for all work- Napoletana) by Rossini, Schubert's Twelve Landler, Op
shop participants. Robinson's "I have just a couple of 171, and Suite Espanola, No. 1 by Albeniz. The alternation
announcements" became a standard comment at each of fast and slow pieces in the Kinderszenen gave the
concert and general session of the workshop. audience time to catch its collective breath as his perfor-
Master classes began after the general meeting and mance at break neck speed of the fast pieces left the
continued throughout the Workshop under the expert audience in awe. His arrangements of the slow pieces
guidance of concert performers and instructors Robinson; were delightfully melodic and used the guitar's voice
Stephen Aron, Oberlin Conservatory of Music and Uni- well. A standing ovation brought him back for an encore
versity of Akron; Adam Holzman, University of Texas at in which he relented and played "just one guitar piece",
Austin; Bruce Holzman, Florida State University; Nicho- a Paraguayan Dance by Barrios.
las Goluses, Eastman School of Music; Julian Gray, After the Sunday morning's master classes and first
Peabody Conservatory at the Johns Hopkins University; orchestra rehearsal with Edward Robinson, Ricardo
and Ricardo Iznaola, University of Denver's Lamont Iznaola treated the participants and the local concertgoers
School of Music. Participants in the master classes ranged to a mid-afternoon delight. His comments about the
in age from 11 year old Addison Gonzalez, to many who pieces were as entertaining as the pieces themselves. His
have retired from the business world and from listing renditions of Lauro's Three Venezuelan Waltzes and the
their age! Participants also encompassed the full range of Suite Venezolana charmed the audience. The jazz back-
ability and length of study, from those aspiring profes- ground of David Hanson, the composer of A Movable
sionals currently in college programs to the hobbyists and Feast: Processionals and Dances was evident in the mood of
beginners. Participant Melissa Morris, Staten Island, New the piece. Iznaola's playing of his transcription of
York, said that she enjoyed coming to the Stetson Work- "Alborada del Gracioso" from Mitoirs by Ravel was de-
shop because of its "non-competitive, fun atmosphere". scribed by audience members as "incredible." The sec-
Her comment mirrored many other participants' feelings ond half of the concert including Sonata by Lauro, "Varia-
that not only were the lessons challenging and profes- tions on a Theme of Antonio Lauro" by Iznaola, "Echoes
sional, they were also very accepting and comfortable. of Blues" (commissioned for the Denver Guitar Festival)
The perceptive teaching that went on in all master classes by Morel and the "Grande Valse Brillante," Op. 18, by
was impressive. Students were given both the positive Chopin led to the standing ovation that brought him back
reinforcement and the constructive criticism that was for an encore of Dolor, transcribed from a piano piece by
necessary for their growth as guitarists at a level that was Sainz de la Maza.
commensurate with their ability and experience. The dinner that has been a part of the workshop since
All participants were invited to play in the perfor- its inception has finally outgrown the Robinson's home.
mance of Andrew Lloyd Webber's The Phantom of the This year it was held on Sunday at the historic Grant Bly
Opera, arranged for guitar orchestra by Stephen Robinson. house in downtown DeLand. Participants and guests
The first two orchestra rehearsals were conducted on were treated to a delicious buffet dinner in a delightful
Saturday by Stephen Robinson. His brother, Edward G. atmosphere, a relaxing evening for both the faculty and
Robinson, Jr., conducted a performance of Miss Saigon on the participants, and a great way for everyone to get to
Broadway before flying down to continue the daily re- know each other better.
hearsals and conduct the final performance. On Monday and Tuesday, Julian Gray held seminars,
Not all the action happens in the master classes and at "Emotion and Meaning in Music" and "Mind and Move-
the concerts. At any time of the day or night, participants ment." In the seminars, participants were able to study
can hear the strains of their favorite pieces, scales, slur the way music is expressed by different artists. By listen-
studies, and exercises as they listen in Chaudoin Hall, the ing to various performers and their interpretations of the
very comfortable dormitory facility. Meetings between same work, and by looking at the original scores, students
new friends and old friends take place in the hallway and were able to gain an understanding of how artists go
the common room. Music is practiced, discussed, and about interpreting music for performance. In addition,
compared up and down the hallways. The safe, comfort- Gray introduced methods of effective practice and effec-
able environment and the quest for knowledge and skill tive teaching. There were lively discussions and ques-
doesn't always leave much time for sleeping, but it cer- tions and answer sessions in each seminar.
tainly does encourage learning and enjoyment. The last of the faculty concerts was another audience
Stephen Aron's Saturday night concert was a fast treat by Nicholas Goluses. His performance of Fantasie,
paced program of "no guitar music." Aron played his Op. 58, and Fantasie Elegiaque, Op. 59 by Fernando Sor
own arrangements of piano music including emphasized the dance quality of the music Goluses said
Divertimento, Hob. XVI, No. 8 by Haydn, Schumann's Sor achieved by "hanging out with dancers." As a noted
Kinderszenen, Op. 15, Scenes from Childhood, Mazurkas Bach expert, Goluses' performance of the Sonata II in A
76
minor (BWV 1003) was grand. His second half was a goers and players alike, it was an awesome experience.
complete change of mood with the bi-tonal Sonata for The final day of the Workshop finished masterclasses
Guitar (1990) by Bracali, and the electronically enhanced and culminated in a group question and answer session
"Electric Counterpoint" (1987) written by Steve Reich. It in which all the burning issues that hadn't been dealt with
was another performance that could only be described as during the week could be resolved. Workshop partici-
outstanding. A standing ovation brought an encore of pants were treated to the faculty panel's collective advice,
"Homenaje" by deFalla to close the series of faculty each offering a different technique or opinion on sight
concerts. reading, effective practice and musical issues. This was a
A culmination of the week's master classes, practice very informative and interesting ending to an already
sessions and rehearsals, the Participants' Concert was grand week.
held on Tuesday in the beautiful Elizabeth Hall on Stetson An item not on the participant's schedule but that
University campus. Eighteen individual performers and finished the faculty's week in grand style was the surprise
an ensemble played to a warm and appreciative audi- wedding of Stephen Aron and his new bride, Jonell.
ence. The youngest soloist, Miles McConnell, age 12, gave Stephen and Jonell were married between the last session
an entertaining performance of Carcassi's Study No. 23, and the faculty dinner. It was a wonderful way for them
followed by a very professional bow and a not-so-profes- to share their good news with friends. Congratulations,
sional, but very child-appropriate, jump off the dais to the Stephen and Jonell.
delight of the audience. And congratulations, once again, to Stephen Robinson,
The grand finale was the performance of The Phantom Patrece Robinson, Executive Director of the Workshop
of the Opera by the 75-guitar Stetson Guitar Workshop who kept things running smoothly throughout, and James
Orchestra under the direction of Edward G. Robinson, Jr., Woodward, Dean of the School of Music, for another very
with special guest Clay Krasner, electric bass. The smash- successful Stetson International Guitar Workshop. See
ing premiere performance brought the audience jumping you next year!
to its feet for a five minute standing ovation and several
curtain calls for the conductor. The response was so great Sharon Ketts is a third grade teacher and a classical guitar
that the conductor asked the audience if they'd like to hobbyist and enthusiast. She is the President of the North
"hear it again" with resounding applause as the response. Florida Classical Guitar Society in Gainesville, Florida, and
The second performance was even more impressive than studies with Stephen Robinson.
the first, and also received a standing ovation. For concert
77
University of
California, Irvine
Ilusie 1)epartnient
(mital.& Lute l'ro2yam
I ute fileultv.
John 4.1ineidernian
Pei iod and ontempot k
hist! 111111'111.
• Bachelor's and Master's degrees
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• Solo and ensemble performance
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Nov 30th Graduate March 1st
• Auditions held in February
or by special arrangement
• For more information contact
MUSIC DEPARTMENT School of the Arts
University of California
Irvine California 92717-2775
(714) 824-6615
The Solo Lute Works

of J.S. Bach ed. Frank Koonce
Contains Bach's Lute Suites BWV
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78
Publications Received
Compiled by David Grimes
Fernandez, Jose Manuel: Azaroa. Madrid,

from Musikverlag Zimmermann from Editions Orphee 1995. [054] 11 pp. No price given.
Gaugrafenstrasse 19-23 407 North Grant Avenue, Suite 400
D-60589 Frankfurt/Main Columbus, OH 43215-2157 from Edizioni Suvini Zerboni
Postfach 94 01 83 Via M.F. Quintiliano 40
Germany Fleck, Thomas: Mauro Giuliani: Virtuoso 20138 Milano, Italy
Guitarist and Composer. Columbus, 1995.
Benguerel, Xavier: Versus 1 Marco, Tomas: ISBN 0-936186-87-9. Clothbound. 304 pp. Debussy, Claude: Minstrels. Arranged by
Albayalde. Frankfurt, 1983. [ZM 31630] 8 pp. No price given. Mario Castelnuovo-Tedesco. Revised and fin-
Price 15 DM. gered by Emanuele Segre. Milan, 1995. [S.
Prat, Domingo (arranger): Tangos de la 10689 Z.] 7 pp. No price given.
Giuliani, Mauro: Serenade, op. 127. For flute Guardia Vieja. Edited by Matanya Ophee.
(violin) and guitar. Edited by Henner Eppel Columbus, 1995. [PWYS-40] 24 pp. $9.00. Ravel, Maurice: Pavane pour une Infante
and Volker lin. Frankfurt, 1994. [ZM 30050] Defunte. Arranged by Mario Castelnuovo-
Score plus flute part. 22+ 12 pp. Price 24 DM. Regondi, Giulio: Ten Etudes. Critical edition Tedesco. Revised and fingered by Emanuele
by Matanya Ophee. Columbus, 1995. [PWYS- Segre. Milan, 1995. [S. 10688 Z.] 7 pp. No
Gragnani, Filippo: Sonate in D, op. 8, no. 1. 17 Cr.] $17.00. price given.
For flute and guitar. Edited by Henner Eppel
and Volker FM. Frankfurt, 1994. [ZM 30280] Sierra, Roberto: Segunda y Tercera Cronicas Sor, Fernando: Cinquieme Fantaisie, op. 16.
Score plus flute part. 14+ 10 pp. Price 18.50 del Descubrimiento. For flute and guitar. Co- Revised and fingered by Frederic Zigante.
DM. lumbus, 1995. [EICM-29] Miniature score Milan, 1995. [S. 10722 Z.] 21 pp. No price
plus (normal) parts. 7 + 12 + 10 pp. $16.00. given.
floh, Volker (editor): Romantic Spain. Frank-
furt, 1995. [ZM 306001 26 pp. Price 21 DM. from M Pub Corporation from Lyra House Music Publications
PO Box 1234 PO Box 252132
Oesterreich, Helmut (arranger): Folksongs of Stamford, CT 06904-1234 West Bloomfield, MI 48325-2132
the World. For two guitars or guitar ensemble.
Frankfurt, 1994. [ZM 28790] Score plus parts McCormick, Bill: Rhythm Changes Untitled
- Disler, Mary Jo: Guitar Quickstart: A Guide
(with alternate version for Guitar 2). 28 + 4 + Study. Stamford, 1995. Standard notation plus to Playing and Understanding Music Read-
4 +4 pp. Price 22 DM. tablature. 2 pp. $2.95. ing and Chord Techniques. West Bloomfield,
1994. 96 pp. No price given.
Roncalli, Ludovico: 3 Suiten. Arranged by from Guitar Arts Publishing
Gerd-Michael Dausend. Frankfurt, 1995. [ZM 212 Ridge Road from European American Music
30480] 20 pp. Price 18 DM. Pacific Grove, CA 93950 PO Box 850
Valley Forge, PA 19482
Schmidt, Armin (editor): Unterhaltsame Delpriora, Mark: Four Images. Novato, 1994.
Stiicke. For melody instrument and guitar. [GAP 04] 24 pp. No price given. Rodrigo, Joaquin: Music for Guitar. Various
Frankfurt, 1995. [ZM 28650] Score plus editors, introduced by Christopher Parkening
melody part. 17 + 8 pp. Price 18 DM. from Opera Tres and Joaquin Rodrigo. Mainz: Schott, 1995.94
Plaza Isabel II, 3 pp. $19.95.
Wensiecki, Edmund: Tanze des 16. und 17. 28013 Madrid
Jahrhunderts. For four guitars (or four re- Spain from C.F. Peters
corders or three violins and viola). Frankfurt, 373 Park Avenue South
1994. [ZM 30180] Score plus parts (with an Castillo, Manuel: Sonata. Fingered by Gabriel New York, NY 10016
extra part for octave guitar, mandolin or so- Estarellas. Madrid, 1995. [053] 20 pp. No
prano recorder). 15 + 3 + 3 + 3 + 3 + 3 pp. Price price given. Granados, Enrique: Danza Espanola No. 2.
24 DM. Arranged for two guitars by Rene Kappeler.
79
Frankfurt, 1988. [Nr. 8565] Score. 5 pp. $5.40. Barbosa-Lima, Carlos and Griggs, John: Ele- from Warner Bros. Publications
Also available: "Music Partner" recording of ments of Technique for Guitar. Pacific, 1995. 15800 NW 48th Avenue
Wulfin Lieske playing each part separately [MB 95369] 102 pp. Standard notation and Miami, FL 33014
(for rehearsal) and the two parts together. CD tablature. $12.95.
PMP8565. $15.00. Greene, Ron: Basic Improvisation Dial. Mi-
Garcia, Gerald: 25 Etudes Esquisses. Pacific, ami, no date. [MD 1008] $7.95.
Mozart, W.A.: Six Viennese Sonatinas. Ar- 1995. [MB 94430] 60 pp. $9.95.
ranged for two guitars by Theodore Norman. Greene, Ron: Guitar Solo Dial. Miami, no
New York, 1967. [No. 66079] Score. 78 pp. Petteway, Al: Whispering Stones. Pacific, date. [MD 1006] $7.95.
$15.00. Also available: "Music Partner" re- 1995. [MB 95381] Standard notation and
cording of Wulfin Lieske playing each part tablature. 72 pp. $8.95. In package with CD, Greene, Ron: Power Chord Dial. Miami, no
separately (for rehearsal) and the two parts $23.95. date. [MD 1005] $7.95.
together. CD PMP66079. $15.00.
from Cherry Lane Music Co. Griggs, John & Barbosa-Lima, Carlos (ar-
from Samfundet (The Society for Publi- 10 Midland Avenue rangers): The Music of Debussy & Faure.
cation of Danish Music) PO Box 430 Hialeah, 1995. [EL 9505] Standard notation
GrAbrodrestraede 18,1 DK-1156 Port Chester, NY 10573 and tablature. Includes CD. $40. $19.95.
Copenhagen K
Denmark Hand, Frederic: Music for Flute and Guitar. Lee, William: Music in the 21st Century: The
Port Chester, 1995. Distributed by Hal New Language. Miami: CPP Belwin, 1994.
Glass, Louis: Trio, op. 76. For violin, viola Leonard. Score plus flute part (guitar part in [EL03948] Miniature paperback. 193 pp.
and guitar. Edited by Jens Brejnrod and Erling staff notation and tablature). 48 + 8 pp. In- $4.95.
MOldrup. Copenhagen, 1994. Score plus parts. cludes CD. $17.95.
27 + 9 + 9 + 9 pp. No price given. Salz, Simon (arranger): Wedding Songs. Mi-
from Jan-Olof Eriksson ami: CPP Belwin, 1991. [F3055GTXCD] Staff
from Hal Leonard notation and tablature. Includes CD. 48 pp.
7777 West Bluemound Road Eriksson, Jan-Olof (arranger): More Easy $17.95.
PO Box 13819 Pieces, including Christmas songs. Music for
Milwaukee, WI 53213-0819 Guitar Orchestra, Volume 3. Boden: VISS Stang, Aaron: 21st-Century Guitar Method 1
Musikforlag AB, 1992. [VISS 92128] Score (Video). Hialeah, 1995. [EL 03842VID]
Mozart, W.A.: Divertimentos and Other plus parts for various sizes of guitars. 20 + 4 $19.95.
Pieces. Arranged by Eliot Fisk. Milan: Ricordi, + 4 + 4 + 4 + 4 pp. No price given.
1993. 24 pp. No price given. from Theodore Presser
Eriksson, Jan-Olof (arranger): Collection - I Presser Place
from Charles Wolzein Book 1. Music for Guitar Orchestra, Volume Bryn Mawr, PA 19010-3490
4. Boden: VISS Musikforlag AB, 1992. [VISS
Houghton, Phillip: 6 Short Guitar Solos. 92129] Score plus parts for various sizes of Albeniz, Isaac: Cddiz. Arranged by Francisco
Brunswick, Australia: Moonstone Music Pub- guitars. 16 + 4 + 4 + 4 + 4 + 4 pp. No price Tarrega. Edited by Francisco Tarrega Rizo.
lications, 1991. 12 pp. $20.00 Australian. given. Madrid: Ediciones Musicales Madrid, 1992.
8 pp. $8.50.
Houghton, Phillip: 7 Short Guitar Solos. Eriksson, Jan-Olof (arranger): Collection -
Brunswick, Australia: Moonstone Music Pub- Book 2. Music for Guitar Orchestra, Volume Albeniz, Isaac: Granada. Arranged by Fran-
lications, 1992. 10 pp. $20.00 Australian. 5. Boden: VISS Musikforlag AB, 1992. [VISS cisco Tarrega. Edited by Francisco Tarrega
92130] Score plus parts for various sizes of Rizo. Madrid: Ediciones Musicales Madrid,
Houghton, Phillip: God of the Northern For- guitars. 24 + 5 + 5 + 5 + 5 + 5 pp. No price 1991. 7 pp. $10.00.
est. Brunswick, Australia: Moonstone Music given.
Publications, 1993. 8 pp. $20.00 Australian. Albeniz, Isaac: Sevilla. Arranged by Fran-
Granados, Enrique: Three Spanish Dances cisco Tarrega. Edited by Francisco Tarrega
Houghton, Phillip: 5 Exotic Studies. and Two Valses Poeticos. Arranged for guitar Rizo. Madrid: Ediciones Musicales Madrid,
Brunswick, Australia: Moonstone Music Pub- orchestra by Jan-Olof Eriksson. Music for 1992. 7 pp. $8.50.
lications, 1993. 8 pp. $20.00 Australian. Guitar Orchestra, Volume 7. Boden: VISS
Musikforlag AB, 1992. [VISS 921321 Score Alonso, Avelino: Diferencias. Fingered by
Houghton, Phillip: Three Duets. Brunswick, plus parts for various sizes of guitars. 20 + 5 Patrick Gaudi. Madrid: Editorial de Musica
Australia: Moonstone Music Publications, +5 +5 +5 +5 pp. No price given. Esparlola Contemporanea, 1990.8 pp. $10.25.
1994. Score plus parts. 12 + 5 + 6 pp. $27.00
Australian. Handel, G.F.: Six Pieces. Arranged for guitar Amiot, Jean-Claude: Euterpe. Charnay-les-
orchestra by Jan-Olof Eriksson. Music for Macon: Editions Robert Martin, 1994. [R
from Mel Bay Publications Guitar Orchestra, Volume 10. Boden: VISS 2572 M] 2 pp. $4.75.
4 Industrial Drive Musilcforlag AB, 1992. [VISS 92135] Score
Pacific, MO 63069-0066 plus parts for various sizes of guitars. 20 + 4 Bach, J.S.: Fugue in C, BWV 953. Arranged
+4+4+4 + 4 + 4 pp. No price given. for two guitars by Richard M. Long. Tampa:
80
Tuscany Publications, 1986. [TPE 009] Score. Fernandez-Lavie, Fernando: Noel Provençal. Leclercq, Norbert: Demain. Paris: Editions
4 pp. $5.50. Paris: Editions Max Eschig, 1994. [ME 8902] Henry Lemoine, 1994. [26 152 HL] 8 pp.
3 pp. $7.75. $9.00.
Baksa, Robert: Sonata da Camera. Bryn
Mawr: Composers Library Editions, 1995. Fernandez-Lavie, Fernando: La Francesita. Maldonado, Raul: En la Caye Pepiri. For two
[CLE-46] 12 pp. $9.50. Paris: Editions Max Eschig, 1994. [ME 8901] guitars. Paris: Editions Henry Lemoine, 1994.
3 pp. $8.75. [26 135 HL] Score. 9 pp. $9.00.
Blanchard, Harold: Innocent Meandering.
Tampa: Tuscany Publications, 1995. [TPE Galante, Claudio: Deux Esquisses. Fingered Marchelie, Erik: Galibert et les Lutins. Paris:
015] 8 pp. $10.00. by Giovanni Podera. Ancona: Edizioni Berben, Editions Henry Lemoine, 1994. [26 160 HL]
1994. [E 3737 B] 5 pp. $4.00. 16 pp. $14.50.
Body, Benjamin: Suite pour une Naissance.
Paris: Editions Henry Lemoine, 1994. [26 117 Gilardino, Angelo: Concierto de Cordoba. Merlin, Jose Luis: Progresiones para Pauline.
HL] 8 pp. $10.00. For solo guitar and guitar quartet. Ancona: For flute and guitar. Tampa: Tuscany Publica-
Edizioni Berben, 1994. [E 3670 B] Score. 109 tions, 1995. [TPE 010] Score plus flute part. 8
Boutros, Laurent: 7 Miniatures. Paris: Edi- pp. $33.50. + 1 pp. $10.00.
tions Henry Letnoine, 1994. [26 174 HL] 7 pp.
$8.00. Giuliani, Mauro: Variations on a Theme from Miteran, Alain: 24 Mini-Preludes. Charnay-
"Tancredi," op 87. Revised and fingered by les-Macon: Editions Robert Martin, 1994. [R
Brotons, Salvador: Sonatina per a Guitarra, Frederic Zigante. Paris: Editions Max Eschig, 2562 M] 12 pp. $12.00.
op. 42, no. 2. Fingered by Caries Trepat. 1994. [ME 8892] 12 pp. $14.00.
Barcelona: Catalana d'Edicions Musicals, Miteran, Alain: Trois Contes du Soleil Le-
1989. 12 pp. $10.25. Giuliani, Mauro: Variations on a Theme from vant. Charnay-les-Macon: Editions Robert
"Otello," op 101. Revised and fingered by Martin, 1994. [R 2564 M] 7 pp. $8.00.
Carulli, Ferdinando: Variations on "Twinkle, Frederic Zigante. Paris: Editions Max Eschig,
Twinkle, Little Star," op. 60, no. 3. Edited by 1994. [ME 88931 14 pp. $14.00. Miteran, Alain: Kithara. Charnay-les-Macon:
Peter Danner. Tampa: Tuscany Publications, Editions Robert Martin, 1994. [R 2563 M] 10
1995. [GME 011] 9 pp. $9.00. Giuliani, Mauro: Variations on a Theme from pp. $13.50.
"1 Baccanali di Roma," op 102. Revised and
Carulli, Ferdinando: Introduction and Varia- fingered by Frederic Zigante. Paris: Editions Ramos, Toninho: 0 Viola() e a Flor. Paris:
tions on a Theme from Mozart's "The Magic Max Eschig, 1994. [ME 8894] 13 pp. $14.00. Editions Henry Lemoine, 1994. [26 092 HL]
Flute," op. 276, no. 30. Edited by Peter Danner. 15 pp. $14.50.
Tampa: Tuscany Publications, 1995. [GME Giuliani, Mauro: Variations on a Theme from
012] 9 pp. "La Cenerentola," op 146. Revised and fin- Riou, Alain Michel: Instants Petrifies;Tresor
$9.00. gered by Frederic Zigante. Paris: Editions Secret des Similitudes. Paris: Gerard Billaudot,
Max Eschig, 1994. [ME 8895] 15 pp. $14.00. 1994. [G 5528 B] 10 pp. $9.00.
Carulli, Ferdinando: Adieu de Ferdinando
Carulli a l'occasion de son depart & Italie, Gounod, Charles: Faust Waltzes. Arranged Scarlatti, Domenico: 82 Sonatas. Volume 1
dedie a ses Amis. Revised and fingered by by Manuel Y. Ferrer. Edited by John King. (40 Sonatas). Arranged by Claudio Giuliani.
Frederic Zigante. Paris: Editions Max Eschig, Tampa: Tuscany Publications, 1995. [GME Ancona: Edizioni Berben, 1994. [E 3701 B]
1994. [ME 88911 013] 5 pp. $5.00. 153 pp. $35.75.
20 pp. $16.25.
Heider, Werner: Examen. Berlin: Bote & Bock, Sor, Fernando: Fantaisie. Edited by Pepe
Chailley, Jacques: Sonatina Margravina. Re- 1994. 8 pp. $12.50. Romero. Tampa: Tuscany Publications, 1995.
vised and fingered by Simon Schembri. Paris: [GME 010] 17 pp. $15.00.
Editions Aug. Zurfluh, 1994. [AZ 1373) 7 pp. Kleynjans, Francis: Chanson Napolitaine, op.
No price marked. 113. For two guitars. Paris: Alphonse Leduc, Tomasi, Henri: Concerto. Fingered by
1993. [AL 28815] Parts. 4 + 4 pp. $12.00. Alexandre Lagoya. Paris: Alphonse Leduc,
Chandler, Hugh: Two Preludes. Fingered by 1993. [AL 27604] Piano reduction plus guitar
Adam Holzman and the composer. Tampa: Kleynjans, Francis: Complainte et Elegie, op. part. 42 + 29 pp. $50.25.
Tuscany Publications, 1995. [TPS-008] 4 pp. 108. Paris: Alphonse Leduc, 1993. (AL 28812]
$6.00. 4 pp. $8.75. Torrent, Jaume: IntroducciOn y Capricho.
Madrid: Editorial de Musica Espanola
Dyens, Roland: L.B. Story. Paris: Editions Kleynjans, Francis: Hommage a Deodat de Contemporanea, 1990. 8 pp. $10.25.
Henry Lemoine, 1994. [26 189 HL] 6 pp. Severac, op. 105. Paris: Alphonse Leduc, 1993.
$8.00. [AL 28808] Two scores. 5 + 5 pp. $15.00. Willis, Rex: The Floating Ancillary Ants. For
three guitars or guitar orchestra. Tampa:
Dyens, Roland: Muguets and L'Allusive. Paris: Krouse, Ian: Dror Yikro. New York: Peer Tuscany Publications, 1995. [TPE 011] Score
Editions Henry Lemoine, 1994. [26 191 HL] International, 1995. 7 pp. $7.50. plus parts. 7 + 3 + 3 + 3 pp. $15.00.
6 pp. $8.00.
81
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SCHOOL OF MUSIC
1995-96 Guitar, Conservatory Baroque Offering the Master of Music,
Bachelor of Music and Music MARTA IS IOMIN. PRESIDENT
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Anthony Martin Deborah Berman, Dean. For more information contact:
For more information, contact:
Guitar New Music Ensemble Office of Student Services, Office of Admission and Financial Aid
Dugan BogdanoviC Joan Gallegos 1201 Ortega Street
2/749-2S0.2, Ext
Lawrence Ferrara San Francisco, CA 94122-4498
Michael Morgan, Tel (415)759-3431. Fax (415)759-3499 120 Claremont Avenne,
David Tanenbaum Guest Conductor Affirmative Action/Equal Opportunity Employer.
New York, New Yorl, 10027
SAN FRANCISCO
CONSERVATORY OF MUSIC
82
Reviews
Jeffery, Brian: Fernando Sor, Com- Manjon, Antonio: Works for Guitar. tions. There are inventive moments, and
poser and Guitarist (Second Edition). Compiled and introduced by Brian the music is never less than pleasant, but
Penderyn: Tecla Editions, 1994. ISBN Jeffery. Penderyn: Tecla Editions, it rarely ventures outside the realm of
0-948607-01-7 clothbound, ISBN 0- 1994. ISBN 0-948607-18-1 (cloth- salon music. The collection includes
948607-02-5 paperbound. 211 pp. bound) or 0-948607-19-X (paper- Manjon's arrangements of pieces by
$90.00 for clothbound, $50.00 paperbound). 136 pp. $68.00 (cloth), $36.00 Mendelssohn, Chopin and Beethoven, as
bound. (paper). well as one original song (for voice and
guitar).
Since the first edition of this book I had heard the name of Man* for a The reproductions are clear and very
(1977), Brian Jeffery's continuing re- number of years, but encountered his readable. An unknown hand has inserted
search has produced a substantial amount music for the first time when one of my a number of alterations in pencil on the
of further information on Sor and his students was playing the "Aire Vasco." originals (usually to simplify passages or
works, and the second edition represents This piece seemed rather interesting, and to adapt the score for a guitar with extra
the current state of knowledge regarding I looked forward to seeing further ex- strings), and these have been retained in
this pivotal figure in the history of the amples of Manjon's work. the reproduced pages.
guitar. Much of the new material relates Manjon (1866-1919) was a Spanish
to Sor's performances and other activi- guitarist/composer, blind from early age, David Grimes
ties in England (1815 - 1823) and Paris who lived the latter part of his life in
(1826/27-1839), where considerable new Buenos Aires. He was known as a vir- Boccherini, Luigi: Introduction et Fan-
detail has surfaced. In addition, the entire tuoso performer, an arranger in the tradi- dango. Arranged for four guitars by
book has been updated and revised in the tion of Tarrega, and a prolific composer Jeremy Sparks. Saint-Nicolas: Editions
light of current information. in his own right. Brian Jeffery has col- Doberman, 1988. [DO 95] Score plus
The light shed on Sor's life and music lected here twenty-one facsimile repro- parts. 8 +3 +3+3 + 3 pp. $12.00.
by Mr. Jeffery helps greatly to bring Sor ductions of the original editions of com-
to life as a complex and fascinating per- positions by Manj6n. These were issued Originally for guitar and string quar-
son—not just the composer of some of in Buenos Aires or Barcelona in about tet, this effervescent piece has become
the most important guitar music of the 1910. ManjOn played an eleven-string very popular in its intended scoring as
early 19th-Century. I only wish we had guitar, but the published versions of his well as in an arrangement for solo guitar.
similar volumes to tell us about others of pieces are for a standard six-string instru- (I have also seen an arrangement for three
our favorite composers. Naturally, this is ment. guitars.) Sparks' edition is a very skillful
a must for every serious student of the The pieces themselves are composed arrangement for four guitars, and the piece
period—and for every player of Sor's skillfully and are fairly typical of guitar is extremely effective with this instru-
music. music from this period. The music is mentation. The musical ideas are distrib-
sometimes virtuosic, often sentimental uted nicely among the four players, and
David Grimes and always filled with Romantic affecta- there are no daunting technical obstacles
83
Reviews
to a vigorous and exciting performance. Le Gars, Marc: Trois Petites Suites. Universal Edition, 1994. [UE 30 193,
Careful attention has been given to per- Paris: Editions Henry Lemoine, 1994. UE 30 194 and UE 30 195] US distribu-
formance considerations, with each part [26 116 HL] US distribution by tion by European American Music. 22
laid out on a single fold-out sheet. Theodore Presser Company. 21 pp. pp. each. $12.95 each.
This is a delightful piece and a fine $17.00.
edition. I don't know whether the title is in-
David Grimes These "Three Little Suites" are won- tended to catch the eye of the "crossover"
derful examples of engaging, sophisti- guitarist or is just designed to appeal to
Asafiev, Boris: Music for Guitar Solo. cated music that can be played by the beginning students, but this is actually a
The Russian Collection, Volume VI. beginning-to-intermediate student. With serious, graded collection of simple ar-
Edited by Matanya Ophee. Columbus: only a few momentary excursions out- rangements of folk tunes from around the
Editions Orphie, 1994. [PWYS-35] 36 side first position and with simple tex- world.
pp. $12.00. tures, Le Gars has managed to keep tech- Each volume presents several groups
nical demands to a minimum, while of- of folksongs from particular nations or
According to the Introduction by Dr. fering some excellent music. This is no areas. The arrangements are straightfor-
Leonid Gakkel, Boris Asafiev (1884- mean compositional feat. ward and sensible, and the strength of the
1949) was one of the principal Russian Each suite has four or five movements tunes themselves carries the music nicely.
theorists, critics and composers of the that are unified by common harmonic There are occasional notes on the song
first half of the twentieth century. He ideas, shared motives and extra-musical titles, but no lyrics are included. Chord
studied under Liadov and Rimsky- relationships. The first suite, "Bal Mu- symbols are added to allow accompani-
Korsakov, and composed celebrated bal- sette," has as its movements "Nocturne," ment by another guitarist. Some sugges-
lets as well as orchestral and chamber "Musette," "Valse-berceuse," "Ritour- tions are provided to encourage the stu-
music. A 1926 meeting with Segovia led nelle" and "Arabesque." Here the writing dent to "go beyond the lines" and devise
(ten years later) to Asafiev's writing a is almost always strictly in two voices; his or her own variants and arrangements.
number of works for solo guitar and a the left hand stays securely in first posi- Each volume concludes with a synopsis
Concerto in G for guitar and orchestra. tion and encounters no difficulties other of the technical and musical material cov-
The music never reached Segovia and than simple exercises in finger indepen- ered in that volume.
has waited until now for publication. dence. The right hand, however, must The first volume deals primarily with
The present edition is based upon the observe the frequent staccatos in the bass, playing in the key of D major in the
autograph manuscripts and offers otherwise control the durations of the second position. (There is also some work
"Twelve Preludes," "Two Etudes," "Six bass notes and effect the carefully-no- in third position.) The melodies sit com-
Romances in the Old Style," "Theme tated dynamics. fortably on the first three strings, and are
with Variations and Finale after The second suite, "Le Theatre des accompanied with open bass notes. This
Tchaikovsky" and "Prelude et Valse." I Marionettes," is made up of an "Ouver- material could be introduced as soon as a
expected good things from this volume, ture" and three "puppets": "Colombine," student is ready to make forays beyond
and at first I was somewhat disappointed, "Arlequin" and "Pierrot." The music is the first position. The second and third
but the more I worked with the music, the entirely appropriate and very appealing. volumes present somewhat more active
more value I came to see in it. This is not The final suite, "Les Baladins," is some- bass lines and slightly more complicated
"immediate" music, and quite a bit of what more difficult, with more activity in textures.
effort will be required to come to grips the left hand and with some (not very These three volumes offer attractive
with the unfamiliar harmonic language tricky) meter shifts. Its movements are and well-calculated material for the be-
and to ferret out the subtle ideas. I have "Le montreur d' ours," "Le funambule," ginning student. I am pleased to recom-
especially enjoyed the "Six Romances." "Le magicien oriental" and "L'homme le mend them.
At first sight, the scores seem fairly plus fort du monde."
transparent and uncomplicated, but this All the programmatic themes will David Grimes
appearance is deceptive, since the music appeal to children, but the musical ideas
is much more difficult than it looks. Fin- are best suited to more mature players. Howson, Gerald: The Flamencos of
gerings, textures and voicings will need This would provide outstanding material Ccidiz Bay. Revised edition. Westport:
careful consideration. for a serious adult student with as-yet- The Bold Strummer, 1994. [ISBN 0-
Edition Orphee's "Russian Collec- limited facility. 933224.72-9] Hardbound. 263 pp.
tion" continues to present music of dis- $23.95.
tinction and great interest. David Grimes
The Bold Strummer provides a valu-
David Grimes Bruckner, Karl (arranger): Folk Hits able service in making available many
for Guitar. Volumes 1, 2 & 3. Vienna: books and reprints that might otherwise
84
Reviews
be unavailable. Howson's book was origi- clearly written, and the fingerings are execution." But in this edition Glise has
nally published in 1965, and the new adequate. An advanced beginning stu- added bar lines to this section. (?)
edition contains a few revisions plus an dent might experience a bit of difficulty The music is printed clearly and in-
added note with observations on how with the rhythm, but would find these cludes editorial dynamic markings and
changes in Spain since the 1950s have pieces quite accessible otherwise. fingerings, which I found to be helpful.
affected the flamenco way of life. The beginning is straightforward 19th-
An English devotee of flamenco, Joseph Mayes century imitative counterpoint. The last
Howson wangled a position teaching Pitman, NJ few measures are a surprise glimpse of
English in Spain so that he could pursue the musical future, as though Weiss were
his studies in the authentic flamenco en- Bach, J.S.: French Suite No. 5. Ar- having trouble ending the piece and asked
vironment. The Flamencos of Cddiz Bay ranged for flute and guitar by Joseph Liszt to help. In the foreword, Glise de-
is the account of his years in and around Hagedorn. Bryn Mawr: Theodore scribes this work as "remarkably beauti-
Cadiz—and a vivid portrait of flamenco Presser, 1991. [114-40542] Score plus ful." I agree, completely.
life in the 1950s. There is much useful flute part. 16+ 8 pp. $16.95. At first glance, this edition seems easy
information on the history and rhythms to read and quite accessible, but if proper
of various flamenco forms, but the pri- Joseph Hagedorn has made a wonder- care is taken in sustaining notes and re-
mary value of the book is the wealth of ful transcription of this suite (for key- solving phrases it becomes more chal-
fascinating insight into the joys and mis- board alone) to guitar and flute. lenging. An intermediate student should
eries, the elegance and coarseness, the The publication is in score with a be able to add this wonderful piece, in this
pride and shamelessness of the gitanos separate flute part provided. The printing very nice edition, to his repertoire with
themselves. is clear and easy to read, and there are no ease.
This is by no means a "sanitized" page turns except in the last movement.
collection of notes. Its very rawness helps The fingerings are helpful but not over- Joseph Mayes
to evoke the essential flavor of the place bearing. Most of the time, the guitar and
and time. Some scenes are brutal (espe- flute are well balanced, avoiding the so- Mills, John (editor): Selected Solos.
cially regarding the treatment of animals), loist/accompanist feeling. This is a duet. Pacific: Mel Bay Publications, 1994.
but many scenes are deeply moving. There This is not, however, music for the [MB 952401 37 pp. $5.95.
are also moments of high (and very low) faint of heart. There are difficulties that
hilarity. can be ironed out with practice, but on This collection includes works from
This is a very enjoyable read whether first reading will tend to frizz the hair. It's the standard repertoire as well as some
or not you have an abiding interest in worth the trouble. more rarely heard: "Aria detta 'La
flamenco. If you do, it is an indispensable I would recommend this suite, highly, Frescobalda" by Frescobaldi, "The Old
opportunity to experience the roots of the for the intermediate to advanced. Castle" by Mussorgsky, "Partita in E
art. Minor" by Brescianello, "Prelude, Fugue
Joseph Mayes and Allegro" by Bach and "Spanish Suite"
David Grimes by Sanz. There are informative introduc-
Weiss, Sylvius: Capriccio. Edited by tory notes on the pieces, written by the
Maxson, Reed: Four Pieces for flute Anthony Glise. Cincinnati: The Willis arranger, and a very interesting para-
and guitar. Davis: Airfield Music, 1985. Music Company, 1992. [11554] 7 pp. graph on interpretation, written by
Score. 8 pp. No price given. $1.95. Frescobaldi.
The music is clearly written and easy
The Four Pieces ("Plectranthus," This edition begins with a foreword to read. The fingering is so well done that
"Saguaro," "Tradescancia" and "Pur- that gives a capsule biography of S.L. many problems of sustaining and voicing
shia") were written between 1975 and Weiss, a sentence or two about the diffi- long associated with some earlier edi-
1978. There is no explanation given re- culties of transcription from the Baroque tions are solved quite elegantly.
garding the titles of the pieces. I missed lute, and a lengthy list of "pertinent" There is something here for everyone.
having this information, because I sus- changes from the manuscript. The edito- Players with very little experience will be
pect the existence of an interesting story. rial changes are all quite justifiable. They able to learn some movements of the
The syntax -is modern and somewhat are, however, referenced by measure num- Brescianello and the Sanz easily, while
sparse, giving the overall effect of haunt- ber. In the music, the measures are un- any guitarist will find the Bach a chal-
ing beauty. The tempi are contrasting: numbered, which makes finding the lenge.
slow, fast, slow, fast. I imagine that these proper note more tedious than necessary. This is a fine collection, and I'm glad
are an effective group, either in a concert Glise states that in the original, from it's in my library.
situation or as background music. measure 51 on, the original was unmea-
There are no page turns. The music is sured, "indicating a freer, 'ad libitum' Joseph Mayes
85
Reviews
Fernandez-Lavie, Fernando: Noil rare) harmonic twists and odd key- Venice Fantasie" by Justin Holland are
Provençal. Paris: Editions Max Eschig, choices, they could have been written in particularly attractive.
1994. [ME 8902] US distribution by 1850. They are generally composed in a The presentation of this volume is
Theodore Presser. 3 pp. $7.75. simple arpeggio form that would have excellent. There is an informative and
been apropos to Giuliani. interesting foreword written by Back. It
This short (4 minute) piece is written The format is a bit tiny, making read- has a spiral ring binding, so the music lies
in a more-or-less 20th-century harmonic ing difficult. There are page-turns in many flat when opened; in addition to standard
language. It is marked "expressivo e of these short etudes. There is a foreword notation, the pieces are printed in tablature
rubato" and is truly easy listening. by Uros Dojcinovic, which could be infor the musically challenged; and there is
The level of difficulty is moderate, teresting and informative if the reader a cassette available, which the publisher
but care must be taken in connecting were fluent in Serbo-Croatian. recommends for ease of learning and
melodic notes. The fingering is clever, Aguado, Sor and Giuliani wrote vir- accuracy of interpretation. There is an
even resourceful. Fernando Fernandez- tually the same studies, and these studies attractive but inexplicable picture of a
Lavie can certainly write for the .guitar. are not particularly inventive or instruc- Takamine cutaway guitar on the cover.
This piece has sent me scurrying to the tive. In short, I can't think of a single There is a variety of levels of diffi-
Guitar Solo catalogue in search of others reason to have this collection. culty represented in this collection, but
from his pen. This one is a gem. The level of difficulty is advanced nothing that would be too challenging for
beginner. an intermediate student.
Joseph Mayes
Joseph Mayes Joseph Mayes
Giuliani, Mauro: Grand Duo
Concertante, op. 85 for Flute and Gui- Back, Douglas (editor): American Pio- York, Andrew: King Lotvin. San Fran-
tar. Revised and fingered by Bruno neers of the Classic Guitar.Pacific:Mel cisco: Guitar Solo Publications, 1994.
Giuffredi. Milan: Edizioni Musicali Bay Publications, 1994. 101 pp. $9.95. [GSP 98] 7 pp. $6.50.
Sinfonica, 1994. Parts. 11 + 13 pp. No
price given. Guitarists often lament that, at the Here is another fun, well-written piece
time when western art music was appar- from the pen of Andrew York. As with
When I received this music for re- ently defining itself, the greats—Mozart, York's other works, "King Lotvin"
view, my first thoughts were, "Two good Beethoven, Chopin, etc.—did not write straddles the line between classical and
publications exist, do we need another for guitar. Although we have Giuliani, the lighter styles of many acoustic guitar-
edition of this piece?" Maybe not, but this Aguado, Sor and Zani de Ferranti, we ists such as John Renbourne, Chris Procter
one is beautiful. have admittedly few masterpieces. The and Muriel Anderson. The music is de-
The publication is in parts. The fin- hope springs eternal that among the dusty cidedly tonal. The composition is built
gerings, completely absent in the origi- piles of forgotten sheet music in some around several brief melodic ideas that
nal, are well done but not overdone, and lost collection the Great American Guitar are repeated and are varied enough in
the printing is clear. There are page-turns Piece will be found. Keep hoping. nature to lend a sense of familiarity and
in the guitar part. There is an introduction These pieces Douglas Back has col- interest the first the piece is played or
by the editor giving the general historical lected are charming. They are gem-like heard. Rhythm is really the only element
context of the piece, and notes that reveal time-capsule works that evoke a seem- of complexity. "King Lotvin" is in the
where the original has been changed. ingly simpler era, but they are light- unusual meter of 7/8 throughout. York
Nothing occurs to me to write about weights. The composers represented— adds additional interest by varying the
this piece that is not already common William Foden, William 0. Bateman, emphasis of the eighth-note patterns be-
knowledge among guitarists. The music Justin Holland, Charles de Janon, Charles tween 4-3, 2-2-3 and 3-2-2. This will be
is a staple of the repertoire of guitar/flute J. Dorn, Luis T. Romero and Manuel the main challenge the guitarist will meet.
duos, and deservedly so. The level of Ferrer—were all wonderful performers The work is extremely guitaristic. I
difficulty is intermediate. who wrote this music for themselves to would put it at the intermediate level. The
play. • texture is mainlytwo-part with occasional
Joseph Mayes Guitarists, it has been said, have a single-line scale work and some chords.
different responsibility from other musi- For student-level performers, there will
Veljovic, Velko: Sixteen Studies in cians. Our task is not to perform master- be some demands due to the need for
Major Keys. Novi Pazar: Jugo-Nota, pieces; it is to perform simple music solid fretboard knowledge. Students may
1993. 24 pp. No price given. masterfully. These works lend themselves also be challenged by the rapid tempo the
well to the job. The "Grand Waltz Ca- piece requires. Still, it is not difficult.
This volume of studies was written in price (The Wizard)," "Capitol March" by The publication is typical of the qual-
1950, but, except for some slight (and William Foden and the "Carnival of ity products that Guitar Solo puts out.
86
Reviews
The piece has ample fingering that is both temporary compositional techniques, this spices up another section by using some
helpful to the performer and useful in will not be too difficult. traditional rhythmic variety. I also found
presenting the music as York wants. This is a good publication. The music the third movement, which uses a tremolo
This all adds up to a fine work. I is nicely laid out. Each piece is two pages figure throughout, easier to enjoy. Still, I
highly recommend it for those who enjoy long, so there are no page turn problems. felt it came across sounding like an exer-
lighter fare. There is ample, intelligent fingering to cise.
help in the learning process. My only Overall, I found this work to be some-
Garth Baxter criticism with the publication is the em- what disappointing. I preferred Chassain' s
Westminster, MD phasis given to the name of Vladimir piece "Patchwork," which I reviewed a
Mikulka on the cover—at the expense of number of years ago, where the music
Sciortino, Patrice: Hexa-Actes. Paris: both the title and the composer. From a (also atonal and dissonant) seemed easier
Editions Henry Lemoine, 1991. [25149 business perspective, this makes perfect to understand and appreciate. I believe
HL] 13 pp. $11.75. sense—but it devalues the contribution "Arion" will be enjoyed in the first listen-
of the composer. I recommend this coming only as a vehicle for a virtuoso guitar-
"Hexa-Actes" is a composition of six position to those who are looking for ist.
well-written, brief works in a modern well-written contemporary compositions For those who like music on a cerebral
vein. The pieces can be played effec- for guitar. level, however, this work may be quite
tively either individually or as a whole. interesting.Chassain does have some good
This edition was written for Vladimir Garth Baxter ideas. It just wasn't my taste.
Mikullca and is from his Henry Lemoine
publication collection. From reading the Chassain, Olivier: Anion. Courlay: Garth Baxter
introductory notes, I don't believe the Editions J. M. Fuzeau, 1992. [EF
composer is a guitarist. Still, the pieces 92.413] 8 pp. No price given. Corbetta, Francesco: Caprice de
are very guitaristic. The music lies rather Chaconne. Arranged by Leo Brouwer
nicely on the instrument and uses com- Olivier Chassain's suite for solo gui- and Paolo Paolini. Milan: Ricordi, 1991.
mon performance techniques such as re- tar is a complex contemporary piece de- [135330] US distribution by Hal
peated slurred figures and parallel chord picting the mythical story of Arion, a Leonard. 5 pp. No price given.
and arpeggios, making me believe he did talented lyre player who used his music to
his homework very well or worked very escape death after being forewarned of This edition (mis-labeled as a tran-
closely with Mr. Mikulka. Perhaps both. danger by Apollo. A brief synopsis of scription) is actually a good arrangement
The pieces, each of which is of a Arion's plight, included in the publica- of this short but effective piece of
different mood and character, use two or tion notes, adds to the understanding of Corbetta's. It would have been better,
three motivic ideas that Sciortino repeats the music. however, if the editors had included a
and develops to a point where the listener Chassain, the winner of the GFA Solo facsimile or at least followed standard
will feel comfortable with the music in Competition in 1988, is a very talented practices where notes were changed or
spite of its somewhat free form and atonal, guitarist, and the music he writes for the added. It also seems strange that they
dissonant nature. The final movement guitar is often quite challenging. "Anon" would choose to publish one piece rather
recalls material from several earlier move- is no exception. The four-movement piece than a group of pieces, as this piece alone
ments, bringing the work to a satisfying is ten minutes in length and is very diffi- is not suitable for performance, except
conclusion. cult. The composer has made the piece perhaps as an encore. Finally, it is hoped
For the performer, I would have to say very programmatic by giving each move- that any future works in this series will be
this music is at the lower end of the ment a picturesque title to fit the story of accompanied by more informative and
advanced level. Many sections require Anion. Three of the four movements are complete performance notes.
real control and an understanding that dithyrambs, which are wildly emotional
would make this music very difficult for songs—originally honoring the Greek god James Reid
intermediate-level students to handle. of wine, Dionysus. The tempos and sec- Moscow, ID
Although there are some tough chords tions calling for bursts of rapid notes will
and fast passages, I would say that rhythm weed out all but the most advanced in- Rubinstein, David: Segovia. Chapel
will probably be the biggest challenge for strumentalists. Hill: Columbia Music, 1993. [CO 330]
the performer. Four of the movements "Arion" is atonal in style, with disso- US distribution by Theodore Presser.
have no time signatures. One of the move- nance calling for unusual combinations 3 pp. $4.50.
ments shifts from 2/8 to 9/16 to 3/8, etc. of notes in virtually every line of music.
Nevertheless, for the advanced student/ There are some nice ideas in the second According to the publisher, this piece
performer who has experience with con- movement, where Chassain uses an at- is based upon the composer's impres-
tractive lyrical figure in one part and sions of Segovia's performances. This is
87
Reviews
not the first composition inspired by Se- ments calling for a scordatura (the low E rhythms and stress patterns of the various
govia, of course; Albert Roussel's "Seg- and A strings each lowered a half-step). dances, but offer an intriguing view of
ovia" and Darius Milhaud' s "Segoviana" The movement scheme (Largo, Allegro, "popular" Spanish guitar playing from
also come to mind. Andante, Allegro) is traditional, but the the period. There are many interesting
The composer's intent here seems to altered tuning gives the piece an exotic ideas, but the pieces seldom maintain
be to evoke Segovia by writing a piece in flavor. The texture is mostly two-part, their interest for entire compositions. It
the style of Turina. This fantasy-like piece and the writing works well, as the com- will most likely be more interesting to see
works well in the beginning, but the cen- poser obviously understands the guitar the contents of future volumes, which
tral portion is not so successful. The com- well. It would be interesting to know the will no doubt contain more mature works;
poser is also a pianist, and some of the meaning of the title, as it might shed some I look forward to that.
figuration here would probably work light on the piece, but, unfortunately, no The music is presented in facsimile,
much better on that instrument than it notes accompany the music. I have one apparently of editions self-published by
does on the guitar. I wonder if the com- minor complaint regarding the typeset- Gomez. Standard notation is given with
poser collaborated with a guitarist to pro- ting, and that is that many of the ties parallel tablature. Some of the printing is
duce this work. I suspect that, if he had, (especially in the first movement) are less than clear, but a comparison of the
some changes would have been made to almost impossible to see. This is a dra- staff with the tablature should allow ques-
make this section work better. As it has matic, lyrical work; the third movement tions to be resolved easily.
been published, some editing will be re- contains some particularly nice passages.
quired to achieve a satisfactory result. David Grimes
The effort may well be worth it, however, James Reid
as the composer is quite successful in
suggesting the "flavor" of Segovia's style. Gomez, Guillermo: Antologia de Editor's Note: When I reviewed
Musica de la Guitarra. Volume 1: Fla- Joaquin Rodrigo's "Lin Tiempofue Italica
James Reid menco c. 1904. Campbell, CA: Famosa" (Soundboard, Summer 1991),
Ediciones La Guittaria Fina, 1993. Staff I did not have full information as to the
Granados, Enrique: 6 Danzas notation and tablature. 56 pp. $29.95. meaning of the title. lam very grateful to
Espariolas. Arranged by Nicholas Emma Martinez for providing the fol-
Petrou. London: Schott, 1991. [ED Guillermo Gomez (b. 1880) was lowing: "The Roman city of Italica was
12373] US distribution by European strongly affected in his youth (1897) by founded in 205 B.C. by Scipius Africanus;
American Music. 42 pp. $14.95. hearing a recital by Francisco Tarrega. it lies just 2 kilometers NW of Sevilla. It
He was already a professional violinist was built originally to house the wounded
This edition includes six of the twelve who also played guitar in the popular soldiers, survivors of the battles raging in
dances from the original collection for style (flamenco), but Tarrega's perfor- the region at that time, and received its
piano solo. They are the Galante, Fan- mance convinced him to devote his life to name from those soldiers in reference to
dango, Villanesca, Andaluza, Melancolia the guitar. He started from scratch, study- their origins, Italy. At the entrance to the
and Bolero. Four of these same dances ing the method of Tarrega, and became site, which is open to visitors all year
were arranged by Manuel Barrueco some quite successful in his chosen career. In round, is a small building erected around
years ago, and a comparison of the edi- 1900 he settled in Mexico, where his the 1800s, when excavations began, and
tions indicates that a very similar ap- performances and teaching were received here is where the large stone bearing the
proach is used by both arrangers. The warmly. Gomez' compositions for guitar inscription Rodrigo has, used is situated.
original keys and order are preserved in became popular enough to be arranged The verse begins, 'tin Tiempo Fue Italica
Petrou's edition, and he occasionally dis- for orchestra, and his four-movement Famosa "
plays a preference for a fuller sound than "Suite Andaluza" was performed in 1929 David Grimes
does Barrueco. The fingerings provided by the New York Philharmonic. [This
work well, and the price is quite reason- information was taken from the introduc-
able. It's too bad all twelve dances were tory notes in this "Antologia."] One of
not included. Gomez' short compositions, "Plegaria,"
is still well-known to guitarists today,
James Reid and shows a distinct Tarrega influence.
This first volume contains early, fla-
Ware, Peter: Nakina. Toronto: Acoma menco-based works dating from around
Edition, 1989. 11 pp. No price given. 1904, including the above-mentioned
"Suite Andaluza" in the original guitar
This is a sonata-length, four-move- version. The pieces are not true flamenco,
ment work with the first three move- deviating frequently from the requisite
88
Z3 everly (Maher
ghe uitar a „ical & glamenco Qujiars
efalon
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95 Bernabe • 95 Bellido • 95 Chapman • 69 Contreras • 56 Fleta (J.
Williams') • 65 Fleta • 71 Freiderich • 95 Enrique Garcia • 80 Gilbert 47 • 79
David Hershey • 89 Humphrey mil • 95 Jacobson • 92 Kohno maestro • 85
Kohno #30 645mm • 95 Mueller • 93 Plazuelo • 95 Rozas • 69 Rubio • 81
Ruck • 95 Ruck • 69 Ramirez • 79 Ramirez • 94 Schwartz •95 Smallman • 95
A.Velasquez • 94 Woodfield
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• Lutes • Castanets • Accessories
r Music • Guitar Maker's Supplies , •••
Publisher s of
• Guitarra Magazine For a free brouchure call or write
• Christopher Parkening's
Guitar Method & Music P.O. Box 99
Write or calf for catalogue
Include $1.50 for handling Mesa, Colorado 81643
ANTIGUA CASA
970.268.5599 AiA
OF MADRID •
3145 W. 63rd ST., CHICAGO, IL 60629 USA
Phone: area code 312 — 737 1711 -
HOURS: DAILY & SAT. - a m. to 6 p.rn.

MON. & THURS. - 9 a.m. to 8 p.m.
89
Works in Progress / Completed
by Thomas F. Heck
Guitarists, students, and others seriously bus: Editions Orphee, 1995. 304 pp., COMPLETED
engaged in guitar-related research or seek- hardback, ill., $65. This represents a
ing elusive music or books are welcome to major revision of his thesis (Yale, 3. LEGNANI DMA DOCUMENT. Douglas
insert an announcement of their activity, 1970), and reports the results of the James (1225 W. Washington St.,
whether under way or recently completed, last quarter-century of new research, Brownsville, TX 78520) has completed
in this column. Please send all such notably that undertaken in Italy re- a "lecture document" in connection
communications to Thomas Heck, OSU cently by Marco Riboni and Mario with his Doctor of Musical Arts stud-
Music Library, Sullivant Hall, 1813 N. Torta. ies at the University of Arizona: "Luigi
High St., Columbus, OH 43210. Tele- Rinaldo Legnani: His Life and Posi-
phone (614) 292-2319, fax 292-7859, or 2. PONCE DOWN UNDER. Mark Dale (6 tion in European Music of the Early
e-mail tomheck+@osu.edu . Some rep- Collins St., Essendon, Victoria, Aus- Nineteenth Century, with an anno-
etitions may occur in these listings in tralia 3040, tel 03-3279-8003) has writ- tated performance edition of selec-
order to keep new readers informed of ten that he is interested in contacting tions from 36 Capricci per tutti i tuoni
ongoing projects. Reinsertions and up- "authorities on Mexican and guitar maggiori e minori, Op. 20." He writes
dates are identified with a parenthetical music, in particular the music of that the paper is 85 pp., including an
reference to an earlier Soundboard en- Ponce," so as to keep abreast of the edition of Op. 20, nos. 1, 2,4, 7, 9, 15,
try (vol./no.). current thinking in this area. His MA 24, 29, 32, and 33. It is available from
thesis (Monash University, Mel- University Microfilms. Dr. James
IN PROGRESS bourne) deals with the folkloric influ- adds that Giuseppe Gazzelloni "was
ences manifest in the Sonata No. 1 most helpful in obtaining sources for
1. GIULIANI BIOGRAPHY (XVI). This and the Tres Canciones Populares this paper and was very supportive
columnist is pleased to announce the Mexicanas. His primary interest is in of the project."
completion and publication in Sep- the change that occurred in Ponce's
tember 1995 of Mauro Giuliani: Vir- guitar compositions after 1925.
tuoso Guitarist and Composer. Colum-
90
GFA Archivist's Report
by Thomas F. Heck
The Archive has been consolidated responding to requests of the GFA Ex- Plans for the Future of the Archive
The GFA Archive, which since its ecutive Committee, has graciously The consolidation of the Archive
inception in 1973 has been under the shipped back to the GFA office in Cali- materials at the University of Akron of-
general supervision of this writer, has for fornia an extensive unsold backfile of fers the GFA for the first time the chance
many years been managed in its day-to- Soundboard. He has also transferred the to have its materials made visible interna-
day operations by two Associate Archi- core collection of old guitar music to the tionally through OCLC cataloging. The
vists in different cities. care of professional librarian Nancy pointers to the GFA Archive in this data-
A.The Core Collection, consisting of Stokes, moving it himself from Milwau- base will be either "collection level" or
scores of guitar music from the 19th and kee to Akron. The GFA owes George individual item records. In this way the
earlier 20th centuries in the public do- enormous thanks for this. materials in the GFA Archive eventually
main, was at the Wisconsin Conservatory Henceforth all inquiries concerning will be visible to a wide public. Nancy
of Music in Milwaukee. Its curator was the GFA Archive and all correspondence Stokes and I will be giving our best
George Lindquist, a professional guitar- relating to visiting it for research pur- thoughts to how to do justice to the col-
ist and teacher residing in Madison and poses should be sent to Nancy Stokes, lection in the context of its new home at
active in the Madison-Milwaukee area. Music Librarian, Bierce Library, Univer- a large research library.
Additionally George maintained an sity of Akron, Akron, OH 44325. It is quite possible that we will be
archive account and filled mail order re- seeking funds to index the collection us-
quests for photocopies of core collection Archive/Soundboard Account ing the same software that was used to
material, nearly all of which was cata- inventory the Vahdah Olcott Bickford
logued in a checklist produced by this Mr. Lindquist has submitted the fol- collection at California State University
writer. He also stored in his home in lowing consolidated account of his finan- at Northridge, thereby making possible
Madison and handled the back-issue sales cial activities over the period from 4/24/ an eventual union list of guitar source
of some fourteen volumes ofSoundboard. 85 to 8/23/95, when he closed the ac- materials in the U.S.A. Donors wishing
B.The Reference Collection, consist- count. What is not represented in these to support this enterprise are welcome to
ing largely of 20th-century copyright figures is the mountains of good will and correspond with us.
scores (not reproducible on demand), files hours of volunteer time, travel, and talent We continue to seek and welcome
on contemporary guitarists and guitar- on George's part in keeping his end of the donations of rare and out-of-print guitar
related activities and institutions, and a GFA Archive running for the benefit of music to the GFA. Our non-profit, tax-
reference collection of guitar books and us all. exempt charitable/literary status makes
periodicals from all over the world. Nancy It is both a happy and a sad duty of donations to the Archive an attractive
Stokes has been the Associate Archivist mine to acknowledge and thank George way to reduce the donor's taxable in-
in charge of this collection, housed at the for his consistently outstanding service come. Printed music, as we all know, is
library of the University of Akron. over these many years. We are all the not "something you can take with you."
better for having had his stewardship So please, let those who have large per-
Thank you, George Lindquist! during a crucial growth phase of the sonal collections of older guitar music
GFA—a phase to which he clearly has plan now to consign them to the GFA,
In August 1995, after more than ten contributed much. where they will be well maintained for
years' faithful service, George Lindquist, the benefit of all.
91
ARCHIVE/SOUNDBOARD ACCOUNT
4124/85-8/23/95
INCOME
Archive $ 1,355.96
Soundboards 4,398.06
Interest 572.97
Cookbook sales 150.00
TOTAL INCOME $ 6,476.99
SOUNDBOARD EXPENSES
Commission $ 670.60
Transfer to Madison 158.44
Shelves 78.02
Boxes 101.00
Supplies 57.81
Postage 533.85
Refunds 49.90
U-Haul to recycle center 15.77
Labor 100.00
UPS to Calif. 847.07
TOTAL SOUNDBOARD EXPENSES $ 2,612.46
ARCHIVE EXPENSES
Postage $ 299.54
Copies 285.67
Supplies 148.47
U-Haul to Akron 126.49
Catalog printing 96.39
VOB collection catalog 75.00
Bank charges 22.85
Fax 6.55
Bank error 5.90
Check printing 5.81
TOTAL ARCHIVE EXPENSES $ 1,072.67
TOTAL EXPENSES $ 3,685.13
NET INCOME $ 2,791.86
Transferred to GFA 8/25/90 (1,700.00)

Transferred to GFA 4/19/95 (1,000.00
BALANCE $ 91.86
On August 23, 1995, the account had an actual balance of

$72.60 and there was an additional $29.41 in petty cash for a
total of $102.01 ($10.15 more than the above balance.) $12.08
was due me for expenses. I therefore wrote myself a check for
the balance and closed the account.
George C. Lindquist
92
The Inventory list of Menkevich guitars, October, 1995
Menkevich Guitar not numbered 1974 German Spruce, Indian rosewood $1500.00
#03 1974 German Spruce, Mahogany $1400.00
An extraordinary—and #07 650mm 1975 German Spruce, Indian rosewood inquire
limited—opportunity to #61 650mm 1981 German Spruce, Brazilian rosewood $2550.00
#106 650mm 1985 Sitka Spruce, Indian rosewood $2500.00
purchase concert-quality $2200.00
#107 650mm 1985 Bear Claw Spruce, Indian rosewood
classical guitars at #108 650mm 1985 Cedar, Indian rosewood $2350.00
student guitar affordability! #113 650mm 1985 German Spruce, Brazilian rosewood $3000.00
#115 650mm 1985 German Spruce, Brazilian rosewood $3500.00
#118 650mm 1985 Red Cedar, Black Walnut $1850.00
To find the right 1985 Red Cedar, Black Walnut $1500.00
#122 648mm
Menkevich Guitar
for you or #128 650mm 1985 German Spruce, Brazilian rosewood inquire
your store, call #133 660mm 1985 German Spruce, Brazilian rosewood $4500.00
#138 660mm 1985 Sitka Spruce, Indian rosewood $3000.00
215 288-8417
#148 640mm 1991 Alaska Spruce, Bolivian rosewood $2800.00
today!
#151 650mm 1991 Sitka Spruce, Curly Maple $2600.00
#153 650mm 1992 German Spruce, Indian rosewood $3000.00
#155 650mm 1992 Bear Claw Spruce, Indian rosewood $10,000.00
#160 650mm 1993 Bear Claw Spruce, Brazilian rosewood $4500.00
#161 650mm 1994 Red Cedar, Indian rosewood $3800.00
#181 648mm 1995 Port Orford Cedar, Cypress $2150.00
Menkevich Guitars 6013 Tulip Street • Philadelphia. PA 19135 ani
JOS3 ORME
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Steings • Videos • Accessori
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S. Abreu, 1995 R. Howell, 1993 J. Redgate (Smallman-
Arcangel (Flamenco), 1976 T. Humphrey, 1976 style), 1994
D. Daily, 1995 P. Jacobson, 1987 J. Redgate (Sniallman-
L. DeVoe, 1995 S. Kakos, 1995 style), 1995
S. Frith, 1991 A. LoPrinzi, 1995 I. Rozas, 1993
S. Frith, 1994 A. Mann, 1995 Mig. Rodriguez, 1987
NOW AVAILABLE! J. Gilbert, 1977 E. Moench, 1960 E. Sahlin, 1984
"A VIDEO VISIT WITH G. Giussani, 1995 T. Plazuelo, 1991 F. Sahlin, 1988
JOSE ORIBE"...A profile of H. Hauser II, 1980 R. Prenkert, 1993 E.Sahlin, 1995
H. Hauser III, 1986 J. Ramirez, 1975 C. Smallman, 1987
the maker and his art.
Conde Hermanos J. Ramirez, 1994 D. Traphagen, 1993 -
4115
TO ORDER: Send $15.00, Shipping in U.S.A. $2.00 (Flamenco), 1976 A. Raya Pardo, 1991 D. I raphagen, 1995
Approx. 60 min
(CA residents add $1.05 sales tax)
J. Hinves, 1995 M Velazquez, 1986
ORME GUITARS, 2141 Lakeview Rd.

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Los Angeles, California
93
TIM MCCOY • LUTHIER
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with predictable control over a wide dynamic range.
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A concert guitar you will enjoy every day, for years.
TIM McCoy • 716 SAN ANTONIO ROAD • UNIT 'K'

PALO ALTO, CALIFORNIA 94303 • USA • 415.855.9847
94
(vi) Classical Guitar (vii) Western Guitar (viii) Arched-Top Guitar (ix) Banjo (x) & (xi) Electric Guitar
HANDMADE MINIATURE ACOUSTIC cC ELEC. GUITARS

Qty. Item no./ style / ht. Prices Total Imported Pangaea miniature guitars are
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(vii) Western 20cm $21.95 stand and black hard-cover case are also
(viii)Arched-top 21cm $23.95 included. Pls. send your name, address,
tel. no., and mail order form with check
(ix) Banjo 23cm $25.95
(payable to Pangaea International) to:
(x) :ectric 20cm $22.95
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Sub-total CA 92607-7497 (allow 2-7 weeks delivery)
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95
SOUNDBOARD ADVERTISING
Commercial concerns wishing to advertise in Soundboard are welcome to send their prepared copy (exactly
as you would like to see it in print) to: Gunnar G. Eisel Advertising Editor, P.O. Box 1240, Claremont
CA., 91711. Payment (check or money order payable to the Guitar Foundation of America) must accompany
copy. Deadlines are: Jan 15, (Spring Issue), Apr 15 (Summer Issue), July 15 (Fall), and Oct 15 (Winter).
Rates: Inside covers: $550; fun page: $300, 3/4 page: $260, 2/3 page: $243, 1/2 page: $200, 1/4 page: $134,
1/8 page: $90. Many other sizes and formats are available. For complete layout brochure and list of rates,
write to the address above.
CLASSIFIED
Classified ads may run in this space for $0.50 per word, minimum charge: $10.00. Advertisers wishing
to print the same ad for four consecutive issues may deduct 10% from the total cost. As with display
ads, payment must be made in advance.
0 AIRLINE-PROOF GUITAR CASES 0Sheet Music and Video Catalog

British-made, Hiscox "LiteFlite" cases for classical guitar. Our sheet music and Video catalog has thousands of titles for
Superbly-engineered construction intended for the all styles of guitar and other acoustic instruments. For a free
professional musician to totally protect his/her instrument copy call Guitar Gallery of Houston (713) 528-5666, Email
while traveling. Direct from the U.S. importers @ $225. guitar@neosoft.com or check it out on the WEB -
Order from CFRI, P.O. Box 6050, Ann Arbor, MI 48106. http://www.neosoft.com/--guitar/gallery.html
(313) 971-9770 ODake Traphagen 8-string.
Cedar/Brazillian RW; 657mm. Sloane tuners, African
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A new biography of the renowned concert flamenco guitarist
0 GUITAR Q1UICKSTART Paco de Lucia, detailing his philosophy of performance and
by Mary Jo Disler, M. Mus. in Theory, Univ. Michigan. the flamenco life, his collaborations with jazz greats John
College text, beginning classes. Introduces music reading McLaughlin, Al DiMeola, etc., and includes a wealth of
& chord techniques. Emphasizes theoretical foundation information about flamenco and the flamenco guitar. The
applied to fretboard. Teaching method successful 22 years. author, Paco Sevilla, is a well-known flamencologist and
Sample copy with free syllabus, teaching tips, $10 guitarist. $17.95 plus $2 mailing to: Sevilla Press, PO Box
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check or money order to Lyra House Music Publications,
P.O. Box 252132, West Bloomfield MI 48325-2132. Credit O GUITAR ENSEMBLE MUSIC
card orders 1-800 879 4214 for book only at full price Tchaikovsky, Couperin, Bach, Moussorgslcy, Purcell, Greig,
($15.95 plus tax & shipping; code SA-395) Corelli, and more. High Quality arrangements. Ideal for
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0 FREE LIST! CLASSICS, FLAMENCOS, LUTES; Fog Music, P.O. Box 1168, Soquel, CA 95073
various makers. Alfieri Guitars, POB 2132B, New Hyde O FOR SALE: MANUSCRIPT OF TARREGA'S
Park, New York, 11040. First Quality Repairs, famous "Capricho Arabe" in the composer's hand; signed
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(516) 437-1377 testimony is included. Minimum bid: $2500. Inquires to
01995 GIUSSANNI GUITAR Alfredo Saab (415) 595-3029
Brazilian rosewood. $5,000. or best offer • STRONG NAILS = in ,p 'tdays
(213) 936-4595 Prevents breaks and grooves. Not chemical hardener but a
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sides. Truly beautiful. Impressive sound. $4,000. Bone & Nail Builder
(415) 863- 0858 All-natural herbal formula aids in promoting long-term
OFOR SALE: 1/4" ATA Custom Flight Case growth and strength of the nails.
for classical guitar. $300 or best offer. 100 Caps: $16.95. Send Check or money order to:
(803) 226-4483 or (803) 225-1924 Dr. Andrew A. Adams
0 Laurindo Almeida Guitar Arrangements 1517 North Fant Street,
Please write for free catalogue. Anderson, SC 29621 (803) 225-1924
Brazilliance Music Publishing
18030 Rancho Street, Encino, Calif. 91316
96
uitar Salon
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Offering One of the Largest Selections of Concert Classical and
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and over a decade of reliable service, the guitar Salon combines
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offer you new, used and vintage collectible guitars.
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fax (310) 396-9283, e-mail GSInter@aol.com
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Current Stock — January 1995
Classical '86 Toshio° '77 Tamirez Ia '94 Tamirez

'87 ,_breu '92 ULovoe ll '86 Raya (Yard° '95 Tubio
'95 J71 ram '95 Ulovoe ll '91 Taya Tardo '95 Sanchis
'85 'Bellido '79 .91,umphrey '74 T. Tubio :flamenco
'80 Ternabe '82 'Yohno '95 Rubio '65 ,.S'4rchangel
'95 Ternabe '92 aohno '81 Tuck '8 7 Tellido
'90 'Blackshear '64 Lopez '91 ',Ruck '95 'Brune
'95 'Blackshear '84 atartin '89 Sahlin '63 Teyes
'96 (Blochinger '95 atartin '95 Sahlin '66 Todriguez
'86 Contreras '87 ,N,attingly '59 'Velazquez '83 Rodriguez
'95 gischer '95 Ober '64 'Velazquez '95 Tubio
'92 gleta '96 Ober '95 'Woodfield '95 Sanchis
A '95 See '68 J-Zarairez Ia Student Classical
'67 .Tauser III '68 Tamirez 2a '95 ,q,ria
'78 Mouser III '73 Tamirez Ia '90 Soya
'91 gtauser III '76 Ramirez Ta
'The guitar pictured here is a 1931 71.,ermann 9-Lauser from the collection
of YI4r. Louis 'Benny and is inscribed, "your mon cher ami, le gram',
maestro ...2ndres Segovia, fait de UL. .71.auser, 1931 ,..714iinchen.”
Prepared exclusively forTIwtograph by jay Citiener

dimkotro@gmail.com Transaction: 0081841643
Another
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In answer to requests from some
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La Bella sound at greater string
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With this set, we are also intro-
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E. & 0. Mari Inc.
nylon for the treble strings, and Made in USA
new nylon filaments at the core of

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a high-density nylon, clear, smooth, true at every fret, and perfect in gauge. This is a
monofilament nylon which eliminates fraying and will be of consistent quality in set
after set.
Trebles and basses will retain both brilliance and playing life for longer than conven-
tional classic guitar sets. A major breakthrough regards tone quality; new La Bella
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overtones.
We at La Bella are sure that the new 2001 Set will be a great asset to yout
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AVAILABLE IN THE FOLLOWING MODELS,
MADE • NANO SELECTED M•Ot • M•ND SE tECIED
597,44.10..a/L/Las fiavraeslonal Jorrise
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Available at your local music dealer. Write or FAX for our free catalog.
E. & 0. Mari/La Bella 256 Broadway, Newburgh, New York 12550 USA Tel: (914) 562-4400 • Fax: (914) 562-4491

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op.

WINTER 1996 GUITAR FOUNDATION OF AMERICA VOLUME XXII, NO. 3

SPECIAL BACH ISSUE $7.00

Prepared exclusively for dimkotro@gmail.com Transaction: 0081841643

Farmingdale, NY 11735 USA

Letters to the Editor 3

GFA Soundboard Winter 1996

GFA Soundboard Winter 1996

GFA Soundboard Winter 1996

"An opportunity to work

For further information, contact

GFA Soundboard Winter 1996

GFA Soundboard Winter 1996

GFA Soundboard Winter 1996

Figure 1. Fuga, G-Minor Violin Sonata, BVW 1001, mm.27-32.

Figure 3. Sarabande, D-minor Cello Suite, BVVV 1009, mm. 21-28.

Such multiple-stopped4verticalizations, containing Representing a compromise between sonority and an

GFA Soundboard Winter 1996

Figure 5. Allegro, A-minor Violin Sonata, BVVV 1003, mm. 7-11.

GFA Soundboard Winter 1996

Figure 6. Allemande, C minor Cello Suite, BWV 1011, mm. 3 4

GFA Soundboard Winter 1996

Figure 8. Allemande, C-minor Cello Suite, BWV 1011, mm. 1-5

GFA Soundboard Winter 1996

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GFA Soundboard Winter 1996

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GFA Soundboard Winter 1996

Prepared exclusively for dimkotro@gmail.com

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GFA Soundboard Winter 1996

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GFA Soundboard Winter 1996

GFA Soundboard Winter 1996

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GFA Soundboard Winter 1996

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GFA Soundboard Winter 1996

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GFA Soundboard Winter 1996

GFA Soundboard Winter 1996

THE GUITAR PROGRAM

GFA Soundboard Winter 1996

"Simply and consistently awesome."

A new column devoted to transcriptions and arrangements

GFA Soundboard Winter 1996

Prepared exclusively for dimkotro@gmail.com Transaction: 0081841643

Measure 27 was originally:

GFA Soundboard Winter 1996

GFA Soundboard Winter 1996

J.S. Bach (1685-1750)

Oberlin is devoted to the training of undergraduate musicians and offers

- ,(1( her of Classical Guitar

GFA Soundboard Winter 1996

GFA Soundboard Winter 1996

A.M.: Could you speak briefly about your guitar sonata?

GFA Soundboard Winter 1996