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2009 NOVEMBER
GUITAR
CLASSICAL
25 28 34 37 38 39 46 50 51 52 53 55 56 57
Features Editor: Guy Traviss Reviews Editor: Tim Panting Music Editor: Neil Smith Managing Editor: Maurice J. Summerfield
VOLUME 28, No.3
4 5 8 10 11 16 19
Editorial Consultant: Colin Cooper
News Editor: Thérèse Wassily Saba
Editorial Classical Guitar News – Compiled by Thérèse Wassily Saba Events, Festivals and Competitions Concert Diary Milos Karadaglic – Interviewed by Guy Traviss The First Classical Guitar Retreat – by Guy Traviss A continued conversation with Jorge Morel – by Ana María Rosado Heinsberg 2009 – by Steve Marsh Letter from New York – by Julia Crowe 4th Vrnjci International Music Festival – by Paul Fowles Rincon Flamenco No.58: Reviews – by Paul Magnussen Gruppetto Music Reviews CD Reviews Personal CD releases DVD Reviews Book Reviews Concert Reviews Letters to the Editor Classical Guitar Teachers Classical Guitar Societies
Contributors: Julia Crowe, Lawrence Del Casale, Zbigniew Dubiella, Paul Fowles, Allan Clive Jones, Paul Magnussen, Oliver McGhie, Jorge Morel, Danielle Ribouillault, David Russell, Maria Isabel Siewers, Rico Stover, Maurice J. Summerfield, Graham Wade, William Yeoman, Luis Zea. Reviewers: John Arran, Jane Bentley, Vladislav Blaha, Colin Cooper, Julia Crowe, Chris Dumigan, Lorraine Eastwood, Paul Fowles, Sandra Hambleton-Smith, Derek Hasted, Harvey Hope, Allan Clive Jones, Linda Kelsall-Barnett, Stephen Kenyon, Steve Marsh, Emma Martinez, Oliver McGhie, Tim Panting, Danielle Ribouillault, Neil Smith, Thérèse Wassily Saba, William Yeoman, Fabio Zanon. Advertisements: David English. ADVERTISEMENTS: All advertisements to be addressed to: David English, Classical Guitar, 1 & 2 Vance Court, Trans Britannia Enterprise Park, Blaydon on Tyne NE21 5NH, United Kingdom. TEL: +44 (0) 191 414 9000 FAX: +44 (0) 191 414 9001 e-mail: [emailprotected] Web: www.ashleymark.co.uk/classicalguitar.htm
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Editorial
certo for Guitar and Orchestra’ on a CD or in a concert programme generally produce feelings of apprehension in at least one pair of ears. with a concerto by Mozart or Beethoven)? An over-familiar Vivaldi? An edited version
THE QUIZ, whether on the television screen, on radio or in the pub, has become part of the British way of life. The standard of knowledge of the contestants is not generally high, and sometimes - particularly in musical matters - it is downright abysmal. This includes the brainy scientists who nowadays comprise the intelligentsia. It used to be the other way round: artists knew nothing about the Second Law of Thermodynamics. Many of them still don’t, of course, and it’s nothing to be proud of. Nor is the ignorance of music currently shown by scientists. Apart from questions relating to the Beatles, the Rolling Stones or Britain’s last entry in the European Song Contest, they are clueless. The ignorance sometimes extends to those who set the questions. Sample (from a television quiz): Which famous Spanish painter shared the same first name with a famous Spanish guitarist? The contestant got it in one: Pablo. (Applause.). Pablo Picasso and Pablo Casals. Who doesn’t remember Pablo Casals and his eloquent guitar? Why, he was nearly as famous as Andrés Segovia and his cello! Nobody questioned the questioner. Translate that question into the world of science, and ask which famous biologist shared the same first name with the author of a famous book on angling, and the answer might well be Isaac. There would be a storm of letters protesting that, while Isaac Walton certainly wrote The Compleat Angler, Isaac Newton could not be called a biologist. He knew more about biology than you and me, you can bet on that, but he was known for other things. A contestant in a music quiz (yes, a specialist!), confronted with Elgar’s Pomp and Circumstance March No.4, said ‘Is it Johann Strauss?’ Occasionally there are signs that this general ignorance is changing. A popular TV quiz is University Challenge, where students have to answer a wide range of questions. One young team, experts in molecular physics and similar abstruse subjects, were asked to identify the composers of four excerpts from 19th-century operas. They got two of them right. A few years ago they would have answered ‘Puccini’ to every one of the four questions, and been content with a 25 per cent score. Guitarists would probably score well on 19th-century opera, so many are the guitar arrangements by Arcas, Tárrega, Giuliani and the like. I doubt if many musicians, let alone guitarists, could answer the most basic questions about molecular physics. COLIN COOPER
thought lost forever among the flotsam and jetsam appeared, in close to miraculous circumstances, in a neat window that was as easy to view as the weekly weather predictions for Weston-Super-Mare. Yet, epiphany-wise, it raises the question: ‘convenience: is it better if it’s quicker and easier, or are we happier with the end results if they take a little longer and the end results are far better?’ The question was answered for me unequivocally, after a typical trawl through the cyber seas. I readily admit that if my internet paddle was snatched from my grasp, I would most likely find myself up that proverbial creek. I am all for rescued footage from TV and radio broadcasts. The patient rescuers of these snippets (often much more) have done much to bring the ‘lost’ to the ‘found’ department. What, in most examples, they have had to forgo is the aspect of quality. It seems to me that if what I mean by quality is a form of excellence, then these easy-to-get forms of reference leave a lot to be desired; so much so, that during the aforementioned search I was forced to close down the ‘tab’ and re-gather my senses. I had a mini-rebellion in the sense that I could no longer accept footage that actually detracted from the original performance. I could be speaking here at direct odds with those who have lovingly rescued wax-cylinder recordings, 78s and countless vinyl LPs and have produced packages that bring the distant past evercloser and more realistically to our 21st-century ears. Yet I am probably talking more about our own impatience, especially with the added phenomenon of the internet. So the review pages of CGM become yet a stronger cause for the provision of excellence than ever before. TIM PANTING
IT IS probably not the first time nor shall it be the last that an editorial begins with a volte-face; a different tack, change of opinion, whatever review of circumstance you choose to mention, but epiphany-wise I seem to have had one. Extolling the virtues of YouTube as a source of almost endless video clips relating to the guitar; so rare that before the existence of the Internet the only way of obtaining them was a mule track across bandit country; paying various ferrymen/postmen in bribes of similar exchanges or otherwise impossible promises. These middlemen were banished with a mouse click. Rarities were no more. That scrap of celluloid,
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Classical Guitar Magazine
C lassical G uitar N ews
Compiled by THÉRÈSE WASSILY SABA
Pittaluga competition results The results of the 42nd International Classical Guitar Competition ‘Michele Pittaluga’ Prize of the city of Alessandria, Italy which was held at the Teatro Comunale from 21–26 September 2009 were: First Prize: Andras Csàki (Hungary); Second Prize: Kyu-Hee Park (South Korea); and Third Prize: Thomas Viloteau (France). www.pittaluga.org Music diary 2010 2010 is the year of Chopin’s bicentenary, and Boosey & Hawkes are celebrating it by printing a few bars of Stravinsky’s instrumentation of the A flat Nocturne on the cover of their Music Diary for 2010. Every day of the year is marked by a short list of notable musicians and their birth and death dates. At least four of your favourite guitarists are in it, and you may find more. A list of international music competitions is included. Among the many for piano and violin are one for flute and one for harp, but the Andras Csàki. guitar is not mentioned. At least one guiand Classical/Flamenco. Each of the winners tar competition, the Alessandria, is affiliated to will win many different prizes, and the grand the World Federation of International Music prizewinner will receive a four-year, fully paid Competitions. But don’t let that put you off (you tuition scholarship for Berklee College of Music can get all the competition information you as well as having the opportunity to record on need through the pages of CG): the Boosey & the superstar guitar record, String Theory. The Hawkes 2010 Music Diary provides all the basic album will include legendary guitarists from varinformation you expect from a diary, and a lot ious genres blending their original styles. Some more. of the top ten guitarists from around the world will be participating: BB King, George Benson, Online guitar competition John Scofield, Steve Lukather and Lee Ritenour, among others. As the contest progresses, they It seems that online competitions are becoming will be posting the top 25 YouTube videos on more and more popular. The Barrios their website; the address is below. The compeWorldWideWeb Competition is into its second tition finals will be held at the Broad Stage in round as I write and now we have news of anothSanta Monica, California on 22 March 2010. er competition. The Yamaha Six String Theory www.sixstringtheory.com Guitar Competition began on 1 October 2009, but it is not too late to post your videos online for Alicia de Larrocha (1923–2009) the competition, as the last date for submission is 1 February 2010. Lee Ritenour and The On Friday 25 September 2009 the Spanish Yamaha Corporation, in association with pianist Alicia de Larrocha died in Barcelona at Concord Records, the Yamaha Corporation, the age of 86. She had given her last public perBerklee College of Music, Monster Cable and formances at the age of 80 in 2003. Her perforD’Addario Strings, have organised the Six String mances of Mozart were highly regarded for their Theory Guitar Competition. It is an online, interlighteness and elegance, and Bach and Scarlatti national competition to find the top six guihighly regarded for their attention to detail but tarists, one in each of the following categories: for guitarists she has always been a guide for Rock, Blues, Jazz/Fusion, Country, Acoustic Classical Guitar Magazine
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Manuel Barrueco with Gabriela Lena Frank.
the interpretation of the works by the Spanish composers Granados, Albéniz, Mompou and Turina. She studied with the Frank Marshall, who was a student of Enrique Granados. He established the Academia Marshall in Barcelona during Granados' lifetime. It was a hub of cultural activity for Spanish and overseas artists and continues as such. After Frank Marshall’s death in 1959, she took over as the Director. Latin Grammy Gabriela Lena Frank’s Inca Dances for guitar and string quartet has been nominated for the Latin Grammy in the category of Best Classical Contemporary Composition. Manuel Barrueco premièred Inca Dances with the Cuarteto Latinoamericano and its première recording also appears on their recording called Sounds of
the Americas. The work was commissioned by the Baltimore Classical Guitar Society, with grants from the National Endowment for the Arts and the Peabody Conservatory of Music. Speaking to Gabriela Lena Frank about the Grammy nomination, she said, ‘I received news that Inca Dances had been nominated for a Latin Grammy from Saúl Bitran, the first violinist of the Cuarteto Latinoamericano, while he was in Caracas, Venezuela, giving a concert at the Mexican embassy. It was a complete and utter surprise as I hadn’t even known the piece was under consideration! The work was inspired by and written for guitarist Manuel Barrueco and the aforementioned Cuarteto, all consummate musicians. I was aiming for a rather spare language in the opening solo guitar movement, and then a craggy, dissonant second movement. Perhaps this was in reaction to having written a large lyrical viola concerto immediately before getting to work on the guitar quintet. In any case, the men dug into the work, not shying away from its spaces or edges, and I know that the Grammy nomination reflects the hard work from all of us together. On behalf of all of us, I’m truly grateful for the recognition for Inca Dances.’ Kavanagh joins Koblenz The Canadian guitarist Dale Kavanagh has joined the academic staff at the Koblenz International Guitar Academy in Germany. The Academy was established in 2005 and is dedicated to the development and further education of young guitarists. The Academy offers postgraduate studies in guitar with a soloist’s diploma and specialist training for teachers in music schools. There are presently 25 students in the postgraduate department alone, coming from 17 nations. The next auditions for future students of the Koblenz International Guitar Academy will be held on 18 December 2009. Professor Dale Kavanagh joins the faculty staff of Professor Hubert Käppel, Aniello Desiderio and Georg Schmitz. Contact: The Director, Georg Schmitz, Koblenz International Guitar Academy, Bahnhofstr. 58, 56068 Koblenz, Germany. Tel. +49 (0)170 311 5446. www.koblenzguitarfestival.de Schaupp’s Spain The Australian German guitarist Karin Schaupp has just released a recording called Spain – Great Guitar Concertos. Naturally it includes the Concerto de Aranjuez by Joaquín Rodrigo but it also includes Salvador Bacarisse’s Concertino in A minor, op.72, which were both recorded with the Tasmanian
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Classical Guitar Magazine
Symphony Orchestra, conducted by Benjamin Northey. A further work of great interest on this recording is Castelnuovo-Tedesco’s Romancero Gitano, which Karin Schaupp performed with the choir Cantillation, conducted by Philip Chu. The recording has been released on ABC Classics. Rodrigo and Sopeña correspondence The collected letters of Joaquín Rodrigo and Federico Sopeña have just been published in Joaquín Rodrigo y la creación musical en los años cincuenta, edited by the Spanish musicologist Javier Suárez-Pajares. Joaquín Rodrigo was a prolific letter-writer and a music critic and his correspondence with so many important music figures of the twentieth century is yet to be appreciated fully. Equally Federico Sopeña was a central figure in Spanish culture life; he was also a music critic, his posts included being Director of the Academia de España in Rome and Director of the Museo del Prado, among many others. This is the sixth book in the series Música y pensamiento, which is published by the University of Valladolid, Spain. The book will be launched at the Escuela Superior de Música Reina Sofía in Madrid on 26 November 2009 in the presence of Paloma O’Shea and Cecilia Rodrigo. Segovia Exhibition During 2009 the Fundación Andrés Segovia has been organising a series on concerts and conferences in celebration of the 100th anniversary of Andrés Segovia’s first public recital. That recital took place in October 1909 at the Salón de Actos del Centro Artístico y Literario in Granada, Spain. An exhibition of philatelic and collected memorabilia in homage to Andrés Segovia and the celebration of the centenary of his first recital will open on Thursday 6 November at 8pm at the Fundación Andrés Segovia and will remain open until 22 November 2009. This evening will also be the start of a series of nightly concerts each at the Fundación, presented in collaboration with the Excmo. Ayuntamiento de Linares. Starting with the Duo Melis (Susana Prieto and Alexis Muzurakis) on 6 November, then with the guitar duo of Roberto Masini and Simona Costantino, Sasa Devanovich, Fabio Montomoli, the guitar duo of Nello and Simone Alessi, Roberto Fabri, the guitar duo of Massimo Delle Cese and Alessandro Minci, the guitar duo of Carsten Link and Carsten Grøndahl, Jusuk Lee, Ahmet Kaneci, Augustin Wiedemann, Javier García, and the voice and the guitar duo of Damiana Mizzi and Massimo Felici. Classical Guitar Magazine
All of the concerts and conferences are open to the public with no entrance fee and are being held at the Fundación Andrés Segovia, Calle Cánovas del Castillo, 59 23700-Linares (Jaén), Spain. www.segoviamuseo.com Trinity College of Music Guitar Day Trinity College of Music will hold a guitar day on Thursday 19 November 2009, commencing
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much missed. This year’s festival will begin with a Brendan McCormack Celebration Concert on 3 November at Pacific Road, Birkenhead, Wirral CH41 1LJ and there will be a Brendan McCormack Celebration Classical Concert on 22 November. www.bestguitarfest.com UK Premiere of Brouwer’s Concerto No. 5 Graham Anthony Devine will be performing the British premiere of Leo Brouwer’s Guitar Concerto No 5 ‘Helsinki’ with the Trinity College of Music Chamber Orchestra conducted by Nic Pendlebury on Thursday 19 November 2009, 7.30pm at Blackheath Halls, London. This concert is part of the Festival of Time and Space, which is a collaboration between the National Maritime Museum (NMM), The Royal Observatory, Greenwich and Trinity College of Music. The rest of the programme will include Haydn’s Symphony No. 101 in D major, popularly known as The Clock because of the ‘ticking’ rhythm of the second movement and Imagined Oceans by Karl Jenkins. More information is available at the Trinity College of Music website: http://www.tcm.ac.uk TCM Box Office, tel. 020 8463 0100 or www.blackheathhalls.com Graham Devine.
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Volker Höh’s Savio
at 10am with a lecture on Julian Bream by Graham Wade. This will be followed by a short recital of Bream-inspired works such as works by Walton, Britten and Arnold, given by guitar students at Trinity College of Music. The Trinity Guitar Ensemble conducted by James Woodrow will be performing a lunchtime recital and this will be followed by a masterclass from 2.30–5.30pm by John Mills. All events are free for the public to attend. More information can be found on the Trinity College of Music website: http://www.tcm.ac.uk
The German guitarist Volker Höh has made a recording of the Preludes, Chôros No.1 and Suite Popular Brasileira by Villa-Lobos and a selection of 11 pieces by Isaias Savio, some of them possibly previously unrecorded. The recording, called Cenas Brasileiras is on the Aurea Vox label. In July and August 2009 Volker Höh travelled to Bolivia and Argentina to give concerts for the Goethe Institute; his programme was entitled ‘Bach at the Amazonas’. We hope to read about his travels in the Views from Everywhere section soon.
Wirral Festival
Mercedes Sosa (1935–2009)
This month the 21st International Guitar Festival of Great Britain will be held from 3–29 November 2009 in Wirral. The artists include: David Parsons, Alison Smith, Galina Vale, Esmond Selwyn, Ralph McTell, Steve Hackett, Martin Taylor, Woody Mann, Telecaster Day presented by Paul Balmer, John Etheridge & John Williams among others. John Williams will also give a solo recital on 15 November at 2.30pm, followed by John Etheridge’s Sweet Chorus band at 8pm that evening. Unfortunately, Brendan McCormack, one of the International Guitar Festival founders, passed away earlier in the year, and his very lively presence will be very
The legendary Argentinian folk singer Mercedes Sosa, known as ‘La Negrita’, died in Buenos Aires on Sunday 4 October. She had just recorded her 40th album, which has been nominated for a number of Latin Grammy Awards this year. Other artists appearing with Mercedes Sosa on this album are Shakira, Joan Manuel Serrat, Joaquín Sabina, Lila Downs and Julieta Venegas. Her interpretation of songs was sensitively powerful and unforgettable for its profound expressiveness, such as Violeta Parra’s Gracias a la vida or Ariel Ramírez’s Alfonsina y el mar. Like Atahualpua Yupanqui, the influence of her life’s work is immeasurable and will be felt for many generations to come. Classical Guitar Magazine
E vents, F estivals & C ompetitions Compiled by THÉRÈSE WASSILY SABA FESTIVALS & COMPETITIONS 6–8 November 2009: Brussels, Belgium. The Brussels Barrios Festival 2009 with Antigoni Goni, Raphaëlla Smits, Luz María Bobadilla with Manuel Obregón, Berta Rojas, Eliot Fisk, Rene Izquierdo, Elina Chekan, Jerome Mouffe, Enno Voorhorst, Dr Jorge Sanabria and Felipe Sosa. There will be an exhibition of manuscripts and instruments from the Barrios Museum in Asunción, Paraguay and a two-hour documentary film about Barrios will be shown. Contact: Jan de Kloe, Kroendaalplein 7a, “Villa-Lobos”, B-3090 Overijse, Belgium. email: [emailprotected] www.Barrios2009.com 12–14 November 2009: Barbezieux, Charente, France. The competition of Concours International de la Guitare Classique Robert J. Vidal is open to solo guitarists of all nationalities under the age of 32 on 12 November 2009. The competition is in three rounds. Variations sur un thème de Django Reinhardt by Léo Brouwer is the set piece in the Preliminary round. First Prize is €10,000. Entry deadline: 15 September 2009. Contact: Concours International de Guitare Robert-Jean Vidal, ODECA / Régine-Claire Boissard, 27 rue Louis Desbrandes, 16000 Angoulême, France. Tel. +33 (0)6 16 86 59 08. email: [emailprotected] www.concours-robert-j-vidal.com 20–22 November 2009: Tokyo, Japan. 52nd Tokyo International Guitar Competition 2009 organised by the Japan Federation of Guitarists for guitarists born after 1974. Preliminary round on 17 August 2009; applicants must send their recordings by 31 July 2009. Contact: Japan Federation of Guitarists, Wada-bldg. 5F, 6–14–4, Shimbashi, Minato-ku, Tokyo 105–0004, Japan. Tel. 81 3 3438 1819. Fax. 81 3 3438 1899. email: [emailprotected] www.guitarists.or.jp 23–28 November 2009: La Herradura, Granada, Spain. The XXV Certamen Internacional de Guitarra Clásica ‘Andrés Segovia’ is in homage to Francisco Tárrega and Isaac Albéniz, who are celebrating their centenaries, and also in homage to Leo Brouwer, who is 70 this year. The guitar competition has a First Prize of €9,000, a guitar by Paco Santiago Marín and two recitals in Madrid and Granada and there is also the composition competition XXII Concurso de Composición ‘Andrés Segovia’. email: [emailprotected] www.certamenandressegovia.es 26 November 2009: London, UK. The 12th Ivor Mairants Guitar Award is a competition open to guitarists of any nationality born after 1 January 1982. Entry deadline: 31 October 2009. Contact: The Worshipful Company of Musicians, The Clerk’s Office, 6th Floor, 2 London Wall Buildings, London, EC2M 5PP. March 2010: St Petersburg, Russia: I International Terem Crossover Competition is a musical forum intended for professional and young talented instrumental ensembles comprising any
Classical Guitar Magazine
acoustic musical instruments, from any country and with no age limit. The prizes include over 1,000,000 Roubles, a concert tour in Russia’s best concert venues and a package of additional prizes. Contact: Alexander Shirunov, Executive Director, I International Terem Crossover Competition. 31, ul. Kirochnaya, St. Petersburg 191123, Tel. +7(812) 400 2259. Fax +7(812) 400 2258. email: [emailprotected] www.terem-competition.ru 7–10 April 2010: Veria, Greece. The 9th International Veria Guitar Festival and the 2nd Veria International Guitar Competition is in two age categories: Category A with no age limit category – First Prize is €2,500; Category B for guitarists born after 1 April 1989 – First Prize is €500. Contact: Mrs Olga Milona, tel. +30 23 3107 8100, fax +30 23 3102 7914. email: [emailprotected] veriaguitarfestival.gr 6–8 May 2010: Sassari, Italy. The XVI International Biennal Guitar Competition ‘Emilio Pujol’ organised by the Associazione Chitarristica Sassarese with First Prize of €4,000; Second Prize of €2,000; and Third Prize of €1,000.Entry deadine: 15 April 2010. Contact: Associazione Chitarristica Sassarese, Via Flumenargia, 33, 07100 – Sassari, Italy. www.assochitarra.it 2–6 June 2010: Velbert, Germany. The 6th International Competition for Young Guitarists ‘Andrés Segovia’ organised by the municipality of Velbert in collaboration with EGTA (Germany) is in three age categories: Group I: up to 13 years old; Group II: 14–16 years old; Group III: 17–19 years old. The date for calculating the guitarist’s age is 2 June 2010. Contact: Musik & Kunstschule der Stadt Velbert, Kaiserstr. 12, D-42549 Velbert, Germany. Tel. +49 (0)2051 490 776, fax. +49 (0)2051 490 780. email: [emailprotected] http://gitarrevelbert.de 22–27 June 2010: Austin, TX, USA. The Guitar Foundation of America International Convention & Competition including the International Concert Artist Competition and the International Youth Competition with guests: Pepe Romero, LA Guitar Quartet, Berta Rojas, Katona Twins, Adam Holzman, Ana Vidovic, Marcus Tardelli, Ronn McFarlane, Atanas Ourkouzounov & Mie Ogura, Miró String Quartet and the Austin Symphony Orchestra. www.guitarfoundation.org 28 September–2 October 2010: Vienna, Austria. The International Guitar Competition Karl Scheit is open to guitarists of any nationality, born in or after 1980. The prizes are €7,500 for First Prize, €5,500 for Second Prize and €3,500 for Third Prize. Entry deadline: 15 March 2010. Contact: International Guitar Competition Karl Scheit, University of Music and Performing Arts Vienna, Anton von Webern Platz 1, A-1030 Vienna, Austria. Tel. =43 1 71155 2021. email: [emailprotected] www.mdw.ac.at/gitarrenwettbewerb
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C oncert D iary NOVEMBER 1 Sunday London: DIMITRIS DEKAVALLAS: Hellenic Centre, 16-18 Paddington Street, Marylebone, London W1U 5AS. Tel. 020 7193 2699 (London Greek Film Festival). 3 Tuesday Newcastle: SIMON THACKER & NAVA RASA ENSEMBLE. Eastgate Theatre. Tel. 0191 443 4661 (new concerti by Osborne and Korde). 4 Wednesday Bideford: AGNEW MCALLISTER DUO. Bideford Music Club, Greenville College, 7.30pm. London: FRANCISCO ANTONIO (flamenco guitar) and CHRISTOPHER EVESHAM (classical guitar). The Forge, Camden, NW1 7NL, 7.30pm. Peebles: SIMON THACKER & NAVA RASA ENSEMBLE. Sage Gateshead. Tel. 01721 725 777 (new concerti by Osborne and Korde). 5 November Poole, Dorset: XUEFEI YANG, COBIE SMIT, CRAIG OGDEN & JOHN MILLS. The Lighthouse Concert Hall, 7.30pm. 6 Friday Inverness: SIMON THACKER & NAVA RASA ENSEMBLE. Eden Court. Tel. 01463 234 234 (new concerti by Osborne and Korde). London: DIMITRIS DEKAVALLAS: St James, Piccadilly, 1pm. 7 Saturday Mallaig: SIMON THACKER & NAVA RASA ENSEMBLE. Community Centre. Tring, Herts: RAYMOND BURLEY. Methodist Hall, HP23 5BB, 7.30pm. Tel. 01296 677 230. 8 Sunday Drumnadrochit: SIMON THACKER & NAVA RASA ENSEMBLE. Glen Urquhart Public Hall. Tel. 01456 450 528. New York: SABRINA VLASKALIC. Roger Smith Hotel, 501 Lexington Ave, at East 47th St, 4pm. 9 Monday London: DIMITRIS DEKAVALLAS: St Martin-inthe-Fields, 1pm. 10 Tuesday Aberdeen: SIMON THACKER & NAVA RASA ENSEMBLE. Sound Festival. 11 Wednesday Edinburgh: SIMON THACKER & NAVA RASA ENSEMBLE. Queens Hall. Tel. 0131 668 2019. Reading: GERARD COUSINS & DEREK GRIPPER. South Street, 8pm. Tel. 0118 960 6060. 12 Thursday London: SIMON THACKER & NAVA RASA ENSEMBLE. Bishopsgate Institute, Grand Hall. Tel. 020 7392 9220. 13 Friday Bognor Regis: GARY RYAN. Recital Hall, West Sussex Guitar Club, 7.30pm. Tel. 01243 866 462. London: GERARD COUSINS & DEREK GRIPPER. Schott Music Shop, Great Marlborough St, 6.30pm. Tel. 020 7292 6090. 14 Saturday Boston, Lincs: EL MORENO. Blackfriars Arts Centre, Spain Lane, 7.30pm. Tel. 01205 363 108. Eastleigh, Hants: BERTA ROJAS, The Point, Leigh Road, SO50 9DE, 8pm. 15 Sunday Brecon, Wales: GERARD COUSINS & DEREK GRIPPER. Subud Hall, 7.30pm. Tel. 07941 923 795. Fareham: DIMITRIS DEKAVALLAS: Lysses Hotel, High Street, 3.30pm. 18 Wednesday Wirral: ALISON SMITH. Williamson Art Gallery, 7.30pm. Tel. 0151 666 0000. 19 Thursday Fort Worth, TX: WILLIAM KANENGISER. The Modern Art Museum of Fort Worth 3200 Darnell Street, 7.30pm. Tel. 817 498 0363.
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20 Friday Dallas, TX: WILLIAM KANENGISER. Owen Arts Center, SMU 6101 Bishop Boulevard, 7.30pm. 21 Saturday Amsterdam: DUO MELIS. Concertgebow. 25 Wednesday Blackwood, Wales: GERARD COUSINS. Blackwood Miners Institute High Street, NP12. Lunchtime. 29 Sunday Hall, Austria: LORENZO MICHELI (theorbo, guitar & baroque guitar). 30 Monday Canterbury: DIMITRIS DEKAVALLAS: Friends Meeting House, 6 The Friars, Canterbury CT1 2AS, 7.30pm. Tel. 01227 265 503. DECEMBER 3 Thursday Newcastle: AMANDA COOK. Customs House, South Shields, Tyne & Wear, 1pm. Tel. 0191 454 1234. 5 Saturday New York: MANUEL BARRUECO. 92 St. Y. Pittsburgh, PA: LOS ROMEROS. Manchester Craftmen’s Guils, 1815 Metropolitan St, 8pm. 10 Thursday Los Angeles, CA: SHARON ISBIN & Pacific Symphony. Segerstrom Concert Hall, Orange County Performing Arts Center (Rodrigo’s Fantasia para un gentilhombre). 11 Friday Guildford, Surrey: STEVE THACHUK & SARAH WASS (flute). University of Surrey, 8pm. Ancona, Italy: MANUEL BARRUECO. Los Angeles, CA: SHARON ISBIN & Pacific Symphony. Segerstrom Concert Hall, Orange County Performing Arts Center (Rodrigo’s Fantasia para un gentilhombre). 12 Saturday Guildford, Surrey: STEVE THACHUK & Surrey Mozart Players, conducted by Ken Woods. Holy Trinity Church (Malcolm Arnold guitar concerto). Los Angeles, CA: SHARON ISBIN & Pacific Symphony. Segerstrom Concert Hall, Orange County Performing Arts Center (Rodrigo’s Fantasia para un gentilhombre). San Francisco, CA: PEPE ROMERO. Herbst Theatre, 8pm. 13 Sunday New York: ANTHONY BEZ. Roger Smith Hotel, 501 Lexington Ave, at East 47th St, 4pm. 14 Monday Alicante, Spain: MANUEL BARRUECO. 15 Tuesday Manchester: BERTA ROJAS. Bolton School Arts Centre, 7.30pm. Tel. 07831 416 358. Castellón, Spain: MANUEL BARRUECO. (recital commemorating the 100th anniversary of Francisco Tárrega’s death). 16 Wednesday Bilbao, Spain: MANUEL BARRUECO. 31 Thursday New York: LOS ROMEROS. Kaufman Ct Hall, 92nd Y, 1395 Lexington Avenue, 8pm. Tel. 212 415 5500. JANUARY 9 Saturday London: GORDON GILTRAP & VIRGINIA LUQUE. Purcell Room, 7.30pm. Tel. 0844 875 0073. 10 Sunday New York: GABRIEL BIANCO. Roger Smith Hotel, 501 Lexington Ave, at East 47th St, 4pm. FEBRUARY 13 Saturday Fort Worth, TX: PEPE ROMERO. Ed Landreth Auditorium, TCU 2800 S. University, 7.30pm. Tel. 817 498 0363. 14 Sunday New York: THOMAS VILOTEAU. Roger Smith Hotel, 501 Lexington Ave, at East 47th St, 4pm.
Classical Guitar Magazine
MILOS KARADAGLIC Interviewed By GUY TRAVISS
Milos Karadaglic.
HAVING WON more than thirteen top prizes, Milos Karadaglic has established himself as one of the most promising young musical talents of today. Born in Montenegro in 1983, Milos started playing guitar at the age of 8 and very quickly began performing in public. By the age of 14 he had already performed in most of the major concert halls in Montenegro and Yugoslavia, becoming nationally recognised. Having graduated from the Royal Academy of Music in London in 2004 (he won the Worshipful Company of Musicians’ prestigious Ivor Mairants Guitar Award in the same year), Milos continued his postgraduate studies at the same institution where he went on to receive the Julian Bream Prize. He was also offered a Meaker Fellowship at RAM for his work on materials from the Robert Spencer Collection and contemporary guitar music especially written for him by the Academy composers. Since then he has achieved further success winning the Worshipful Company of Musicians’ 2007 Prince’s Prize and their Silver Medal. He is the first classical guitarist to receive these prestigious awards from the Worshipful Company of Musicians (Musicians Livery Company - www.wcom.org.uk) one of the City of London’s most ancient guilds. Recently Milos presented his debut recital at the famous Lucerne Festival in Switzerland to a capacity crowd. He has also appeared as a soloist with the London Philharmonic Orchestra, given Classical Guitar Magazine
recitals at the Purcell Room and Wigmore Hall, and performed at several other venues in the UK and overseas. In addition to this, Milos has been featured on BBC Radio 3’s In Tune programme to promote a concert series at London’s South Bank Centre, and recorded pieces for the ABRSM guitar grade exam syllabus. This year he will release his much anticipated debut CD. How did growing up in Montenegro affect your approach to learning music? My training was slightly unusual because of where I grew up. From as early as I can remember I loved to sing. At first I sang at home to my parents and their friends, later joining a children’s choir and performing all around former Yugoslavia. At eight I attended a specialist music school where I started playing the guitar, reason being that my father had an old dusty guitar which sat on top of the wardrobe. I was a very fast learner and changed between every teacher available. After I had established myself with the right person I was entered into many competitions and festivals, performing in large concerts halls filled with many people. Soon after this, I also started performing for television and radio. Who were your influences during this time? The most well established guitarist at that time was John Williams and his CD’s were available everywhere, so I listened to his recordings a lot. I loved 11
what I heard, and although I was only little, something told me that I had to get to that level; so while other children were off doing different things I was practising. This made me very happy. My parents were anything but pushy, no one in my family has ever been a musician, but they have always been incredibly supportive. How did things unfold following this period? After many concerts and awards, I had to decide whether I wanted to enter a specialist secondary music school or a Grammar school to learn to become a doctor or lawyer, like most of my family. I was a great student who was curious about everything, biology and mathematics in particular, but when I reached fourteen I decided I wanted to play the guitar. However, living in Montenegro meant that I was unable to receive the level of tuition I required at that time. Consequently I travelled to Belgrade a lot because they had fabulous musicians and teachers there. I attended mater-classes anywhere the opportunity presented itself; on one such occasion I played for David Russell in Italy. He was such an inspiration. It was David who made me aware of the Royal Academy, and a few years later I found myself in London studying with Professor Michael Lewin. What sort of impact did this have on your studies? I came to England at sixteen with a repertoire which included the major guitar sonatas, tremolo and romantic pieces; everything was very impressive, but it was from the hands of a teenager. The first piece Michael gave me was a Sor Study, No.8 Op.6. I was shocked, but later I realised that to play this piece as it should be played is in fact very difficult. Suddenly my confidence was shaken, this experience made me aware of the missing elements in my training. Having Michael for a teacher was one of the best things that could have happened to me because he made me who I am today.
Milos Karadaglic.
Do you feel that guitarists should in some way rethink their role within the classical music industry? Absolutely! We should really be concentrating on this and getting to grips with ‘guitar taboo’. There is a genuine need for guitarists to simply get out there! One of the reasons why the instrument is perceived differently to that of, say, the violin, piano or cello, is partly through fault of guitarists themselves. There are essentially two ways of building a career. One is to participate in every competition you can manage, continually play the same repertoire and win many prizes. Players can make a very nice career in this way, with great attention and interest from within the guitar community. Unfortunately, because of the relative size of that community, this will not provide a major career in the general music world. The other is to explore broader musical areas and find a way to get to the best concert podiums with innovative concepts and programming. This is of course much harder. When you look at the careers of major guitarists such as Julian Bream, John Williams, David Russell and Manuel Baruecco, this is exactly what they have done. The fact they chose the guitar as their instrument did not stop them performing with the best artists of their time; presenting existing and new repertoire with the pride and quality it deserves; recording for the best record labels; and appearing in festivals and concert programmes all over the world.
“I have always been working towards the same goal, and that is first of all to be a good musician and then a guitarist...”
How do you see yourself fitting in to the music industry at this moment in time? I am very happy with where I am at the moment; it’s exactly where I wanted to be at 25. I have always been working towards the same goal, and that is first of all to be a good musician and then a guitarist; a guitarist in the music-world than a guitarist in the guitar-world. Everything I have done so far has been heading in that direction. 12
If guitarists are to somehow demonstrate themselves within wider musical circles, the repertoire Classical Guitar Magazine
they present is clearly of paramount importance. What considerations do you give to programming in an attempt to convey the modern classical guitar to those who have little or no understanding of the instrument? Well that is very difficult. What makes an audience at a guitar festival happy may not please those at the Wigmore Hall or the Salzburg Festival. When I started giving recitals for more general musicgoing audiences I performed pieces like Sor’s Grand Solo which I, as a guitarist, love. But it doesn’t carry much musical weight for listeners who are used to hearing Beethoven Sonatas, for example. A very honest friend of mine who works within the classical music industry once said to me that a very famous piece by Sor sounded to him like a common Bavarian folk tune! I was shocked and disappointed as these pieces form such a great part of our repertoire. This is why I tend not to programme pieces only we as guitarists know and feel comfortable with. People love Bach on the guitar; I have never performed Bach without a great response from an audience. People also love Rodrigo just because they know the concerto, but he has also produced some substantial pieces. I don’t wish to sound harsh as there still remains a great deal of fantastic music for the guitar, both original and transcribed, but I think the instrument’s future lies in commissioning new works. Many of us will know that this is not an easy task, as the majority of composers today do not know our instrument well. In addition to this you need to be recognised enough in order to approach the most established composers, before
talking them into writing something for you (not to mention the funding issues). So things need to be taken a step at a time. Bream has been extremely successful in this respect and to some degree we all need to inherit his position. He was looking to explore the guitar’s possibilities and show the world what the instrument is capable of. Our repertoire needs pieces that work on that level, pieces like Britten’s Nocturnal - a very substantial piece of music in any musical context; the Ginastera Sonata; the Jose Sonata – a piece which people respond to in the same way they would a Debussy or Ravel sonata; works by Berkley, Walton and many others. Many of the pieces you have mentioned so far are those more extended compositions that have moved away from small scale works we readily associate with the guitar. Do you feel this is something both guitarists and audiences are still getting used to? I think there has been plenty of time to get used to it. Perhaps a lot of this attitude comes from our training as guitarists. When you enter music-college you suddenly discover that pianists and other instrumentalists carry masses of substantial repertoire with them. Then, when you match your little Torroba Piece you have been practising so enthusiastically against a Prokofiev Sonata, you don’t feel so good about yourself. We do need small pieces however; all instrumentalists play small pieces and miniatures of sorts, but we cannot thrive on them alone. On the other hand, as with all 20th and 21st century repertoire, you could not realistically programme Britten, Tippett and Ginastera, for example, in the same recital. That would be ridiculous. It’s possible get away with one or two pieces such as these, but they need to be carefully presented. Everything needs a good balance. I also tend to talk about pieces; a few words can make a connection that will cause a performance to be better understood and ten times more intense. This is something that all performers should do today, particularly guitarists, owing to instrument’s ‘novel’ status. If we are to increase the scale of the
Milos Karadaglic.
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Classical Guitar Magazine
music we are performing in respect to its artistic status, do you think it is important for the guitar to move into bigger concert halls to reflect that change - even at the expenses guitarists face when performing in an unnatural environment, one that is not ideally suited to the instrument’s strengths? I think it’s important for the guitar to find its way into the larger concert spaces, and I don’t see a significant enough problem with the instrument’s limitations to prevent it from doing so. Today we have instruments which are very loud and projective, and despite what purists may think I don’t see a problem with using amplification. Amplification is not the same as it was 20 years ago, now there are systems which sound very natural. I believe the expense of losing a bit of sound quality is a small price to pay when compared to closing the guitar off entirely to a number of potential concert goers. Obviously you cannot expect to make a career by only performing in the largest venues in the world; this is not a natural thing for the guitar to do. Although, if this is to popularise the instrument, take it to wider audiences, then it is something we absolutely must do. Have your own experiences on the platform lent themselves to this ethos? Recently I performed a concerto with the London Philharmonic Orchestra, and afterwards I was called out to play an encore (for which I chose Barrios’ Ultimo Tremolo). There was an incredible silence of over nineteen hundred people. Naturally there was a sudden change of volume in contrast to the orchestra, but the listeners re-adjusted their senses and it was like a dream! Some of the most articulate and interesting people I know speak very quietly, and you listen more carefully because of that. My teacher told me Segovia once played a solo recital at the Royal Festival Hall with no amplification! I had a similar experience with my debut performance at the Luzern Festival in Switzerland. The recital was being held in a large hall which had thick velvet curtains hanging on all sides, even the platform area was draped with curtains. It looked as though no one was going to be able to hear me. During rehearsal the only thing I could hear was the sound my nails were making against the strings. I was about to present myself to one of the most knowledgeable and sophisticated audiences in the world, so you can only imagine how frustrated I felt. I asked for all the lights in the hall to be taken out, leaving only a few dim lamps so people could read their programmes and a spotlight on the platform. I thought this would help the audience focus. When I eventually came out to play, it felt as though I was in the most acoustic church. Yes, I had to project more then I usually would
Milos Karadaglic receiving his Worshipful Company of Musicians' Silver Medal in June 2008 from Leslie East, Master of the Musicians Company at that time, at the Stationers' Hall in the City of London.
but the audience was concentrating on every move and sound, it was a magical experience. This to me is proof of how important presentation is in any circumstance. One has to forget about the limitations and concentrate on the good things. This is the only way to succeed. It has been interesting to discuss the values you have subscribed to in you early career. How will you proceed with things in the more immediate future? In the very near future I will be giving a solo recital at the Wigmore Hall (8 January 2010); appearing as a soloist with the English Chamber Orchestra; playing a debut recital at the Menuhin Festival in Gstaad and other cities in Switzerland, Germany and Italy; and participating in an exciting chamber music recording project with some of the most distinguished artists of today. However, the release of my debut CD is the next big step. There are some very interesting things in play at the moment, but I cannot announce anything yet. There will be a lot to talk about, so let’s make it a subject of our next interview… For more information visit: www.milosguitar.com
“One has to forget about the limitations and concentrate on the good things. This is the only way to succeed.”
Classical Guitar Magazine
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THE FIRST CLASSICAL GUITAR RETREAT July 10 – 13, 2009 Artistic Director: Matthew McAllister By GUY TRAVISS
O
PERATING from the Isle of Cumbrae, just off the west Whates (bass), in addition to the guitar faculty assemcoast of Scotland, the ‘Retreat’ certainly lives up to its bled for the occasion: Peter Stewart, Allan Neave and name. A ten minute ferry across the Firth from Largs on the Amanda Cook - not forgetting of course the contribunorth Ayrshire coast of the mainland brings you to tions made by Matthew McAllister as an extension of his Cumbrae, an island with a cirduties as artistic director. cumference in miles barely Participants were given the extending into double figures. option to enter one of three More generally, the island can ensembles led by flute, violin be reached in little over an hour and double bass respectively. from Glasgow International Everyone also takes part in the Airport. Greater Cumbrae, as it guitar orchestra, this year led is known when viewed alongside by Peter Stewart. Although its sister island, is positioned these arrangements constituted against the backdrop of the Isle the formal component social of Arran, and offers stunning music-making, there remained panoramic views of the larger plenty of scope for students to island’s mountainous geography. exchange their experiences To further this sense of secluwith one another. With these Aisling Agnew and Harry Taylor. sion, the Cathedral of the Isles, arrangements in place, the situated in the town of Millport, course found its beginnings in is for three days home to CGR. As far as setting is coninitial rehearsals and the distribution of materials neccerned, Cumbrae’s cathedral can most certainly be counted essary for the days ahead. among the best that festivals worldwide have to offer. Built The first professional recital was given by McAllister in 1851, the cathedral is the smallest in Europe and is himself, who began proceedings with a ten-string guitar widely recognised as an early masterpiece of architect for a stylistically well informed interpretation of William Butterfield. Although small in size it is augmented Bernhard Joachim Hagen’s Locatelli Variations. with the addition of two adjoining colleges, and it is here Switching to the standard instrument for Bach’s Cello that for CGR participants the bulk of activity occurs. The Suite No. 1, he continued to display a decisive and consite possesses several advantages for a guitar course; pervincing approach which can be difficult when performing haps none more than having all course elements working music so often exercised by the masses. McAllister conwithin close proximity. If you were lucky enough to secure cluded the first half of the programme shifting to a tonal a room within one of the college buildings, then your time language more contemporary in nature, with three at CGR would have been entirely self-sufficient. If you were pieces by composer-performer Ralph Towner: Always by not, the town Millport lies on the cathedral’s doorstep and supports accommodation rivalling the perks of CGR headquarters. Under these conditions you might assume this event to be largely a local affair. But you would be mistaken, as those in attendance demonstrated not only the interests of the UK, but America, Estonia and Holland as well - one of several promising signs for a festival only in its first year. Much of the course is centred on ensemble activity, in particular the integration of guitar with other instruments. For this reason CGR Allan Neave, Aisling Agnew, Douglas Whates, Matthew McAllister, enlisted the help of Aisling Agnew (flute), Amanda Cook, Peter Stewart, Feargus Hetherington. Feargus Hetherington (violin) and Douglas 16
Classical Guitar Magazine
your side, Reluctant Bride and Toledo. For the second was certainly a testament to his ability to convey the half McAllister returned with his ensemble in residence innermost detail of the music. The concert also featured Three Songs of She by composer in residence, Peter (Aisling Agnew, Feargus Hetherington and Douglas Stewart (who later joined Neave for an encore performWhates) to form the Frevo Quartet. Piazzola’s Histoire ing another of his pieces – Making Friends). Walton’s du Tango – the work which yielded the ensemble following a one off collaboration - was Five Bagatelles produced some very a feature of the performance that nice moments following the interval, evening, but the remaining items and the remainder of his set served belonged to their most recent disc: to show Neave as the fine performer he is. Standing Stones, Music from Among the components you would Scotland and Ireland. This repertoire explores the traditional folk expect to find making up the stanidioms associated with these places, dard festival model could be found which, when presented by first class technique classes and lectures. musicians who all hail from Douglas Whates gave a talk on comScotland and Ireland, made for a position, and successfully managed to special atmosphere within the surnegotiate the difficulties associated rounds of the cathedral. with addressing an audience encomHaving achieved some degree of passing a wide spectrum of knowlacclimatisation most were occupied edge and experience. On another with ensemble roles, orchestral occasion Amada Cook shared her rehearsals, masterclasses and prithoughts on performance preparation vate lessons. However, a full with listeners for an open discussion timetable did not detract from the session. Some students took the retreat’s aim, and this because of the opportunity to perform a short Coffee break. kind of tone CGR is trying to prolunchtime concert organised within mote. Never travelling any real disthe garrison building on the seafront, tance and taking advantage of scheduled breaks was one and if you chose not to be involved in any of this then there thing, but the rehearsals themselves revealed that methwas always a chance to explore the shop set up by dk ods of tuition among staff encouraged a positive and Classical Guitars or the cathedral grounds in what was for enjoyable experience. The atmosphere is inclusive and the better part glorious weather. helpful and this contributes to the overall response given Amanda Cook performed the final instalment of the by participants. Further, aside from efforts to make the professional concert series, and her recital brought this didactic elements very accessible, the setup at CGR aspect of the festival to a triumphant close. Opening her allows for plenty of social interaction. Students have programme with an evocative performance of access to the whole site and all facilities contained withBogdanovic’s Mysterious Habitats, she went on to delivin. Evening times are spent in college social rooms er two Scarlatti Sonatas (K309, K175) with impressive reflecting on the day’s activities, strengthening friendcontrol; and a particularly melodic and romantic account ships now made - albeit aided with a free supply of wine of both Alba de Tormes and Torija from Moreno-Torroba’s and a CGR quiz evening! Castillos de Espana. The latter section of the recital introWith everything in full flow, on the middle day Allan duced three pieces by William Lovelady, a composer for Neave presented his solo recital. After settling in with which Cook clearly possesses a very genuine understandBach’sLute Suite No. 3, Neave immediately went on to ing, and items from the first half of the twentieth century perform the immensely challenging Folios by Takemitsu. of popular influence. These included arrangements of music by G. Shearing (Lullaby of Birdland arr. William The ambience he managed to create with these pieces, Lovelady), A. Bardi (Gallo Ciego arr. Jorge Morel) and especially so close to the beginning of the programme, Baden Powell & V.de Moraes (Samba em Preludio arr. P. Guillemino). Her recital was marked for its technical soundness and musical sensitivity. On the third and last day final preparations for the student concert were being implemented. Many of the students would also be taking the opportunity to perform solos, so most could be heard about the cathedral trying to assimilate information received in lessons and masterclasses that morning. In all respects the concert produced a reflection of the days spent creating it, with all performances being greatly appreciated by staff and students alike. In particular, Peter Stewart, who had composed music especially for the occasion, managed to lead an ensemble comprising Views of Arran from Cumbrae. not only the students but many of the staff as well for Classical Guitar Magazine
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a fitting representation of the festival’s ethos. Based on the successes of the first CGR there are now options available to the festival. Most likely in the immediate future is the addition of an extra day, but the possibility remains open for much more than just an extension of current activities. In any case, for the vast majority of participants, returning to the island for a second time was a given. There’s no question that McAllister will be in a position to maintain Scotland’s presence on the festival scene in years to come. Perhaps nothing could reinforce this sentiment more strongly than the promise of David Russell returning to Scotland for the first time in well over a decade for CGR 2010. Surely the opportunity to see such calibre in this environment is worth taking a place on the course alone.
Cathedral of the Isles.
Guitar Foundation of America
International C International Convention onvention &C ompetition Competition JJune une 22-27, 22-27, 2 2010 010 • A Austin, ustin, T TX X Long Center fo Long for r the P Performing er rforming Arts H osted b y the Austin Austin Classical Classical Guit ta ar Societ y Hosted by Guitar Society
International Concert International Co oncert Artist Artist Competition Competition IInternational nternational Youth Youth Competition Competition C oncerts Concerts L ectures Lectures V endor Fair Fair Vendor P rivate Lessons Lessons Private P erformance Workshops Workshops Performance M asterclasses Masterclasses P resenters Congress Congress Presenters G uitar O rchestra Guitar Orchestra Y outh G uitar Orchestra Orchestra Youth Guitar Visit V isit o our ur website we eb bsite for for registration registration & complete complete information. information.
The Kodosky Th d skkky Fo F Foundation oundatio u a oon n
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Featuring G Featuring Guest uest A Artists: rtist sts: A tanas O urkouzounov Atanas Ourkouzounov Mie Ogura &M ie O gura Austin Orchestra A ustin Symphony Symphony O rchestra Bustos IIsaac saac B ustos JJorge orge Caballero Caballero Tom T om Echols Echols Grisha Goryachev G risha G oryachev Adam Holzman A dam H olzman Katona K atona Twins Twins Steve Kostelnik S teve K ostelnik Los L os Angeles Angeles Guitar Guitar Quartet Quartet Ronn R onn McFarlane McFarlane Miró String Quartet M iró S tring Q uartet Berta Rojas B erta R ojas Pepe Romero P epe R omero Marcus Tardelli M arcus T ardelli Ana Vidovic A na V idovic
www.guitarfoundation.org www. .guitarfo it foundation.or da g Classical Guitar Magazine
A CONTINUING CONVERSATION WITH
JORGE MOREL By ANA MARÍA ROSADO
Jorge Morel at home, and in the background pictured with Segovia.
PAN-AMERICANISM is the operating word when trying to describe the scope of Jorge Morel’s inspiration as a composer. His works cover a wide swathe of territory, from reflecting the spirit of the southern tip (Cono del Sur) of South America as an Argentinean, to embracing the jazz and blues inflected idioms he partakes from his chosen hometown, of almost 40 years, New York City, with stops in Brazil, Cuba and Puerto Rico along the way. His musical creations can be classified in three main categories; the original works for solo guitar, the arrangements and transcriptions of popular and classical music, also for solo guitar, and the larger works for guitar, several guitars, and guitar with other instruments. Latin Images for orchestra is one of his rare works not to feature the guitar. In the first category, solo pieces, we find a substantial number of pieces that challenge the Classical Guitar Magazine
player with brilliant finger-work and with intricacies of rhythmical style. His most dominant influence comes from the folk rhythms of Argentina: the chacarera-malambo complexes that play with the alternation and juxtaposition of 6/8 and 3/4 meters in very idiosyncratic ways, and the tango-milonga 4/4 metric strains. Also in this solo category we find pieces that capture the essence of Caribbean music, with its emphasis on the clave, or additive rhythmic code, and the use of the anticipated bass line so prevalent in the Cuban son. and rumba complexes and in their progeny, the Salsa repertoire. Other pieces in his solo production are more classically inspired, following stylistic trends and forms derived from European music. Morel’s transcriptions and arrangements are exemplars of virtuosic conception as they translate music from one medium: orchestral, piano 19
or vocal repertoires into the sonic micro cosmos of the guitar. A comprehensive list of all Morel’s work would necessarily be very long, as he is a very prolific composer. We need make a special mention, however, of his works for guitar and orchestra: Fantasia de la Danza. Concierto Rapsodico. Romance Criollo, Fantasia Latina (two guitars), Rapsodia del Sur, Rapsodia del Plata and Suite del Sur. They are as a whole an important contribution to the repertoire of an instrument still struggling to gain its long overdue recognition within the great instrumental traditions of the Western world. An indefatigable creator, Morel, whose career spans well over six decades, continues to work towards the goal of improving the guitar’s repertoire and the level of performance by writing pieces for young players, the Young Guitarist series published by Mel Bay in 2009, to instruct them in the style of Latin music and at the same time improve their technique and musicality. The three books are dedicated respectively to solo, duet and quartet pieces and contain titles such as Milonga, Pampero, and Waltz, among Preludes, Canciones and Studies. Another book published this year is Classic Guitar Solos in Latin American Rhythms, also in the Mel Bay catalogue, whose Milonga Urbana and Milonga Campera, Tango, Malambo, Bossa Nova and Baião are more technically demanding and musically sophisticated, geared towards more advanced players. In 2007 a book dedicated to the life of Jorge Morel was also published by Mel Bay: The Magnificent Guitar of Jorge Morel, A Life of Music by John McClellan and Deyan Bratic. Interspersed between the interview style questions by the authors are essays and reflections by Morel and his daughter Francesca, photographs that span his life from Argentina to NYC, and a trove of pieces, some new and others reprinted here. It’s the kind of text that Julian Bream has seen printed in his life as well, homages to transcendental figures in the history of the guitar. Another significant book came out the same year, a compilation entitled The Very Best of Jorge Morel, Volume1, published by Ashley Mark in the UK, that brings together 15 of his most popular pieces previously published separately. Latin Serenade, The music of Jorge Morel, with himself and guest artists performing his compositions for solo, duets and ensembles is his latest recording project, currently in development and produced by Luthier Music of NYC. An important premiere will take place in London on November 11 2009; the Eden Stell Guitar Duo will perform Latin Serenade for the City of London, commissioned by Maurice Summerfield, at a banquet to celebrate Mr. Summerfield’s induction as Master of the Worshipful Company of Musicians (Musicians Livery Company) in the City of London. Mr. Morel dedicates this work to the Worshipful Company of 20
Musicians, inspired no doubt by the Company’s track record of supporting young musicians. With roots in an ancient craft guild, the Musicians’ Company is the only City of London Livery Company devoted to the performing arts. Many famous composers and musicians have been associated with the Company, as liverymen or award winners, including, among many others, Lennox Berkeley, Peter Maxwell Davies, William Walton, Michael Tippett and Julian Bream. Here I would like to ask Jorge Morel a few questions in an attempt to understand his amazing life force and the motivations that make him continue to work so hard at a time when others would simply bask in their past glory; and to continue the dialogue we started in our first interview back in 1991… Ana María Rosado: Not only do you write music with the energy of a young man, but the music itself is fresh sounding as well. Jorge Morel: Thank you. Maybe the energy of my music at this stage of my life comes from my spirit, I try to keep it young. AMR: How do you keep your ideas so relevant, do you listen to much music? JM: I listen to a lot of music, not only from the guitar for my work, but mostly for my own enjoyment. I like to listen to composers like Gershwin, Ravel, Debussy, of course, the great Spanish tradition: Manuel de Falla, Albéniz, Granados, the works of Joaquín Rodrigo for the guitar, Villa Lobos… well, I would need to mention a lot more, they all give me great pleasure and their music encourages me to keep writing. AMR: Does your inspiration hail from the guitar world or from popular music? JM: My inspiration? I don’t know exactly where I get it from, I think a little from the guitar world, some from popular music, and the rest from all my travels. My ideas sometimes come from a simple pattern, whether melodic or harmonic, but mostly harmonic. Sometimes when I am relaxing with the guitar in my hands, I hear a rhythmic pattern, if I like it, I write it down and take it from there, it doesn’t work every time, but when it does, I’ll go all the way to accomplish what I want. I did not like my early compositions very much, I thought they were too simple, but soon I discovered that by developing that simplicity in the structure of my pieces, through melody, harmony, rhythm, I could accomplish something good and still remain simplistic. Of course, I also had to study and read many books. AMR: You have recounted in casual conversation how the world of the classical guitar did not recognise you when you were younger, nor even consider you a ‘real’ classical performer because of the music you played. Do you feel validated now that guitar has embraced its folk origins, especially Classical Guitar Magazine
with the Latin American repertoire, and is there a feeling of ‘sweet revenge’ from the acclaim you now enjoy? JM: Yes, of course, but I would not call it sweet revenge, maybe just a nice feeling. The prejudice of certain people of the early days, with regards to my playing, was due to a complete ignorance of that literature and a misunderstanding of the nature of my arrangements. AMR: You have been visionary and prescient in your approach to repertoire, now it is habitual to see concert guitarists playing transcriptions of tangos, even rock & roll, and compositions based on popular forms, but when you were starting this was the exception. You said in our earlier conversation that this was by default, not by design; you were just being true to your musical heritage and your musical preferences. How much of it was also due to a perceived intransigence in the classical field as well, or to the embrace you enjoyed early on from jazz musicians? JM: Well, yes, I was always true to my musical heritage, I did not feel I had to play what every other guitarist was playing at the time, I believe the best way to please an audience is to please oneself musically first. Both the classical guitar world and my relationship with Jazz has helped me develop this way of writing.
JM: I think on the solo book I departed a little from my Latin American roots, and the Dotted Study is perhaps a bit long, but it is not to hard to play, considering the level of students that many schools have today. AMR: In the book of duet pieces the pace seems relaxed with the Danza del Norte, Milonga and Preludio, but then you present the duet version of your Pampero solo that should get things rolling with the 3/4 6/8 juxtaposition. Yet it still seems a simplification of the solo, is it? JM: You are right; Pampero is probably the most difficult but only in terms of the rhythmic pattern and the particular accent that should be given to these pieces. The duets are perhaps the most playable, I like to have the students get together and have a good time while learning about these rhythms, the same goes for the book of quartets.
“You perform with your students, even record with them and give them opportunities to develop their talent with your active mentoring.”
AMR: Your concern with young people’s musical development extends to your teaching: you perform with your students, even record with them and give them opportunities to develop their talent with your active mentoring. Is this something you enjoyed as a student and are you now passing this on to the young players you are in contact with? JM: Yes, it is the legacy of my teacher, Pablo Escobar, who was always helping me and giving me opportunities to play. He would take me to his radio programme and perform with me, how can you forget all that! AMR: This new series of books for young guitarists seeks to fill a huge void in the repertoire for easy to moderate pieces for students that are not the usual fare of Carulli-Carcassi and some of Giuliani- Sor. JM: These three new books had been an idea of mine for some time, but they were also requested by some of my friends who are active teachers. AMR: Some of the pieces like the Prelude in the book of solo pieces do not have a connection to folk idioms and the Dotted Study from that same book is perhaps a little too long for young players. How do you know what is really easy to play? 22
AMR: These three books dedicated to solos, duets and quartets respectively are all in standard notation without tablature, whereas the Classic Guitar Solos on Latin American Rhythms includes tablature versions of the pieces. At least you include the tablature version after the notation and not at that same time, which I find makes reading music very cumbersome…and extremely annoying. Are the players who study this type of repertoire really in need of tablature? JM: I would not use tablature at all, but I was surprised to find out that there are so many young guitar players that don’t read music. My publisher, Mel Bay, advised me that the Latin American Rhythms book should be presented with tablature, that it would be of help to many of the young players, and that it could help in selling the books as well. AMR: You have expressed discomfort with the ‘classical guitar’ label, what would you then call this instrument we play: classic, as in this book we just mentioned, or acoustic, or nylonstring? JM: Just GUITAR, not that I don’t like to use the name classical, but I hear so many styles and lots of different literature today that is not classical. I don’t think we will diminish the stature of the guitar by omitting that word. AMR: What is the future of the guitar in your mind’s eye? JM: The future of the guitar I believe is in the hands of music creators. Great performers will always be there, great composers are what we need for the future. Can you imagine what the piano would have been without a Chopin or a Classical Guitar Magazine
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KVOF 5PUBMQSJ[FNPOFZE "QQMJDBUJPOEFBEMJOF.BSDI Piazza Garibaldi, 16 - 15100 Alessandria Tel. 0039.0131.253170 - 0039.0131.251207 - Fax 0039.0131.253170 [emailprotected] - rules on www.pittaluga.org member of world federation of international music competitions
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Rachmaninov, or an Alberto Ginastera of Argentina in the music of Latin America? AMR: Regarding a performance career with the guitar; we seem to have enough competitions to keep the players busy, but how about real life with the guitar on stage and making a living at it, what do you recommend? JM: A career as a guitar performer can be most attractive, if only we are able to confront the many obstacles of the music business; namely traveling, and most importantly, management. Some of us
are not very good at arranging a concert tour, so if you have professional management you can trust, all the better, but you should learn as much as you can about the business anyway. Reference Articles, Books, and Scores McClellan, John and Bratic, Deyan. (2007) The Magnificent Guitar of Jorge Morel, A Life of Music. Pacific, MO: Mel Bay Publications, Inc. Morel, Jorge. (2009) Classic Guitar Solos on Latin American Rhythms, In Notation and Tablature. Pacific, MO: Mel Bay Publications, Inc. (2009) Mel Bay Presents JORGE MOREL solo pieces for the young guitarist. Pacific, MO: Mel Bay Publications, Inc. (2009) Mel Bay Presents JORGE MOREL duet pieces for the young guitarist. Pacific, MO: Mel Bay Publications, Inc. (2009) Mel Bay Presents JORGE MOREL quartet pieces for the young guitarist. Pacific, MO: Mel Bay Publications, Inc. (2007) The Very Best of Jorge Morel, Vol. 1, UK: Ashley Mark Publishing Co. Rosado, Ana María. (1991) “A Conversation with Jorge Morel”, Guitar Review, No. 87, Fall 1991, 18-19. (2009) “Latin American Rhythms and Modern Guitar Music; An Historical View”. Soundboard, Volume 35, No. 2, 11-18. Wade, Graham. (2008) The Art of Julian Bream. UK: Ashley Mark Publishing Co. Ana María Rosado is a guitarist from Puerto Rico active in the NY/NJ area. www.anamariarosado.com
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Classical Guitar Magazine
HEINSBERG
2009
PHOTOS: E. JENNES
by Steve Marsh
Some members of the jury (from left to right): Shin-ichi Fukuda, Denis Azabagic, József Eötvös (second row), Micaela Pittaluga, Steve Marsh, Tania Chagnot, Christian Gruber, Peter Maklar, Graham Devine and Boško Radojkovic.
SINCE ITS inception in 2005, the five-day Heinsberg International Guitar Festival and Competition (HIGFC) has seemed to arouse ‘guitar fever’ in and around Heinsberg, a delightful and attractive small town situated to the west of North Rhine-Westphalia and within easy reach of Dusseldorf, Cologne, Liege and the legendary football city of Mönchengladbach. The festival takes place every two years and for this, the third one, I was privileged to be invited to be a member of the 12-person jury judging the competition. Other jury members were: Susanne Schulte (Germany), Denis Azabagic (Bosnia), Tania Chagnot (France), Graham Devine (England), József Eötvös (Hungary), Shin-ichi Fukuda (Japan), Christian Gruber (Germany), Peter Maklar (Germany), Micaela Pittaluga (Italy), Boško Radojkovic (Serbia) and Roman Viazovskiy (Germany). Evidence of the support which the festival receives from the locals was in abundance; to enter the town one had to pass under banners strewn across the roads announcing the HIGFC, all the main streets were festooned with flags of many nations (presumably to welcome the competitors, performers and jury members) and there were thousands of posters and handouts in cafés, bars, general shops, etc. The predicted bad weather of storms and flooding sweeping across Europe at the time seemingly gave Heinsberg a wide berth and the week became a
Classical Guitar Magazine
sunbather’s paradise, this sundrenched atmosphere seeming to lift the spirits of the whole populace (unless everyone in Heinsberg is always this friendly, which could be true). All jury members were accommodated in one hotel while most of the competitors had been housed by ‘host’ families scattered in and around Heinsberg. Of such high regard is the festival thought of that financial assistance was provided by the State, and Hans-Heinrich Grosse-Brockhoff (the State Secretary of Cultural Affairs) actually made the effort to attend at one of the days’ activities, while the town’s mayor attended every evening concert. The festival began proper with an opening night concert given by Christian Gruber and Peter Maklar, one of the leading duos on the International guitar scene, and in an entertaining and polished recital, which included music by Albeniz, Ourkouzounov, Giuliani, Scarlatti and Bogdanovic, they showed themselves to be musicians of the highest ranking with warm and charismatic personalities. This proved to be a very popular opening concert. All events took place in the centrally-situated Rathaus (Town Hall), the acoustics of which are excellent and the actual competitive part of the festival began on day two promptly at 9.30 a.m. The 38 competitors from 27 nations (the UK was noticeable by an absence of entries) had been whittled
25
down from a much higher number of entrants who had each sent in an unedited CD recording of one of the compulsory works of either Study 2, 7 or 12 by Villa Lobos, and with each participant playing up to 15 minutes in total, this first round had to be spread over two days. At the end of the first day, after listening to some superb performances which seemed to grow in technical and musical stature as the day drew on, all the jury members seemed to agree that we were in for something rather special over the next few days. Despite being faced with a large jury, an audience of local guitar enthusiasts and many of the ‘host’ families for support, most players, despite their lack of years, were highly professional in their dress code, stage presence and mannerisms; the actual guitar playing never dropping below the ‘very good’ mark, in fact most reaching ‘exceptional’ in the technique and musicianship department. Every competitor could, it seemed, play at a high rate of knots ranging from ‘super-fast’ to ‘turbo-charged’, but to make any impression upon the jury they had to display a high sense of musicianship and an understanding of the music performed rather than rely on super-quick pyrotechnics, a proviso which was unfortunately lost on a couple of the male contenders who, though fascinating and exhilarating to watch, never made it through to the second round. The evening concert on this second day was provided by Shin-ichi Fukuda who gave a most enjoyable and ‘personal’ interpretation of music by Tarrega, Granados, Rodrigo, Berkeley, Castelnuovo-
Tedesco and included Keigo Fujii’s superb composition The Red Book of the Black Madonna, for me, easily the pivotal moment of the evening. Day three was almost a carbon copy of the previous one with the last 20 players in the First Round vying for a place in the next day’s semi-finals. The evening concert on this particular day was supplied by Graham Devine, who, after experiencing tuning problems (an unfortunate spin-off from the hot weather we were all experiencing) in the opening item - a Fantasia by David Kellner, soon settled down and gave a brilliant recital of music by Froberger, Ponce and Contreras, his performance of the Ponce works - 20 Variations and Fugue on ‘La Folia de Espagne’ and ‘Sonata Romantica’ - being for this reviewer, one of the highlights of the week’s music making. Day four and we were down to 18 semi-finalists who all had to play a free-choice programme of between 17 and 20 minutes of music from different epochs, all played from memory. On this day most players raised the bar both technically and musically, and there was some extremely fine playing by nearly everyone with just a few suffering from nervous anxiety (and one strange ‘mis-reading’ in La Maya de Goya!). Music chosen included works by Dowland, Froberger, Guiliani, Piazzolla, Albeniz, Sor, Barrios, Jose, Martin and several Bach pieces (including a truly magnificent rendition of the Adagio and Fuge from Bach’s 3rd violin sonata BWV1005). Inevitably some pieces were duplicated including several performances of Llobet’s Variations on a Theme by Sor (4 times), Rodrigo’s Tres Piezas Espanolas
The Prize Winner: Marko Topchii.
26
Classical Guitar Magazine
The Finalists: Koki Fujimoto, Magdalena Kallithea, Vladimir Gorbach, Gabriel Bianco and Marko Topchii.
(twice), Aguado’s Andante and Rondo (three times) and a couple of Caprichio Diabolicos. (The inclusion by one contestant of Etude 12, one of the compulsory Villa Lobos studies from the first round which the jury had already heard twelve times, was perhaps not the most prudent of choices). From these 18 players the jury had to choose 5 finalists, and due to the extraordinarily high standard of performances from nearly all involved, this time the decision was far more difficult, but in the end we came up with a unanimous choice of five names representing Russia, France, Japan, Ukraine and Bulgaria. The evening’s concert on this day was a stunner, with Denis Azabagic in superb form playing works by Bach, Torroba, Ivanovic, Ascencio and José. After three well-deserved encores, this performance provided an appropriate and fitting conclusion to the week’s professional recitals. Expectations were high for the Final and nobody was disappointed in any respect. Playing to a capacity hall, the jury, the mayor of Heinsberg, local Council members and a video camera, there was obviously no pressure on these five young people all striving for first prize. Proceedings began at 7.00 p.m. with each finalist providing a programme of around 35 minutes. During the evening there were a couple of interludes before the jury finally retired to consider their evaluations and final decision. Several members of the jury were highly experienced at adjudicating in various guitar competitions and the universal agreement from them was that this final was one of the most exciting and musically productive ones they had ever had to vote on. However, the unanimous verdict was finally given on stage just after the stroke of midnight with the first prize going to Marko Topchii Classical Guitar Magazine
from the Ukraine, a most deserving winner. His technical control and amazing innate musicianship earning him 4,000 Euros, a ‘Yuichi Imai’ guitar specially made for the competition, a Marcello ‘C’ wristwatch and about eight concert engagements around Europe. Other prizes went to Koki Fujimoto (2nd prize), Gabriel Bianco (3rd prize), Vladimir Gorbach (4th prize) and Magdalena Kallithea (5th prize). This final also included, as well as the official jury, a sizeable ‘Junior Jury’ comprised of local schoolchildren, plus an audience vote; both parties came to the same decision as our own group had come to and Marko Topchii ended up walking onto the stage three more times that evening to collect his lion’s share of the awards. I have no idea what the atmosphere is like in Heinsberg in a ‘normal’ week, but during the festival there is certainly an observable buzz in the air and for me, and most likely many other people involved in this affair, it was an event I’ll remember for many a day. The town itself is providential in many ways: the geographical situation makes it easily accessible from all approaches; also the townspeople are fortunate enough to have in their midst the very genial and seemingly indefatigable Theo Krings and Roman Viazovskiy, the main driving forces behind the organisation of this impressive, entertaining and highly-polished festival; and last but not least, the word Heinsberg lends itself to a ‘Guitar-Logo’ designer’s heaven, with the left side of the ‘S’ and the right side of the ‘B’ forming both left and right sides of a guitar shape used throughout all the advertising. What a stroke of luck that! Now if Krings and Viazovskiv were living in say, Mönchengladbach, things may have been different. 27
L etter
from
By JULIA CROWE
N ew Y ork
‘GUITAR OF THE AMERICAS’ themed this year’s 9th New York Guitar Seminar at Mannes with a fiveday-long full schedule of activities. These included masterclasses, guest lectures, ensemble rehearsals, open performance opportunities, young-artist masterclasses and evening faculty concerts, all culminating in a final participants concert. The summer guitar programme at Mannes caps its number of attendees at 50 in order to maintain quality and equal access to at least two masterclasses for each student. Another facet of what makes this seminar beloved among those who attend is that no audition is required in order to participate. This allows for students of varying ability to gain a valuable guitar lesson while at the same time allowing auditors to observe the teaching strength, range, and capability of the instructors. This year instructors included Fábio Zanon, Eduardo Fernández, Joao Luiz and Douglas Lora of the Brasil Guitar Duo, Benjamin Verdery, Michael Lorimer, Pablo Cohen, Rene Izquierdo, Arthur Kampela and seminar Artistic Directors Michael Newman & Laura Oltman. Bon mots culled from these various classes include Eduardo Fernández’s advice to train the ear with a range dynamics by playing as loudly as possible and then as softly as possible before resuming a piece so that a new discernment of dynamics can be kept in mind. Fernández’s quote, ‘Villa-Lobos without vibrato is like a hamburger without ketchup,’ became the oftrepeated, hallway catchphrase of the day. He also advised a student that it is best to have reason for how one is playing based on what is delineated in the sheet music, not by what has been absorbed from recordings of a piece. Rene Izquierdo, who heads the guitar department at the University of Wisconsin in Milwaukee, wisely took the last rites approach, asking a student what they specifically hoped to achieve within the limited time of the masterclass rather than attempting to remedy all that had gone wrong. The time was used to focus on the art of relaxation, posture and balance when performing, all designed to enhance blood flow and reduce nerves. Pablo Cohen urged a student to play rest stroke on Tarrega’s Adelita in order to bring out the melody and create body within the phrasing: ‘We often tend to think guitar playing is all about the left hand.’ Michael Lorimer told a student: ‘Fernando Sor tended to avoid use of the ‘a’ finger. You never have to worry about playing too softly upon the guitar.’ Laura Oltman pointed out how various pieces tend to rise and fall in popularity, expressing surprise at hearing a student perform Tansman’s Danza Pomposa, which she recalled had been played a lot by guitar students during the 1970s. 28
Ben Verdery, masterclass.
The first day’s afternoon lecture by Michael Lorimer looked at ‘Guitar in Mexico,’ focusing on the music of Santiago de Murcia (1673 -1739) and contemporary composer Ernesto Garcia de León, who teaches guitar and composition at the Music School of the National Fine Arts Institute in Mexico City. Lorimer performed Santiago de Murcia’s “Villanos” from the Salvidar Codex No 4. upon baroque guitar. Although de Murcia had been the official guitarist to Queen Maria Luisa Gabriela de Savoy, the first wife of the first Bourbon king of Spain, this Codex had been discovered in Mexico and is presumed to have been brought there at a later date since there is no proof that de Murcia had actually traveled to Mexico. Lorimer also performed several works by Ernesto Garcia de León and explained how the composer wrote his 20 Studies as a musical attempt to rehabilitate his left hand technique after sustaining an injury that had been serious enough to put him in hospital. Lorimer also played sample recordings, the first, a fandango written by Antonio García de León; El Chuchumbé, performed by Grupo Mono Blanco with guitars, clog dancing, and a donkey jaw played percussively with a stick running over its teeth xylophone-style. For the second sample recording, Lorimer played the Paul Bollenback jazz ensemble’s Classical Guitar Magazine
able d l i a av ar Now ctors H on ti le Col er Edi Cov 40.00
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El Inalcanzable:
Agustin Barrios Mangore by Carlos Salcedo Centurion
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his in one of the most beautiful guitar-related books ever published. It took Carlos Salcedo Centurion over ten years to compile and edit. A truly magnificent limited edition art-book with impressive and accurate text. Forewords by Richard Stover, Luz Maria Bobadilla, Sila Godoy, the director of the Cabildo Museum in Paraguay, Margarita Morselli, The prologue and text is by the noted Agustin Barrios-Mangore scholar Carlos Salcedo Centurion. The book’s text is in English and Spanish. It contains around 400 Barrios-related images, nearly 100 photos of Agustin Barrios, as well as photos of a hundred original Barrios scores, original correspondence, programmes, discography and guitars. `El Inalcanzable` is how Heitor Villa-Lobos once described Barrios’ talent as a virtuoso classical guitarist - and is a fitting title for this very, very special book. This book is invaluable for anyone interested in the music of Barrios - and a ‘must-have’ collector’s edition for every lover of the classical guitar. 290 Pages. Heavy Art paper quality pages. 12.5” x 10”. ISBN: 9789995384302
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rendering of Ernesto Garcia de León’s The Desert, from his 20 Studies, as an example of how adaptive León’s music was across genres. The Newman & Oltman Guitar Duo opened the first of the evening seminar concerts with a programme containing Leo Brouwer’s Micro Piezas and a show-stopping Brouwer arrangement of Lennon and McCartney’s Fool on the Hill. Making the point that Latin American composers do not have to be confined to their own musical traditions, the duo performed Roberta Sierra’s Three Hungarian Tributes: homage to the styles of Bartok, Liszt and Ligeti. They also performed Brazilian composer Luiz Simas’ Chorinho des Comadres before launching into a quintet with the addition of guitarist Pablo Cohen, flautist Clare Hoffman and bandoneón player Daniel Binelli to perform an arrangement of Binelli’s pulsing, cascading, lurching übertango, Metropolis. For the second half of the programme, Cohen and Binelli brought the tango to life like a pair of renegade graffiti artists awaking a New York neighbourhood to a bold burst of colour with their rendition of Piazzolla’s Milonga del angel and Bordel 1900. They traded solo performances with each other as well, pairing again on Three Brazilian Pieces: Gnattali’s Estudio #1, Gismonti’s Agua e vinho and Pascoal’s São Jorge. Cohen performed two tangos by Horacio Salgán, Grillito and Don Agustin Bardi. Binelli performed his Paris desde aquí (Vals) and Recuerdo de bohemia, tapping the ends of his bandoneón and flicking his fingers over its buttons for percussive effect as the entire apparatus crawled across his lap like an oversized, pneumatic caterpillar. Other highlights among the lectures included Rene Izquierdo’s ‘Guitar in Cuba’ with his performances of Brouwer’s Zapateo and Drume Negrita. Izquierdo, a graduate of Yale, explained how the 1800s contra danza, a salon dance, parlayed into the chachacha, the mambo and salsa. His debut CD, soon to be released by Luthier Music Corporation, will feature Cuban music for the guitar. Izquierdo’s wife, Elina Chekan, performed El Decameron Negro beautifully. To close, Izquierdo was joined by cellist Ana Ruth Bermúdez and, his cousin, violinst Yan Izquierdo to play a gorgeous piece by Afro-Cuban composer José White, Bella Cubana. What no one in the audience would have know by their playing is that this couple had been awake throughout the morning hours on the day of their performance frantically tending to a flooded septic tank at the residence where they were staying as guests. Fábio Zanon performed Villa-Lobos’ Etudes no. 4, no. 8, no. 10 and Choros no.1, followed by Edino Krieger’s dazzling Ritmata, which Zanon suggested was a pun, ‘to kill the rhythm.’ He closed the first half of his programme with Francisco Mignone’s Four Etudes and, after a brief intermission, performed a set of nine LatinAmerican pieces in tribute to the seminar’s theme, beginning with Eduardo Fabini’s Triste 30
Pedro Baez.
no. 1, Agustin Barrios’ Danza Paraguaya, Ariel Ramírez’ Ballada para Martin Fierro, Maria Luisa Anido’s Aire Norteño, Rodrigo Riera’s Prelúdio Criollo, Rafael Miguel Lopez’ Asi Yo Te Soñé, Gentil Montaña’s Porro, from the 2nd Suite Colombiana, Monuel Ponce’s Estrellita and Paulo Bellinati’s Emboscada. His playing was nuanced, powerful and polished. Pedro Baez, a native of Argentina, presented an afternoon lecture and demonstration of ‘Guitar in the Pampas,’ demonstrating an enthralling range of sounds, textures and techniques on the guitar not often heard outside the cowboy/gaucho folkloric tradition. Highlights included the swampy bass work toward the end of Abel Fleury’s Cifra, and again in Pedro Herrera’s El Pastor y sus Llamas. An arrangement of La Cuartelera by Eduardo Falú proved unusual for its lingering treble vibrato. Juan Falú’s Chacarera Utata conveyed the whimsy of its inspiration: a little lizard. Baez’s arrangement of Ramon Navarro’s Chayita del Vidalero evoked the South American cowboy range across six strings. The third evening concert featured Eduardo Fernández, who performed Bach’s Suite BWV 995 followed by Giuliani’s Rossiniana No. 4, op. 122. These could easily have been pieces to close a concert, but Fernández, showing no signs of fatigue, performed Mertz’ from “Bardenklänge,” op. 13, followed by Gentil Montaña’s Amanecer, Augustín Barrios’ Caaxapá, and Cacho Tirao’s Milonga de Don Taco before closing with Alberto Ginastera’s Sonata, op. 47. His performance was as staggeringly intense as the programme itself, earning a resounding set of standing ovations from the Classical Guitar Magazine
Eduardo Fernandez, masterclass.
Elina Chekan and Rene Izquierdo.
packed house. Fernández seems rarely to acknowledge what his left hand is doing but for occasions when he appears to be reading directly from a hologram of sheet music floating before his eyes. For the fourth day’s afternoon demonstration, Duo Cantabile (guitarist Mariano Aguirre and his wife, soprano Lauri Aguirre) performed Enrique Granados’ Tonadillas, Robert Cuckson’s Worlds of Wanwood (written for the duo), Manuel Ponce’s Canciones Arcaícas, Aaron Copland’s Folk Songs, and a set of traditional Canciones Populares Mexicanas. Guitarist Nilko Andreas of the Tibaguí Trio of Colombia lead a masterclass for young artists, patiently assisting a bright young student with making slight but crucial adjustments to his left hand positioning in order to ease playing and prevent unnecessary tension. The Tibaguí Trio, with Andreas on guitar, Sebastian Cruz on the tiple and Alejandro Flórez on the bandola, opened the final evening’s concert with their selection of original works steeped in the Colombian folkloric tradition. Highlights included Cruz’ colourful Pajaro Nocturno, with its string bending and trills. The Brasil Guitar Duo’s concert, with guitarists Joao Louiz and Douglas Lora, could have been improved with announcements between items, as I was not alone among audience members to fall sway under a strange and soporific time warp, believing the concert to be half over before it was over, only to discover it was actually over before it was half over. This criticism has nothing to do with the superb quality of their playing so much as presentation where the audience is expected either to know all their pieces intimately, or to sit there clicking, like Madame Defarge, with a Classical Guitar Magazine
Fabio Zanon.
stitch counter in order to keep track of what exactly is being performed. The duo opened distinctly enough with a selection of Four Preludes and Fugues from The
Pablo Cohen & Daniel Binelli.
Dean Joel Lester with Laura Oltman.
31
Rene Izquierdo, Michael Lorimer, Fabio Zanon and Jonathan (a superb student of Jorge Morel's.
Michael Newman masterclass.
Well-Tempered Guitars, op. 199 by CastelnuovoTedesco, followed by Douglas Lora’s Valsa and Posludio. The warp and smear of musical horses spinning around the carousel kicked in somewhere
between Edu Lobo’s Valsa Brasiliera and Zanzibar, Egberto Gismonti’s Don Quixote and Sete Aneis, Jacob do Bandolim’s Noites Cariocas and Paulo Bellinati’s Bom Partido, concluding with a choros for an encore. As you might guess, it is both a guitar glutton’s feast and a marathon for two ears. Other lectures had included Dean Joel Lester’s ‘Baroque Performance Practice regarding Bach’s Chaconne’ from a violinist’s vantage point, and a lecture-demonstration of ‘Guitar & Violin in South America’ by the Ars Duo, with violinist Gerardo Cilveti and guitarist José Miguel Coo. Guitar Salon International had generously donated one of their Cordoba Custom Artist guitars, worth 2,800 USD, to be raffled off to one of the seminar participants. The winner turned out to be Jeffrey Rojo, a native of Mexico City now residing in Jefferson, Maine. The participants closed the seminar with a concert, triumphantly showcasing Brasil Guitar Duo. their ensemble work and rehearsals of the past two days. Artistic Director Michael Newman received a handwritten note left behind by an Irish participant who had to leave early. The letter conveyed how this man enjoyed his firstever visit to New York City, with gratitude expressed for the masterclasses and fantastic concerts. He confessed to debating the merits of pursuing music as a full time career: ‘I had thought that I didn’t have the ego to follow a career as a player, but after Eduardo Fernández’s concert, I saw that one can just deliver the music—so brilliantly— and yet be personally still in the background.’ Next year’s event marks the 10th anniversary of the New York Guitar Seminar at Mannes and will take place July 7–11, 2010, Douglas Lora, Fabio Zanon, Michael Newman. highlighting new music for guitar.
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4TH VRNJCI INTERNATIONAL MUSIC FESTIVAL 15-25 July 2009 By PAUL FOWLES
Belimarkovic Castle.
E
almost a decade before its final demise in 1994. But the VERY FESTIVAL has its own unique flavour, but there hotels are welcoming, the local cuisine is plentiful and fifty are certain behind-the-scenes characteristics that are quid’s worth of Serbian currency will keep you fed for a week. rarely absent. Amid the logistical acrobatics of meeting the Held in Vrnjacka Banja, a hub of international tourism just artists at the airport, printing the programmes and briefing two hours’ drive from Belgrade, the Vrnjci Festival is somethe front-of-house staff, the main worry of every organiser seems to be money. Even in more prosperous times, thing of a rarity in that it’s a chamber music gatherfunding was difficult to secure and sponsorship ing for which the guitar is just one of the items hard to attract, and yet most events managed on a menu of strings, keyboard and voice. For to survive against the odds. But a grimlythe inaugural concert, Dojcinovic accomworded email from artistic director Uros panied the engaging and sensual Dojcinovic just four days before curtainBulgarian soprano Irina Haralampieva up made me seriously wonder if this for a mainly Hispanic agenda of songs one was going to make it. Then, just a and solos. Lorca’s evergreen few hours later, a further message Canciones Españolas were present in arrived assuring me that everything abundance and deservedly so, the was under control and the show main surprise of the evening being would go on. The determination and that Torroba’s Caminando por el professionalism of the man is hummonte turned out to be a vocal version bling indeed. of the guitar piece usually titled Although the Republic of Serbia has Romance de los Pinos and also used by cast its eyes in an increasingly westerly the composer as one of the Castles of direction of late, subtle reminders of the Spain. But the true highlight was surely the recent past are easy to spot. On the hypnotic account of Bachianas Brasilieras Irina Haralampieva. autoroutes, ageing Fiat-derived Zastavas weave No.5 by Villa-Lobos. This may not have been the around stern-looking TAM trucks, originally manufacman’s most ground-breaking creation, but few would tured in Slovenia. More interestingly, there are still numerous dispute that it remains one of his greatest hits. battered examples of that icon of budget motoring, the One of a handful of guests to have travelled from beyond the Renault 4, which made a premature exit from UK showrooms Balkan Peninsula was Greek guitarist and composer Yorgos 34
Classical Guitar Magazine
Leonid Pejsakov-Katarina Tatic.
Yorgos Nousis masterclass.
police presence being limited to the occasional low-profile Nousis, who currently resides in Vienna. The presence of a foot patrol. microphone and pedal-board made it clear before he even Back at the castle, Dojcinovic was arriving on stage in the appeared that Nousis was going to be more than just a stancompany of the young and dynamic violinist Jelena Rokvic. A dard-issue classical guitarist. Presenting his own works alongguitar and fiddle recital which focuses on Paganini is hardly side those of senior composer/performers Dusan Bogdanovic one for your I Spy book, but it’s not every day we get to hear and Carlo Domeniconi, Nousis soon established himself as one of those unique creative forces that give the likes of me plenall six Op.3 sonatas presented nose to tail. After two brief ty to write about. With his guitar perched Paco de Lucia-style Paganini appetisers, including the Romance from the Grand on the right leg, Nousis delivered a brilliant and dynamic Sonata in its oddball original form, the duo served up a stylish innings in which classical, jazz and flamenco influences were and convincing account of this concentrated cycle of tworepresented on a more or less equal footing. Most memorable movement soundbites. Weighted almost entirely in favour of of all was the opening Aegean Fantasy, a quasi-improvisation the solo instrument, the guitar accompaniments require neion traditional themes in which the central passage was ther more nor less than the safe pair of hands Dojcinovic was accompanied by an ostinato generated by a digital delay. This fully able to provide. Driving her skills to the limit, Rokvic was technology has been common in other areas of music for many clearly relieved to emerge unscathed from the intricate pizzia long year, although its potential in the recital hall has cato flourishes in the first sonata. But there was much to yet to be fully explored. But even without the gadcelebrate elsewhere, the thrilling conclusion to getry, Yorgos Nousis is a multi-faceted master No.4 leaving a particularly favourable impresguitarist who does a particularly nifty line in sion. rapid alternating thumb strokes on the bass So ended the guitar’s part in proceedings, strings. Elsewhere, his considerable skills the scheduled appearance by Milena and as an arranger emerged in three settings Valentin Valchev from Bulgaria having of songs by Theodorakis, while his own been cancelled due to a family bereaveIntroduction to a Theme revealed a ment. But Rokvic was soon in action pleasingly audacious capacity to plunder again as leader of the Festival Quartet in the past, the theme in question being the an all-Bach programme, concluding with opening movement from BWV 1003, a patrician account of the harpsichord although the work as a whole is maybe concerto BWV 1054 by charismatic ten per cent Bach against 90 per cent pianist Cedomir Nikolic. Even more Nousis. See him if you possibly can. impressive was the recital by violinist Leonid By now, the programme of daytime masPejsahov, ably accompanied by Katarina Hadzi Uros terclasses was well underway in the noble surAntic Tatic, who assures me that all four of her Dojcinovic. roundings of the Belimarkovic Castle. Once the names are an essential requirement even in the most home of statesman and military officer Jovan informal context. After a dynamic and triumphant G minor Belimarkovic (1828-1906), the castle now plays host to the Chaconne by Tomaso Antonio Vitali (1663-1745), Pejsahov’s town’s Land Museum and is in regular use as a concert authoritative reading of the first Brahms sonata left us in no venue. Coincidentally, the festival happened during the doubt as to why the other string players on the premises clearsame week as the local carnival, which mercifully was as ly regarded him with reverence. He even played Elgar’s Salut far as it’s possible to be from the quasi-rural British mix of d’Amour as an encore to mark my solitary British presence. morris dancers and organic cheese displays. Instead, every What a gent! evening saw the main street packed with locals and tourists My sincere thanks to Uros and to Svetlana Redzic for makenjoying everything from cutting edge Serbian hard rock to ing it all happen, and special thanks to Zvonko Vojvodic for a disarmingly accurate Beatles cover band, complete with arranging the light aircraft flight over the town and its surVox amplifiers. The vibe could scarcely have been more rounding countryside. Trips to museums, art galleries and zoos peaceful. Couples with young children rubbed shoulders have become a regular and welcome perk of the job, but this with gyrating teenagers and more mature aficionados, the really was a first... Classical Guitar Magazine
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RINCÓN FLAMENCO No.58: Review By PAUL MAGNUSSEN Concierto (2 vols) by Sabicas Ioda (134’40”) SABICAS (1912–90) was one of the great giants of the flamenco guitar. Nevertheless, despite having made (by his own estimate) well over fifty LPs, he has not been particularly well served by CD reissues. This pair of (separate) CDs is therefore welcome; but there are some apparent anomalies. The sound quality is acceptable, and in fact sounds identical to me on both CDs (strange considering they were supposedly recorded on different occasions ten or more years apart). The amount of information contained in the booklet is standard for Spanish CDs—none. Also, when the piece has a title the style is not stated: I therefore give complete listings below. Vol.1 (61’05”) 01) Bulerías 02) Bulerías 03) Taranta «Dolor gitano» 04) Serrana «Sentimiento» 05) Malagueña «El Pillallo» 06) Farruca «La farruca de las tres guitarras» 07) Granaína «Patio de los leones» 08) Alegrías «Puerto Santa María» 09) Rondeña «Llanto minero» 10) Fandango «Jardines de Huelva» 11) Seguiriyas «Apregonao me tienes» 12) Bulería «Rumbo a la fiesta» 13) Bulerías 14) Soleá por bulería 15) Soleares 16) Alegrías 17) Bulerías «María Magdalena» 18) Media Granaína Volume 1 purports to contain MGM recordings from 1940–50; esflamenco.com shows the following description: ‘This record features performances by Sabicas, which took place during concerts and was extracted from recordings made in the 1940s and 1950s and recorded on slate records.’ But although this is supposedly recorded in concert, there is no applause, nor any other audience noise. However, several items are double-tracked; and track 13 seems to be identical to the bulería on Sabicas Volume 1, recorded for Elektra in 1957! After this, you will be unsurprised to learn that 36
tracks 3 through 12 are in fact the entirety of Flamenco Fantasy (MGM E3859, 1960). The strangest thing, though, is that the last two tracks feature cante—played by a saxophone! Vol. 2 (73’35”) 01) Granadina «Joyas de la Alhambra» 02) Farruca «Rapsodia flamenca» 03) Soleá «Noches de caza» 04) Garrotín «Recuerdo a Carmen Amaya» 05) Rondeña «Sentimiento» 06) Seguiriya «Tambores del silencio» 07) Taranta «Llanto minero» 08) Alegrías «Murallas de Cádiz» 09) Malagueña «Homenaje a Málaga» 10) Fandangos de Huelva 11) Capricho andaluz 12) Zapateado en re 13) Malagueña y Verdiales «Caleta y el limonar» 14) Guajira «Mosaico tropical» 15) Danza Mora «Noches de Arabia» 16) Bulerías «Piropo a la bulería» 17) El sitio de Zaragoza Volume 2 is also supposedly taken from slate originals; but touch of pre-echo is heard on a couple of tracks, which I had always thought was an artefact of pressing in vinyl. The cover implies that it was recorded at a concert in Los Angeles in 1958. On this volume there is applause: but it sounds to me as if the applause has been dubbed in afterward (even though Sabas’s voice is heard introducing the final piece). Originally I couldn’t be sure; but examining the waveform with SoundEdit 16™ Classical Guitar Magazine
revealed quite a lot. In particular: at the end of Piropo a la bulería, the last note (a C) dies away, and then, after a moment of silence, the applause starts. But just before the applause, you can hear half a second of a B dying away! The applause has been taken from a different performance! In fact, I was irritated enough by the applause to remaster the CD and remove it all—this knocked seven minutes off the total time. The original waveform showed something very like splices in several places. Capricho Andaluz is missing the first couple of notes, and has no onset transients; this is also true of Noches de caza. Another clue to the provenance is that tunes are usually entitled «Recuerdo a somebody» after the dedicatee is dead. But in 1958 Carmen Amaya (d. November 19, 1963) would still have been very much alive. This album is in fact a version of Sabicas In Concert (Cultural CDC-1818, 1972), with the addition of El sitio de Zaragoza. If editing is beyond your capability or inclination, keep the remote to hand. Then you can (sometimes) hit the Skip button before the applause comes in.
Capricho andaluz is the same piece as Guadalquivir (from El Rey de Flamenco, as is the Zapateado en re, although they seem to be different performances). Summary These are budget albums; but are they worth getting, even at the low price? Surprising as it may seem after all the above expostulations, I think the answer is yes: the playing is simply too brilliant to ignore. Furthermore, the total time of each is nearly double that of most of Sabicas’s original albums, which often ran less than 35 minutes. 10 out of 10 for the music (except for the saxophone!), 0 for the engineering.
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G ruppetto IN 2008 an adjustable microtonal guitar was designed by Tolgahan Cogulu. It was funded as a scientific research project at Istanbul Technical University under the supervision of Professor Sehvar Besiroglu, and was completed in 2009 by luthier Ekrem Ozkarpat. In designing his Adjustable Microtonal Guitar, Tolgahan Cogulu was inspired by Walter Vogt’s ‘FineTunable Precision Fretboard’ (1985), which had been aimed at solving the intonation problems of the guitar. In Tolgahan Cogulu’s instrument, all the frets on the fretboard are movable in the channels under each string. Moreover, any number of frets can be inserted into or removed from the fretboard. The objectives of designing the ‘Adjustable Microtonal Guitar’ are: 1. To play maqam-based music with the guitar. 2. To play microtonal music of the contemporary classical Western music repertoire. 3. To play pieces based on tunings other than the equal temperament system. As well as Walter Vogt’s development, there have been others. One of the more successful was John Schneider’s concept of the interchangeable fretboard, which he demonstrated brilliantly on a visit to Britain some years ago. The ease with which he removed one set of frets, inset into a thin fingerboard, and replaced it with another, was impressive. But, faced with the prospect of carrying a stack of differently tuned fretboards as well as the instrument itself, most guitarists decided that the public would not mind a little out-of-tuneness, even if they noticed it. You can find out more about Tolgahan Cogulu's invention from www.tolgahancogulu.com and from www.myspace.com/adjmicrotonalguitar./ OUTSTANDING features of this year’s International Guitar Festival at West Dean were Leo Brouwer’s masterclasses, which revealed the wide extent of his musicality, both innate and acquired over 70 years of experience. I heard a minor criticism, that he should have talked more about his philosophy. I’m inclined to disagree, on the grounds that if you want to learn about philosophy, you first have to be proficient - and highly proficient - in the language in which it is framed. High proficiency is not something that you can take for granted in a series of masterclasses conducted at a summer festival, and I felt that Leo was right to put the emphasis on the music and how to play it. Philosophy comes later. WHAT do you have to do to earn comments like ‘Awesome ... fabulous ... this chick really knows how to play the guitar ... etc.’? Here are ten basic things a young woman can do to enhance her career by pleasing a relatively new, undemanding, and potentially huge audience: 1. Always put yourself first. You are giving a performance, not an interpretation of music, 2. It follows that dramatic effect is more important than musical insight. You are therefore entitled to 38
linger on the tenuti and the rallentandi, and to distort the melodic line as you think fit. 3. Employ a lot of graceful hand and arm movements, the more unnecessary the better. . 4. At the same time, sway your body from side to side. 5. Allow the head to move with the body. 6. If you are clever enough to play a moving guitar, let the guitar move too. 7. Grow your hair long enough to flick it out of your line of vision with an imperious toss of the head, making sure that you expose the slender lines of your shapely neck. 8. Wear a pair of dangly earrings, and make sure they dangle enticingly. 9. Part your lips in a sweet smile every so often, showing your teeth - especially if there are none missing and they have all been cosmetically capped for brilliant whiteness. 10. Make a video of your performance and put it on YouTube. Results guaranteed, in one form or another. I found on YouTube one particularly stomach-churning performance that produced a large bunch of admiring comments expressing awe, wonderment, ecstasy, etcetera, among which was only one dissenting remark: the single word ‘creepy’. Not for the first time, I concur with the minority view. Of course, some brilliant guitarists and musicians give you a lot of superfluous body language as a matter of course, and they not only get away with it, as the ‘entertainers’ do, but also make a highly favourable impression on more demanding critics. The trick for the aware listener is to close your eyes and just listen. When a once bright and promising young musician resorts to these devices, it is more tragic than creepy, perhaps a sign of inner insecurity but all too often the result of well-meant encouragement from undiscerning relatives. Of these, spouses are the worst, but parents are not far behind. IT IS a truism that the guitar repertoire does not have the range and depth of the piano repertoire and the violin repertoire. When you think of the solid body of work composed for those instruments over hundreds of years, the deficiencies are obvious except perhaps to the blinkered vision of the fanatical aficionados. But give us a chance: our instrument has only been taken seriously (by which I mean taught in the conservatories and music schools) for less than a century. Other instruments have a head start and more. What do the critics mean when they talk about the guitar’s ‘limited’ repertory? It’s certainly not quantity. Nor variety. Nor a wide range of moods and emotions, some of them not so easy to express on a piano, with its difficulty in getting really close to its player, nor on a violin, whose facility for harmony is certainly limited by comparison with the guitar’s. Colin Cooper Classical Guitar Magazine
LUMINANCE for cello and guitar by Nathan Kolosko Les Productions d’OZ DZ1177. 12pp. I have played through, and reviewed, works by the American guitarist/composer Nathan Kolosko before and as far as I can recall have never been disappointed by anything he has written. Luminance, I am pleased to write, is no exception. Dedicated to the Taiwan visual artist, Ling-Wen Tsai (whose work, by the way, is definitely worth check out on the Internet) this composition is in five movements, all fairly short, all having an oriental flavour and each one contributing to making this suite a first-rate piece of writing for the cello and guitar repertoire. The mood for the most part tends to lean towards sad and reflective, but this is not depressing music just very emotive. An unusual feature, but extremely effective in this context, comes with the fourth movement (marked Sly, cunning) where the guitarist has to play single melody notes using a brass or glass slide throughout. Playing ensemble music is one of the most pleasant experiences in music making and if you happen to be around Intermediate Grade and know a decent cellist give this work a try, I doubt you’ll be disappointed. The presentation is excellent with the guitar part being read from the score (with no page turns) and a separate part for the cellist. Steve Marsh BEYOND HORIZONS for three guitars by Mark Houghton Les Productions d’OZ DZ1106. 16pp. I have always been an admirer of the British guitarist/composer Mark Houghton’s compositions, in fact I’ve published quite a few of his early works and arrangements myself through Lathkill Music Publishers.
Classical Guitar Magazine
Written in 2004 for the Appassionata Trio (who gave the premiere in 2007 and subsequently recorded the piece), Beyond Horizons is a wonderfully invigorating and jaunty work in a Latin/jazz style, full of vitality, good melody lines and lovely harmonies. It was written as a homage to the magnificent jazz guitarist and singer George Benson and encompasses features of his guitar playing style including the use of octaves, minor 9ths and syncopated rhythms. As a relatively substantial repertoire piece Beyond Horizons has that ‘feel good’ factor surrounding it and would surely enhance any concert programme. With an eye-catching front cover the presentation is of top quality with full score and separate parts. Receommended. Steve Marsh AURORA for clarinet and guitar by Mark Houghton Les Productions d’OZ DZ1102. 12pp. Aurora was composed in 2007 and is dedicated to the Duo Musaikon which consists of Davide Compostella (clarinet) and Alessandro Balsimini (guitar) who included it on their first CD. The piece won 1st prize at the ‘First Online CGML Classical Guitar Composition Competition’ hosted in Brazil in 2008. Mark Houghton can always be relied upon to come up with a good tune and his seemingly natural talent for writing nice chord progressions and exciting rhythms when required are much in evidence in this piece. Although the guitar plays the part of the accompanying instrument it has much to do and also contributes to the melody substantially. Very much in a Latin style Aurora flows along in fine fashion in a bright and cheerful mode with a brief, slower segment coming mid-way through before an upbeat return. Altogether this is a very nice addition to the repertoire for this pairing of instruments and most suitable for concert repertoire for any upper grade players. The edition comes with full score and separate parts for both players. Steve Marsh
M usic R eviews
2 ESPACES for two guitars by Norbert Leclercq Les Productions d’OZ DZ1127. 8pp. Both these pieces have an air of ‘innocence’ permeating through the music; the opening bars of the first one, titled Rosace begins in a somewhat deadly lacklustre fashion with its nursery-rhyme-style tune presented by one player and equally dull counterpoint played by the other. However, this is a misleading opening and things soon get underway in a much more interesting fashion, this simplistic tune being varied and shared between the instruments with ever-increasingly odd accompaniment creating dissonance between the parts and giving a slightly bizarre flavour to the piece. The second one, titled Eclisse, is a fast-flowing work in a perpetual motion style. Once again, a childlike theme infuses the music but with the dissonances created between the two parts this tune becomes part of a strange sound-world the overall ambience becoming slightly surreal (anyone who can remember the tune from the classic BBC television programme for children, (The Magic Roundabout but played with jarring harmony, will get the picture). Initially, I didn’t think I would get much pleasure from these two pieces but having gone through them several times they have definitely grown on me. The standard to do them full justice is of around the grades 6-7 mark. Presentation is good with full score and separate parts for the players. Steve Marsh
TWO FAMOUS POPULAR MELODIES arranged for guitar and mandolin by Roland Dyens Les Productions d’OZ DZ1163. 20pp. Ariel Ramirez wrote his masterpiece Alfonsina y el Mar as a homage to Alfonsina Carolina Storni who is considered one of the most eminent LatinAmerica poets of the 20th century and who committed suicide by drowning in 1938. The universally-known Neopolitan song O Sole Mio written in 1898 by Eduardo di Capua has been performed and arranged by a great many artists from Caruso, Gigli and Lanza through to Elvis and Bryan Adams. Both these renowned melodies are presented in this new album arranged for guitar and mandolin by the inimitable French guitarist Roland Dyens. Anyone familiar with Dyens’s style of composing and performing will know what to expect here and they won’t be disappointed in the least. There are heaps of musical directions throughout the score, all of these being clarified in a two-page ‘Notation’ chart and the technical standard required throughout both pieces is very high. The rewards however are great; these are not just good arrangements, they are superb. The harmonies
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and melodic variations used throughout makes this new album an absolute must for any pairing of these instruments. What with a lengthy article on Dyens, a brief biography of Storni, a full detailed score very nicely typeset and separate parts for both players, this is a classy new edition in all respects. Recommended. Steve Marsh BLUE TOUCH SONATA for two guitars by Christophe Leu Les Productions d’OZ DZ1161. 16pp. Blue Touch Sonata is a three-movement composition written in a jazzy-blues style with classical/Baroque nuances here and there. The lengthiest movement comes with the first one, a piece which is attention-grabbing from the opening bar with its contemporary jazz overtones and a highly-dramatic mid-section. The second movement has a gentle, lilting waltz character about it and it is in this one where the baroque influence manifests itself. (The crotchet in the metronome indication should probably be a dotted one). The final part is perhaps the most formal of the three with some ‘classical-style’ configurations but still retaining the jazz-blues character. Throughout the entire work there is some interesting and enjoyable interplay between the two parts and the whole work is a most enjoyable, interesting and stimulating composition. The really good news is that this would be easily accessible for mid-range players and to have a relatively substantial work as good as this one written for that standard is something to be welcomed. The edition comes with full score and separate parts for each player. Steve Marsh CEREMONIAL MUSIC volume 3 Arranged for guitar and violin (or melody instrument) by David Jacques Les Productions d’OZ DZ1163. 32pp. Here is a collection of short and for the most part, well-known melodies nicely arranged in a straightforward manner by the Canadian guitarist David Jacques. His initiative behind this project came from his requiring easy to play, accessible repertoire material for performing at ‘ceremonial’ events such as weddings, funerals, etc.; so in this edition he has collected 18 works by the likes of Verdi, Elgar, Bach, Mozart, Sibelius, Handel, Ravel and others and ably arranged them for melody instrument and guitar. Each one also has the chords printed above the guitar score for any additional instrument to join in, plus several of the pieces are supplied with the lyrics. This type of book is also incredibly useful for teachers to use with their students as lower-grade sightreading material if playing the single melody lines and higher-grade material if taking the guitar part. The music is well-presented in full score with a separate part for the melody instrument. Steve Marsh LE JARDIN MERVEILLEUX for four guitars by Jean-Pierre Grau Les Productions d’OZ DZ118. 12pp. Le Jardin Merveilleux begins with an atmospheric, albeit very short six-bar preamble with the fourth
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guitarist playing fast arpeggios whilst the other three play a very sparse and tranquil melody line, mostly in harmonics. This serenity gives way to a sudden upsurge of sound and rhythmic complexity as the second, and final part of this work gets underway for the next eight pages. The constant arpeggios from the bass do not let up until the final bar with the other players providing an unceasing restlessness amongst each part with copious emphasis in many different parts of the bars giving the whole a highly syncopated and agitated outcome. The result is an exciting work of high energy and exhilaration, the repetitions of a minimal nature giving the whole a very ‘mechanical’ outcome. In the right hands, this could easily be a suitably stunning inclusion in any programme for a highgrade quartet. The presentation is excellent and there are separate parts for each player. Steve Marsh PONTICELLO TANGO for flute, guitar and string quartet by Patrick Roux Les Productions d’Oz DZ1144. 16pp. Any opportunity for the guitar to become involved with ‘mainstream’ instruments ought to be jumped at and here is an offering from Patrick Roux which is definitely worth trying out if you can find a good flautist and happen to have a string quartet on hand too. Dedicated to the guitar and flute duo ‘Similia’ (twins Annie and Nadia Labrie) Ponticello Tango is an exciting, invigorating and dramatic composition in one movement, very much in the tango nuevo manner formulated by Astor Piazzolla, the insistent heavy accentuation forcing the music ever forwards with various musical dialogues taking place between the instruments. A thrilling interlude arrives at the mid-way point with an unexpected abrupt change of rhythmic character making effective use of rests, this small segment concluding with the flautist playing pizzicato ‘breathy’ sounds and the bowed string section playing half hair/half wood - all very effective. The piece, a sure-fire audience winner, would be a most welcome addition in any recital programme. To do the work full justice, a group of high standard would be needed. The work is neatly presented with full score and separate parts for every player. Steve Marsh TRIPTYQUE for four guitars by Laurent Meneret Les Productions d’OZ DZ1182. 16pp. Here is a very pleasant little set of three pieces ideally suitable for the amateur guitar trio of around the grades 3-4 standard. Each of the three titled movements have an instant likeability factor. The opening Air has a lovely ‘innocence’ throughout its theme, an almost childlike melody, but very pleasant. Following on from Air comes a sad and haunting Impromptu which is followed by an evocative Danse Bretonne the lengthiest of the three and a movement ending the suite in grand style. I can easily see this piece gaining popularity in the informal concert situation on the student concert, guitar society gatherings, etc. I thoroughly enjoyed it, will definitely be using it with my own students and urge others to give it a try. Nicely presented in score and separate parts. Steve Marsh
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LE SENTIER DES MURMURES by David Gaudreau Les Productions d’OZ. 4pp. Mr Gaudreau’s publications are many and varied; to be fair, there is often a great deal to be enjoyed in much of what he writes for the guitar. This latest little offering begins in A minor in a combination of 3/4 and 4/4 with the occasional 2/4 thrown in for good measure. So far so good but what is a little hard to take is the rather hackneyed overuse of the tonic (A minor) together with the dominant seventh of E7, often altered to include a bluesy F or C natural in the chord, along with the inevitable Dm6 chord you just know is going to turn up somewhere near. Now I know it is often impossible to really create something new that has never been seen before but the sinking feeling of knowing just what is coming next here rather spoils the opening. A momentary diversion into a little sequence of suspensions lead back to a slightly varied opening section before the true middle section makes its entrance. At Misterioso Con Moto an octave pedal A in semiquavers leads to a trickyish section with prominent acciaccaturas before settling down into a Con Fuoco set of rapid arpeggios. This returns after a small interval to the octave As and thence to the opening idea for a final variation on the initial theme before closing in A minor. This little piece was not long enough to be really interesting given its melodic and harmonic content. It was a mite too ordinary and predictable to really stand out in today’s morass of publications, which is not to denigrate Gaudreau himself whose music is often far better than this little piece implies. Chris Dumigan JOYCE’S SUITE by Jose-Luis Narvaez Les Productions d’OZ. 7pp. The Joyce of the title here is not the composer’s great aunt but James Joyce, he of Ulysses fame. This three-movement suite which has dropped D tuning begins with Dedalus. Marked tempo de gigue, it has an invigorating dance feel to it and is
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somewhat modal in character. The harmonies are surprising but very friendly and it flew along in a mixture of 6/8 and 9/8. A fine opener. Blackwater begins lento with an improvisatory idea that relies on mixing stopped notes high up the fret board with adjacent open strings. Glissandi and slurred runs also play an important part. Then the tempo speeds up slightly to introduce a ballad section which is almost folksinger/songwriter in style which in turn returns to lento for an entirely new idea replete with semi-tonal crunches off the beat. A brief accelerando and the ballad/lento sections are repeated, reaching a lento coda with again new material, winding down to a hushed final chord. The final section Gulfstream is marked ritmico but is to all intents and purposes another gigue in all but name. It begins with arpeggio runs up the fingerboard interspersing 6/8 and 3/4 as it does so. Again a certain folk/contemporary acoustic style is what strikes one most about this piece. The music moves swiftly but gratefully over the strings leading shortly to a drone in harmonics (and then by tambora) on an open D chord to an extremely effective scampering melody to a very short run up and down an altered D minor chord, a loud thump on a bottom D and it is all over. I was utterly intrigued by this very individual music. One thing previously not remarked on is the brevity of each section, and the fact that there is little or no development of ideas, for they appear and disappear never to return and the section ends. It gives the music and unusual slant that is not unappealing, just a little strange when you consider it. Technically it is difficult but rewards the patient performer, although I found it next to impossible to negotiate the two artificial harmonic runs in the first movement at the speed required. Nevertheless, a better-than-average work that really deserves to be played and enjoyed by all. Chris Dumigan
M usic R eviews
CHANTS DU SOIR for flute and guitar by Erik Marchelie Les Productions d’OZ. Score and separate parts 10, 4 and 4pp respectively) There are two pieces in this little collection beginning with a Melodie Nocturne, a 3/4 Andante in A minor. There is plenty of friendly harmonic work, with the flute blending nicely over the top of the guitar’s accompaniment in what is an appealing melody. Then shortly the music modulates to the minor key a third up in a development of the main idea before returning for a recapitulation and a close on A minor. The second piece is an Intermezzo with more than a hint of a dance-like jig in its rhythms. 6/8 dotted motives abound together with a certain chromaticism in the surrounding harmonies together with an almost English feel to the music. It proves a nice contrast to the opening slower work. This is a pleasant pair of nicely written pieces that doesn’t extend the repertoire into any new areas but is melodic and engaging and passes a friendly few minutes. It is not too difficult and a duo of moderate abilities would perhaps enjoy this modest set. Chris Dumigan
BALLADE by Andrew Zohn Les Productions d’OZ. 8pp. Intense is the first word to come into my mind on playing this remarkable new work by Zohn. With a 6th string on C# you may be initially put off by trying to negotiate notes three semitones higher than normal on your fingerboard’s sixth, but fear not as the effort required is so worth it. Written in memory of Aaron Brock, one immediately feels the power, the grief, and the stark beauty at work here. Beginning with a 15-bar Liberamente introduction that uses upward moving arpeggios in various patterns as its basis, it leads to a Molto Adagio 5/4 descending bass line that underpins a sad little idea largely in sixths. The harmonies throughout are striking in their power and general avoidance of the obvious; everything here is tonal but unusually so. Later on in this extended first section two ideas, one a rocking idea in two voices, with the melodies in contrary motion, followed by a startling four-against-three idea bring about the main climactic section before a poco mosso ostinato heralds a new and more restless idea. Again after a considerably extended time a grief stricken largo section intervenes which leads to a return to the molto adagio first section and a reiteration of all the slow material up to the poco mosso (but not including it). A brief largo coda reminds us of several of the motifs before closing on an altered C# major chord. I cannot praise this piece enough. Highly original, utterly compelling, moderately difficult only to play and with an intensity that caught me completely unawares. This is a wonderful example of
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modern guitar music at its very best. Don’t miss trying it out. Chris Dumigan FOUR LYRICAL FOLKSONGS Arr. William Beauvais Les Productions d’OZ. 8pp. This tuneful little set consists of two from Nigeria, one from Korea and one from Japan and are not too difficult, being aimed at the intermediate players amongst you. Bantu Song and Suayo, the Nigerian folk songs, are most effective. They are naturally very rhythmic and often off the beat, so there is a large amount of interplay between the two voices, where for much of the time the melody is often in a different part of the beat from the bass-line. The occasional chord interspersed between just adds a little extra colour at salient moments. Arirang, the Korean melody, has a similar two-voiced structure; a feature of all the first three is the deliberately modal feel; little of the harmonic work is what you might be expecting, although all of it is friendly. The final Sakura from Japan (the same melody used by Yokoh) in his famous work is noticeably simpler altogether and consists of a quaver run of notes in one voice, with the melody and the harmonic work occupying the same voice. I liked the first three but thought the last one a little irrelevant. I could have seen the tune being treated in the same way as the other three resulting in a more consistent set. As it remains, this is a very nice set of three little pieces, which you may find charming and tuneful and not too difficult to play. Chris Dumigan HOMMAGE A SCHUBERT (d’apres l’Impromptu No1 Opus 90) by Veronique Gillet Les Productions d’OZ. 6pp. This is a strange one indeed. I have come across several of Veronique Gillet’s works before, both in print and on CD and have found them all very odd. This piece is based on one of the famous Impromptus you would almost certainly know if you heard it. This piece begins using the rhythm of the Schubert work with a solo introductory line that is no doubt meant to remind you of the original but yet remaining true to the composer’s style. In other words it sounds like the Schubert work’s rhythm but nothing like it harmonically speaking. This is reinforced when the harmonies begin at bar 7. Time and again the rhythm of the notes is the Schubert whilst the music is Gillet with unusual harmonies and musical contradictions that or me fail utterly to sound effective. The piece continues in this manner for almost the entire piece sounding like a caricature of the Schubert rather than homage until the final eight bars when the original Schubert harmonies are suddenly applied without warning. It reminds one of the sun coming out finally at the end of a period of very wet and unfriendly weather. If the point behind this piece was to create ‘homage’ it was a very funny way to do it, which utterly failed to convince me. To elucidate further if you know Mahler 9 there is a moment in the middle of the 3rd movement’s Rondo-Burleske where, after all the hurly-burly of the opening, a beautiful haunting melody suddenly appears. Just as you think this might be the way the movement is going to progress after all the cynicism of the foregoing, an E flat clarinet takes this beautiful tune and twists it out of shape, distorting its beauty, like a
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lovely face suddenly changing and leering at you with its tongue sticking out. That is how this piece sounded to me. Chris Dumigan FIVE LITTLE SOUVENIRS for 4 guitars by Andrew Zohn Les Productions d’OZ. 19pp plus parts This edition was commissioned by Loudoun County Public Schools for the 2008 Middle School All-County Guitar Festival, something that instantly drew me into the work to find out more. The writing is predominantly single line, and chords, where written, are three notes and comfortable under the fingers. Guitar Four plays with 6=D and the writing is ostensibly pitched like a choir, so that Guitar One is always the tune and Guitar Four the bass. The overall standard is probably Grade 6, but the interplay between the parts will call for players with rhythmical maturity and a little spare capacity in reserve compared to a solo of similar complexity. It is important that the rhythm is tight and free from technical rubato. Paris, a prelude, is in 7/4 but notated 4/4+3/4, and has a lilting dreamy feel to it, with gentle dissonances and major sevenths acting like musical syrup and keeping the pace relaxed. A lovely piece of writing, though perhaps in concert it might not be a strong opening, and perhaps the order could be shuffled a little. Lipica, a folksong, has a polka-like rhythm, and the structure is pleasing and obviously carefully thought out, though I found the constant diet of dissonant chords just a bit too much – fun to play but a little heavy on the ear. Mayaguez, a dance, also begins with dissonance, but it’s effective and exciting, and the mix of melody on and off the beat is set nicely against a very forthright bass line that underpins the piece. There are some lovely waterfall sequences in two lines that are set in parallel octaves to enhance the effect, and some of the more static rhythm sees the inner parts moving in pitch to create the illusion of more going on than is actually happening – neat writing. Venezia, a largo, sees a gentle melody over slow chords but again, a little too dissonant for my tastes. Perhaps I have suffered in the past with close harmonies played badly on poor guitars, where the whole soundscape blurs into a mush. Bell-like clarity here would certainly contain the dissonance – harmonically rich notes will have overtones that interfere with notes in a different register. So with good tone, this might be delightful. Pasades, a galope, is technically straightforward but rhythmically demanding, requiring the ensemble to play extensively three against two – not too bad with two parts, but harder with four to get the precision needed. The reward, if it can be done, is some great rhythm patterns set over a deep moving bass. Mozart it isn’t but if dissonance in your music piques your ears like chillies in your stew pique your taste buds, this is a hot one! Derek Hasted APRÈS MINUIT for 4 guitars by Jean-Pierre Grau/Gérard Labady Les Productions d’OZ. 19pp plus parts The lack of descriptive notes about this suite is a disappointment. From the title ‘After Midnight’ I
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ANNELI, WO BISCH GESCHTER GSI for 4 guitars by Jürg Kindle Les Productions d’OZ. 7pp plus parts This is part of the publisher’s fast-expanding ‘Easy Music For 4 Guitars’ series, featuring music from around the world. This particular piece is a theme and variations on an old Swiss song set in D minor and with Guitar Four tuned down to 6=D. The ten-bar theme is asserted first with the tune passing between guitars one and two, though I did baulk at the quick discord in the second note of the piece which seemed an oversight. Variation One is rather clever – guitars three and four play arpeggios, and guitar two manages to weave scale segments in and out, while over the top the tune is reasserted unmodified. Variation Two is more a ‘galop’ with the tune moving to guitar two and full of repeated notes to give a constant ‘William Tell Overture’ rhythm. A countermelody sits alongside, with arpeggios underneath and little waterfalls of notes on top. Variation Three will work best if guitar one observes the fingering and takes the slightly
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embellished tune further up the neck to become what is essentially the ‘slow movement’ in the set. Simple writing here plus plenty of space between top and bottom parts gives a refreshing open sound. Variation Four is busy with little groups of quavers echoed back and forth. Not fugal but creating that effect. Variation Five is in 6/8 time with a bouncy bassline. A waltz finishes the set, and one which is not labelled as a variation, and which is sixteen bars rather than ten. The fingering in part two is welcome, but had it come two bars earlier it would have avoided a position-shift. A Da Capo back to the opening theme concludes the set. These 10-bar miniatures are all straightforward. Guitar One ventures as high as the sixth position, and there are a few high notes elsewhere, but rhythmically, technically and musically this is something that novices will find robust and enjoyable to play. The entire part-score sits on one face of A3 paper, so there are no page turns to worry about in this end-to-end performance. Derek Hasted
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was anticipating some light jazz, but the cover of the music features a leprechaun. The mighty Google translation engine confirmed that the second movement was indeed ‘Leprechauns’, but it let me down disgracefully on the other two and I spent 15 fascinating minutes reading furiously and learning that Croquemitaine, the first movement, is ‘Bogeyman’. It has my interest! We have a suite for four guitars, but Bogeyman is only for three guitars. With no performance indications it’s hard to understand what’s happening here. Does the fourth player creep up behind the audience and scare them to death? Croquemitaine is in 3/4 with a staccato feel and lovely chromatic passages with accents that heighten the mood very effectively. The writing is confident; the dissonances are mild and entirely in keeping with the mood. The score is peppered with accidentals; the use of sharps rather than flats on the descending chromatic passages means there are natural signs as well, all adding to the task of reading the score accurately. But the music is fingered well and much is in the lowest positions. The piece concludes with a massive descending chromatic scale of diminished thirds and a final note with the word ‘Hoo’ underneath it. Scared me half to death even without that fourth player hiding in the shadows… Farfadets, or leprechauns, is for four guitars, with a playful accompaniment of isolated quavers in a rhythmic motif that permeates the whole movement. Although easy on the eye, there are some tricky rhythms here because the parts interweave rather than interlock. It will need confident rhythm to keep the piece intact, though technically it’s pleasantly simple. This is a long movement, which progresses from a skittish jig-like opening through a variety of developments into a final deliciously sour sequence of chords – impish and badly behaved… Feux follets (Will o’ the wisp) is a subtle assembly of clumps of quavers (eighth notes) that expertly capture the capricious nature of these sprites that lure travellers off their path and into bogs and ponds. Playful with sinister undertones. Very effective. The music is probably about Grade 4, and I think that the suite would be ideal at school concerts, especially if time was taken to set the scene first… Derek Hasted
SATURNE by Jürg Kindle Les Productions d’OZ. 8pp. This talented composer has written a full set of nine pieces based on the planets, most of which I have seen in the foregoing months. It is unclear whether this is to be played as a set or not, as no reference to them being such is included in the actual publications. That said, this latest offering begins with a table consisting of no less than ten symbols, all being percussive effects of various sorts and in various places on the guitar. As the whole piece is littered with them you have to have a very good memory to incorporate them seamlessly into the piece, but providing you can do that, you have overcome one of the largest hurdles in this piece although the very percussive nature of the actual musical concept might also cause any players to pale at the complexities. It takes a full 32 bars of frenetic percussion before any real theme appears although even here the music is constantly interwoven with the percussive effects, with both LH and RH fingers and thumbs being used to produce them. There follows a momentary respite with a strange section of 32 bars consisting entirely of solo note crotchets grouped into fours before the rhythmic ideas re-emerge and build to an impressively orgiastic final section with a coda that proverbially slams the door in your face and allows no more argument. For once I am not sure about Kindle’s piece. I am a firm fan of much of his work yet this seemed a little ‘effect for effect’s sake’. I am equally sure however that players able to cope with the many complexities of this piece will make it sound very convincing and exciting to hear. Chris Dumigan RON SIN COCA-COLA for 4 guitars by Roque Carbajo Les Productions d’OZ. 11pp plus parts It’s not often I find anything wrong with a Productions d’OZ edition, but there’s something odd about the very first bar of this piece where Guitar Four has a natural F in a chord of D7 that should surely be sharp to match the fingering and the other parts. But then the bar is repeated unfingered at bars 3 and 65, both times with an A
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instead of an F# for which the earlier fingering doesn’t work at all. I begin to wonder whether the score has been proof-read or not. A shame, because my first reaction on seeing the score was one of delight – some fantastic Cuban rhythms, some comfortable chord shapes and some delightful progressions – A7, D7, G7 C7, F#7, B7, E7, A. And that’s just the opening… My delight soon returns! This is a fun piece but it won’t come easy to those guitarists who take the word ‘classical’ rather too literally. There is a neat set of interlocking rhythms that need to be felt rather than just read, and as the piece progresses each part is called up to produce many different rhythm patterns, often complementing, rather than supplementing, those in the other parts. There is an interlude where two parts clap together, in between which the other two parts interweave some motifs and guitar-based percussion – all very compelling and thoroughly enjoyable. The writing is confident with key changes and stylist variations, but all the while there is a rich palette of rhythm patterns used to glorious and colourful effect. This is guitar music alive with passion, with fire and with fun. I’m not sure that a few dry words can convey the joie de vivre in this piece, but I had a thoroughly enjoyable hour trying out the parts. Each is well shaped to fit the guitar and a pleasure to read and play. The piece needs a strong and confident team to lock it all together, and those below Grade 8 would find the pace tough and lack the relaxed confidence to make this piece the stylish success it so surely deserves to be. I like it (but you’ve guessed that already!) Derek Hasted LAS RAMBLAS for guitar orchestra by Nathalie Lachance Les Productions d’OZ. 16pp plus parts This work is for five guitars and a contra guitar, though the latter part is playable on an ordinary guitar and is not simply a slimmed-down copy of another line, but a vital part of the soundscape. Percussion abounds, and the glossary explains eight different effects written as pitched notes with an ‘X’ notehead. I hope players of this piece have a better memory for what pitch denotes what effect than I have! Fortunately, once the few effects and rhythms specific to a line are learned, then the power of the piece comes from the way the different percussive pitches and rhythms of each line are woven together. For much of the piece, guitar 5 is doing something different to everyone else, percussion when the rest are playing melody, and chords when the rest are playing percussion – an effective and enjoyable piece of writing. Set in A minor, this feels good on guitar – shapes are familiar and the high passages are straightforward in rhythm and pitch. There is an opening minor theme in 3/3/2 rhythm, and a more melodylike theme set over a lush landscape of simple strummed chords, with a brisk rhythm and a lovely journey through minor and major keys, before shrinking to just rhythm and bass with guitars one to four banging and slapping variously. A slower, squarer, tempo heralds another theme before there is a lengthy and effective reprise of the strummed section, this time taking it down to percussion and bass alone before building it up once more to a strong and enjoyable finish. The overall standard is surprisingly modest – perhaps Grade 5-6. However, keeping a tight
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ensemble with every line totally reliable, tight and able to hold their rhythm against considerable distractions from the other parts, well that will need either a large ensemble with one strong player on each line, or a small ensemble of mature and confident players. The South American feel, the catchy percussion and the lovely chord sequences will ensure that any performance of this piece at, say, a school concert will be a real crowd pleaser. Derek Hasted ROMANZA for guitar orchestra by Jaime Córdoba Les Productions d’OZ. 14pp plus parts This work is for four guitars and double bass; the score indicates that a contra guitar can be used, but there is no treble clef part. In the Full Score we see that guitar 4 replicates much of the contra part, so it could be performed as a quartet; the piece would not sound bare, just a little lightweight. Opening with a gentle lilting accompaniment in F Major, the composer weaves a long line of melody that proceeds effortlessly and satisfyingly, though with the occasional chord that felt a little too piquant in an otherwise well-shaped tune. The piece does not stay static; its character changes a little, with some delicious tension from the harmony lines. Some very capable classical writing takes us to other keys, and here the little moments of heartache seem less forceful and more pleasingly resolved. For much of the piece, guitar 4 plays an undulating accompaniment, but from time to time the texture changes, and a passage in artificial harmonics precedes some effective writing in parallel octaves at full volume, where guitars 1 and 2 venture as high as fret 15. Although the piece is set in conventional SATB for the most part, the top three lines do share a little of the limelight. Much of the writing is modest in technical ability, and the relaxed speed facilitates the more awkward passages. Notwithstanding that, there are some tricky moments, and the big closing chords need skill in order to sound effortless. A Grade 6 ensemble could ‘knife and fork’ their way through, but a high standard of ensemble is needed for the piece to sound relaxed. The work lasts over six minutes and it is not at all repetitive with a convincing melody and structure. Dynamics are amply indicated. There is no fingering but in one or two places, string numbers are used. When I sight-read the music, I had to guess which finger to use and every time, I picked wrongly and got tangled. A single finger number instead of a sequence of string numbers would be clearer and more valuable. Derek Hasted CHANSON TRISTE for guitar orchestra by Henri Duparc Arr. by Arnaud Sans Les Productions d’OZ. 11pp plus parts This is an arrangement of a work I wasn’t familiar with; tracking down the original was an enjoyable time and the version I found with voice, harp and orchestra is rather pleasant listening. This arrangement is in the same key, and is for five guitars and a contra (the latter could be replaced with an ordinary guitar).
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BLUES SUITE for five guitars by Miroslav Loncar Les Productions d’OZ. 15pp plus parts The performance notes, whilst a little minimalist, are very welcome and helpful, and fully briefed I slid comfortably into this three-piece suite. The three pieces are each orchestrated with tune on top, bass underneath and some arpeggios or counter-melodies to provide the filling to this musical sandwich. The bass line would be delightful an octave lower, a point not lost on the composer. Early Morning Blues has a pulsating bass over which sit some very playable boogie-woogie lines, entering one at a time in a very effective fanfare. With five lines of music, the tune is necessarily up high, although the other parts fit nicely in the first and second positions. Even the tune is nice and comfortable to play, and a working knowledge of only the top two strings up the neck will be fine. This is a nicely crafted piece that is a real foot-tapper. Set in the key of A with 6=D it’s bright and full of energy with some lovely deep bass and a couple of little bass runs that add a lovely stylistic embellishment to the music. Melancholy Blues is in 6/8 with that slow triplet feeling and mournful D minor chords that conjure up a gloomy nightclub late at night… Here the relaxed pace is punctuated with some bending of the long notes, but also some semiquavers (sixteenth notes) that I suspect a player of limited
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experience might gabble a bit. But there is a regular arpeggio underneath that defines the beat exactly, so no real harm would come. Some of the arpeggios are really rather lovely – minor sevenths and ninths, and the accompaniment is a stylish blend of clever writing and well-thought-out progressions that are easily played to wonderful effect. Partytime, in E, has almost a Tamla Motown feel to it and the tune has a cheeky call-and-response style, still sitting on what is ostensibly a 12-bar blues structure. Once more only the top part needs to venture up the neck, but care will need to be taken to get the positions sorted out so that the notes are under the fingers. The large number of sharps and naturals can be very off-putting to someone who is still learning, but with careful fingering, the music is very playable. The upper line is definitely marginally more difficult, and is probably suited to a Grade 5 player who will have the musical maturity as well as the raw technique to carry off this atmospheric suite. The lower parts would probably suit Grade 3 players. Derek Hasted
M usic R eviews
This arrangement is one of those works that raises questions and this is one of those editions that doesn’t answer them. The tune, for example, is in guitar three, not guitar one, and I wanted to know why. The harp arpeggios are split into four pieces – ascending in guitar five, descending in guitar four, ascending in guitar two, and then descending in guitar one, and these lines are mostly sounding one at a time. It really looks like it would fit for the most part on two guitars. My curiosity is piqued. Faithfulness to the original means that each unidirectional arpeggio has seven notes, so nothing fits nicely under the fingers. Talking of fingers, there is no fingering, only dynamics, and there are some really unpleasant jumps – from top string fret 6 to bottom string fret 1, for example – where the notes are semiquavers (sixteenth notes), so creating a smooth arpeggio is not going to be easy. Looking at the full score, these quick jumps are to a long note that another part plays as a short note at the same time, so this might be a trick to add sustain. But one of the silent guitars could do that job so much more easily. And besides, the contra tends to have that long note too. I’m left with the conviction that it could have been arranged in a way that would be much easier to play. And is it hard? Well yes, it wanders through countless flats and naturals and sometimes the arpeggios contain repeated notes of the same pitch in succession – all tricky stuff to make smooth, especially when the arpeggio is shared amongst four players; imagine having a mix of spruce and cedar guitars and hearing the arpeggio change in tone colour as it rolled along. I have the uneasy feeling that this is a challenging way to make a faithful rendition of the original, where a few cosmetic changes and a different method of sharing the workload might have made something quite a bit easier and therefore more smooth and effective. Derek Hasted
CUMBIÓN for guitar orchestra and percussion by Jaime Córdoba Les Productions d’OZ. 15pp plus parts This work is for four guitars and double bass; the score indicates that a contra guitar can be used, but there is no treble clef version; the line is vital to the ensemble. In addition, there are parts for claves, guiro and bongos. This is a nice length – about three and a half minutes, and it’s strikingly rhythmic, beginning with guitar 4 and some smoochy minor jazzy chords with a South American feel to their rhythm. The bass comes in an instantly there’s an accompaniment. The percussion enters in turn and the repetitive sequence has taken shape. A light and airy motif appears with little decorations from guitars 2 and 3 – not quite ‘stab brass’, but a not dissimilar effect. Some big percussive chords follow, in a rather spiteful rhythm that requires everyone to be in step. I’m guessing the percussion players will get it right first time and most guitarists won’t! The opening theme is repeated with a thicker accompaniment before the composer plays some joyful tricks – some catchy rhythms, a waterfall of entries, fugue-style and chord to stop us in our tracks. The smoochy chords give way to some strummed chords of A9 over which the opening them is reasserted in its new brighter setting. The development is not over and gradually the musical forces realign themselves, evolving from a bubbly fun accompaniment into something more purposeful and determined to herald a return to the original key and some chromatic sequences that sounded rather bizarre as the lines were played one at a time, but which stack up into large and stylish chords when all the parts play at once. And the standard? Well, the percussion is easy apart from that oft-repeated couple of bars. The guitar parts are not too irksome but there is a need for parts to be very tightly synchronised at some points, and capable of complete independence at others, so I suspect Grade 7 is a little on the low side of what is needed. Here is an orchestration that will work effectively and delightfully! Derek Hasted
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HOMENAJE A MIGUEL LLOBET LLOBET: Scherzo-Vals; Romanza; Respuesta; Variaciones sobre un tema de Sor; Five Preludes. TRAD. (ARR. LLOBET): Ten Canciones Populares Catalanas; El Noi de la Mare. R. VILLAR (ARR. LLOBET): Cancion Leonesa. Ryuji Kunimatsu Fiori Musicali WHCM 337 CD It’s a glorious spring morning. The only sounds from the open window are distant birdsong and a gentle breeze through the trees. On the desk stands a pile of half a dozen CDs awaiting review. Several are by performers I already know and admire, and all contain repertoire of which I’m fond. What possible trials and tribulations could shatter this rare and perfect suburban idyll? But then came the crushing moment when it was discovered that the track listing for this 2007 recording, despite being issued on what appears to be an Italian label, is in Japanese only. So the inventory shown above was put together amid much cursing from a combination of printed scores, earlier recordings and maybe just a little existing knowledge. And it seems our oriental brethren don’t get much more information than we do, the booklet devoting an astonishing seven pages out of ten to what can only be described as a portfolio of publicity shots showing the handsome and photogenic Kunimatsu in a variety of surroundings. So it’s just as well the performance is of a high order, for the heavy artillery was most certainly ready to roll in the face of the above hindrances. Starting with the once neglected but now fashionable Scherzo-Vals, Kunimatsu soon emerges as a player who, despite showing a considerable turn of speed when the need arises, is essentially a modern exponent of what might be termed the molto espressivo school of guitar playing. Although such levels of lyricism may not be flavour of the month, they certainly deliver some persuasive accounts of repertoire from this era. Particularly convincing are the items from Canciones Populares Catalanas that are traditionally served up at a quicker pace than is strictly necessary and tend to sound somewhat slapstick as a result. I’m thinking especially of La Nit de Nadal and La Filadora, both of which might enjoy more frequent future outings if Kunimatsu’s lead is followed. Yes, I know they’re marked Allegro and Allegro Scherzando respectively, but in no dictionary on my shelf are either of these terms translated as ‘annoyingly daft’. Finally, a bonus mark to Kunimatsu for spotting the potential of Llobet’s setting of the obscure but appealing Cancion Leonesa. On the rare occasions this piece gets heard at all, it tends to finish up buried amidst more striking and energetic material. So to isolate it as a de facto encore that closes the present agenda was indeed a masterstroke of subtle and imaginative programming. A quality international release that needs an urgent rethink on the packaging front. Paul Fowles CARULLI - MUSIC FOR GUITAR AND PIANO VOL.1 BEETHOVEN (ARR. CARULLI): Variations in F on “Ein Mädchen oder Weibchen” from Mozart’s “Die Zauberflöte”. FERDINANDO AND GUSTAVO CARULLI: Duo in A on themes of Rossini, Op.233; Grand Duo Concertant in A, Op.65. FERDINANDO CARULLI: Nocturne in G, Op.127; Duo in D, Op.134. ROSSINI (ARR. CARULLI): Overture to “La Gazza Ladra”; Overture to “Armida”; Overture to “Il Barbiere di Siviglia”.
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Franz Halasz (guitar) Debora Halasz (piano) Naxos 8.570587 CD As Graham Wade observes in the notes to this 2009 release, the ubiquitous figure of Ferdinando Carulli (1770-1841) has long been regarded as ‘primarily a pedagogue rather than as a composer of concert works’. A fair comment, of course. Carulli’s success at grass roots level may be explained by one simple fact, namely that his teaching miniatures almost invariably turn out to be easier than they sound. There’s no secret formula behind this, the result being obtained simply by intelligent use of open strings and guitar-friendly intervals. In this respect, Carulli was the exact opposite of Fernando Sor, whose études, leçons and exercises are usually ten times harder than the student expects. Such hidden challenges may have their benefits at an advanced level but have no place whatsoever when it comes to teaching beginners. Has anyone ever succeeded in nurturing a novice on an exclusive diet of Sor’s Introduction à l’Etude de la Guitare Op.60? But when it comes to concert repertoire, Sor is rightly seen as the boss, although this doesn’t necessarily disqualify Carulli from taking part in the game. The Beethoven/Mozart reworking that opens the present agenda is nothing if not audacious, with Carulli himself providing the whole of one variation and the first half of another. The results are pleasing and provide ample evidence of the individual and collective excellence of this highly-regarded husband and wife team. This said, there are times throughout the proceedings when I’d have appreciated a little more level on the guitar and a bit less on the piano. I type this comment fully aware that it’s the second time I’ve said something on these lines within one day, so maybe the old lugholes are just getting lazy. Elsewhere, it’s all pretty much as we might have expected. It seems the input of Carulli’s son Gustavo was acknowledged on the original editions of Op.65 and 233, although no radical modernising force can be detected from the present revivals. But it’s all decent early 19th century fare of the type that raises many a smile while placing only minimal demands on the listener’s attention. Particularly engaging is the boisterous dialogue between instruments that develops in the Rondo from Op.134. Great music it isn’t, but great fun it most certainly is, especially for two players who clearly have the ample technical reserves required to enjoy it. So let’s just appreciate Carulli for the prolific and resourceful professional he was. Making music, not making history, was his thing. Paul Fowles GIULIANI - GUITAR CONCERTO NO.3 GIULIANI: Concerto for Guitar “terzina” and Orchestra No.3 in F, Op.70; Gran Quintetto for Guitar and Strings in C, Op.65; Variazioni su “Deh calma oh ciel” from Rossini’s “Otello”, Op.101; Variazioni su “Nume perdonami in tale istante” from Generali’s “Baccanali di Roma”, Op.102; Variazioni sur un Valse favori, Op.103. Edoardo Catemario (19th century guitars) with the Wiener Akademie conducted by Martin Haselböck Arts Music 47689 (Hybrid SACD) Of the three surviving Giuliani guitar concertos, No.3 in F tends to enjoy the least attention. This presumably is a direct result of its requiring a soloist who has access to a terzina guitar and the ability to play it. Otherwise, you’re limited to a conventional modern guitar with a capo on the third fret, a fiddly configuration that often spawns tuning problems and doesn’t usually sound that marvellous despite all the
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VIVA LA MUSICA CHOPIN: Valse Op.64 No.2; Cantabile; Nocturne Op.9 No.2. NIELSEN: Mit hjerte altid vanker; Tunge, morke natteskyer; Min Jesus lad hjertr fa. VILLA-LOBOS: Prelude No.3. NORGE: Danza la Primavera; Viva la Musica; Tango Tore; Flamenco Falso; Brasiliaño; El Danza Humorístico. Kaare Norge Universal UNI 179-211-5 CD Chopin on the guitar is by no means a new concept and yes, I’m going to mention Mario Parodi again. The excuse this time is that, although recent Chopin offerings by guitarists have tended to be somewhat restrained affairs that seem primarily concerned with not causing offence, Norge’s accounts at least partially regain some of the wonderful joie de vivre that Parodi so effortlessly generated more than four decades ago. This is particularly evident in the Valse at the start of the present disc, which also happened to be a Parodi favourite. Norge’s approach may well
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be that of a later generation, but the result is disarmingly persuasive. And, like Parodi before him, Norge doesn’t half rattle through that triumphant ascending scale. Although I doubt if the three innocuous miniatures performed here represent Carl Nielsen’s first appearance on a guitar recording, no precedent springs immediately to mind. They’re pleasant enough in an unobtrusive way and Norge delivers them with understated sensitivity. But I honestly can’t see this leading to a glut of further Nielsen transcriptions and arrangements. The erstwhile ubiquity of the Villa-Lobos makes it something of an odd man out on the present agenda. But its presence did cause me to muse on the notion that many of us who witnessed the V-L mania of the 70s started out by thinking of No.3 as the least interesting of the preludes, but later came to regard it as arguably the most enduring of all. Just a thought. And so to Norge’s original works or, to be more precise, the six encore lollipops with which he concludes this 43 minute innings. OK, that perhaps wasn’t the most generous evaluation of Norge the composer, but there’s no escaping the fact that we’re dealing with the lightest of the light. Only in the suave late night jazz of the title track do we find something that can stand a second hearing, and even the reflective mood created here is soon dispelled in the wet-as-a-puddle Tango Tore, a formula didactic pastiche of the type Vincent Lindsey-Clark does a zillion times better and would presumably never dream of using on a professional recording. Impressive Chopin with some highly acceptable Nielsen and Villa-Lobos, but those downmarket originals really don’t belong. Paul Fowles
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time and toil. One thing No.3 certainly doesn’t lack is thematic content and orchestral colour, this latter point being argued with conviction in Gian Andrea Lodovici’s notes to the present release. Particularly powerful is the opening Allegro Moderato, in which a grand descending initial figure calls us to attention with a splendid surge in volume from the brass a minute or so after kick-off. But how is Catemario’s undated terzina guitar by Enrico Rocca going to cope against a backdrop of such intensity? The answer is that it struggles. Or, to be more precise, it’s the listener that struggles to take on board the stark contrast between the exuberant start to proceedings and the distant fragility of the soloist’s first entry. You get used to it in the end, in much the same way as we always somehow adjusted to the octogenarian Segovia performing unamplified amid the barren acoustic of the Free Trade Hall, but it’s hard going for all. I should emphasise at this point that Haselböck clearly makes every possible effort to be a guitar-friendly conductor, but there’s no escaping the fact that we’re dealing with fundamentally unequal forces. The whole situation is highly regrettable because Catemario undoubtedly knows the terrain well and has all the technical skill to make him the ideal man for the job. But there are times when adhering to a strictly ‘authentic’ sound balance just isn’t the answer. For the remaining items, Catemario is joined by two different string quartet line-ups, both of which are led by Agnes Stradner. Almost immediately, the listening experience becomes a happier one. Admittedly, the Gran Quintetto enjoys the further advantage of being scored for a conventionallypitched guitar, the hardware used on this occasion being a ‘Pons l’Ainé’ from 1825. But even when the terzina makes its return for the three sets of variations, only a little adjustment has to be made on the part of the listener. This makes things all the more frustrating because, although the quintet items in general and the Gran Quintetto in particular clearly have something to offer, it’s Concerto No.3 that’s the real hit. Or at least it would have been if you didn’t have to reach for an ear trumpet every time the soloist flexes his muscles. It’s either that or blow a hole in the speakers whenever there’s a tutti. Needless to say, the so-called ‘loudness’ button makes so little difference that you wonder, not for the first time, why it even exists. A first-rate presentation of vintage repertoire ranging from the decent to the outstanding, but the sound capture on the concerto is strictly for purists only. Paul Fowles
STANDING STONES Music from Scotland and Ireland Frevo Quartet Natural Studio Records. NSR CD011 With a running time of 28’ 50” this themed EP – CD is the second in a continuing series from this talented guartet made up of: guitar (Matthew McAllister), flute (Aisling Agnew), violin (Feargus Hetherington) and bass (Douglas Whates). Here they turn their attention to the music of their heritage, as all members hail from Scotland or Ireland. The arrangements are beautiful throughout and quite individual in their sound-world and not always what you might expect. So the opening Aisling Gheal (A Bright Vision) is based on the harpsichord version of Sean O’Riada who had so much influence initially on the music of the Chieftains. The music is restrained and haunting yet aristocratic in style. Perhaps the most surprising arrangement, for me at any rate, was their slightly off-the-wall version of a long favourite tune of mine Wild Mountain Thyme. I don’t know what I was expecting, but it was not the version I heard! The chords in particular are unusual and yet entirely in keeping with the music’s style. This is one I had to get used to a bit before I learned to like it. Arisaig is hauntingly beautiful and quite different from the solo version I heard Matthew play a little while ago, but every bit as good, with the flute taking most of the melody lines, occasionally aided and abetted by the violin with the bass and guitar doing the accompanying. Another Irish air that for me was the highlight of the CD was the next track, An Chuilfhionn (The Fair Haired One) with one of those tunes that stays with you long after the CD is over. I am often amazed at how the quantity of stunning traditional tunes that come from Ireland and Scotland. This one certainly goes to into my favourite top five. Up to this point most of the music has been
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reflective and generally slow in pace. This is now rectified with Guards Bridge at Anzio a rollicking uptempo Scottish pipe march with a lovely pedal section utilising the bass at its very best. Hamnataing is a traditional tune arranged by Shetlander Christopher Stout. It lilts along beautifully and again has a melody to die for. Inisheer completes the album and is named after Inis Oirr, one of the three Aran Islands of Galway Bay. The guitar takes the tune with pizzicato string accompaniment. The section with the artificial harmonics is particularly striking in its simply beauty. This is a stunningly recorded album from quality musicians playing fabulous arrangements of some of our homeland’s most evocative music. No more to be said. Chris Dumigan
uplifting fashion. I challenge anyone listening to any of the first four of these beautiful compositions to not be moved emotionally. In these pieces one is reminded here and there of the best of Ennio Morricone but with the hallmark of Jose Luis Merlin infused throughout. All the pieces have been written and arranged by Merlin for the Cuarteto Hispanoamericano which comprises Debora Lewin (traverse flute), Ezequiel Lezama (oboe), Edith Saldana (violoncello) and of course Jose Luis Merlin (guitar). The instrumentalists give a good account of themselves and work extremely well as an ensemble group. This is a well recorded disc, full of clarity and oozes charm and musicianship through every pore. Recommended. Steve Marsh
AL PEREGRINO J. L. MERLIN: Pregresiones para Pauline; Galopa el Jinete; Al Cristo de la Quebrada; Cinco Canciones de Amor. A. RAMIREZ: Alfonsina y el Mar. Cuarteto Hispanoamericano Dos Almos With the exception of just the Ariel Ramirez classic composition, this is a programme made up entirely of the music of the Argentine guitarist and composer, Jose Luis Merlin. Readers who are familiar with Merlin’s output will know what to expect: exciting and exceptionally rhythmical works sitting alongside evocative and touching ones, all infused with the composer’s gift of inspired melodies. The programme starts with an almost contradiction in terms, a joyous requiem written in memory of human rights activist Pauline Lasse. The programme notes need to be read to understand this ambiguity but once read, this lovely music takes on an emotionally tender slant than perhaps it would otherwise have done. Two of the movements from the composer’s solo guitar work Suite de Recuerdo are incorporated into the sixmovement Al Cristo de la Quebrada and very natural and fitting in this setting they are too. The five songs of love (instrumentals only) which conclude the disc are an absolute delight - easily the zenith of this most delightful programme. The music was inspired by two love poems from Silvio Rodriguez and Antonio Esteban Aguero; one by Bertold Brecht concerning a father grieving over the loss of his son on the battlefield and a more ‘philosophical’ one by Atahualpa Yupanqui. The final one, the main feature of which is an assortment of crescendos and decrescendos throughout the music, is more of a dance than a song and concludes the set in fine and
MI ALMA LLANERA PEDRO GUTIERREZ: Alma Llanera. ANTONIO LAURO: Cuatro Valses Venezolanos; Seis Por Derecho; El Negrita; Carora; El Marabino; Maria Carolina. VINCENTE EMILIO SOJO: Que No Te Quiera Mas; Estrella Del Mar; Quisiera Ser. RODRIGO RIERA: Serenata Ingenua; Melancolia; Nostalgia.
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TROIS CIELS BERNARD PIRIS: Rhun; Livre d’Images; Sharan; Adeus; Amanha; Waltz for Bill; Trois Ciels. Brigitte Repiton Les Productions d’OZ. DZ1230. As my role as reviewer I have written a number of reviews regarding the published music of the French guitarist/composer Bernard Piris and if memory serves me correctly these have been positive reviews and have each and every one of them commended the publications. Therefore it was with anticipation that I sat down to listen to a disc devoted entirely to his works and it is nice to report that it was as good, if not better, I’d been expecting. On this CD the excellent French guitarist Brigitte Repiton joins forces with the Duo de Guitares de Lyon in the opening track, the 10-minutes long Rhun, an exquisite composition in contemporary
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mode with many segments of varying moods and tempos and a wonderful opening work to whet the appetite. A set of seven solo guitar compositions make up Piris’ Livre d’Images, a group of diverse pieces of probably only medium difficulty but are nevertheless highly effective. Writing high quality works at this standard of technical level is always the mark of a good composer. As well as the composer’s own compositional style one can hear the influence of such luminaries as Brouwer and Satie. The stylish three-movement duet Sharan has hints of minimalism with jazzy/ African characteristics and for this work Repiton is joined by Piris himself who also plays in partnership with her on the delightfully lyrical Waltz for Bill, a work dedicated to the jazz pianist Bill Evans. Adeus and Amanha were published originally together so presumably they are intended to be performed as a pairing. They make nice contrasting compositions Adeus being very introspective, moody and improvisatory-sounding and Amanha being more up-tempo with a Latin beat. The disc concludes in grand style with the only quintet on the programme, the title track Trois Ciels, for which Brigitte Repiton is joined by Le Quatuor Cordoba in a set of wonderfully exciting, atmospheric and moody pieces. Throughout the playing from all concerned is of top class and the whole product is well presented. Steve Marsh
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PEDRO LOPEZ: Las Perdices. ANTONIO CARILLO: Como Llora Una Estrella. BENITO CANONICO: El Totumo De Guarenas. I. ‘INDIO’ FIGUEREDO: Los Caujaritos. ALFONSO MONTES: Preludio De Adios. SIMON DIAZ: Caballo Viejo. Flavio Sala Felmay FY3015 First prize winner at several international guitar festivals including the Concorso Internazionale di Gargnano (2001) and the Concorso Internazionale ‘Michele Pittaluga’ (2003), this disc of music from Venezuela finds Italian guitarist Flavio Sala in excellent form; in these performances he seems thoroughly at home from every angle. Technically assured, Sala oozes confidence in his playing and displays an innate knowledge of these, often complex musical styles, a knowledge which enables him to present authentic-sounding interpretations of this most entertaining and delightful music. The emphasis/focal point on this disc seems built around the master-craftsman of Venezuelan guitar music, Antonio Lauro; his music being sprinkled around the 22-item programme in strategic places rather than in groupings, as the rest of the composers’ music are. This constant returning to Lauro’s compositions inevitably invites comparisons to the other works and reveals just what a musical genius he was when writing for the guitar - not that the rest of the programme is below par, far from it, it is just that Lauro’s music really has the ‘X factor’. Of the ‘non-Lauro’ tracks, for sheer excitement and invigoration, Sala pulls out all the stops on the highly rhythmic Los Caujaritos and Alma Llanera and shows his great sensitivity in his thoughtful presentation of the three gorgeous Sojo compositions. This is a player who has the skill to infuse deep emotive interpretative control in the slower works and produces exceptional rhythmic articulation where required in the more complex, quicker pieces. Mi Alma Llanera comes half a dozen years after the release of John Williams’s disc El Diablo Suelto, a recording devoted to the same thematic undertaking. Was the JW CD of 2003 influential in Sala’s choice of material here? … I don’t know, but approximately half the programme of El Diablo Suelto is mirrored on this new release. Listening to both players performing the same pieces side-by-side as it were, the immediate judgment is that the Williams production has a slightly more refined tonal quality to it whereas Sala’s recording has more of a hard edge - more ‘bite’, particularly noticeable in the faster tracks. This is not to say that one is more preferable to the other, both are exceptional discs in their own right and lovers of music from Venezuela should definitely have both CDs in their collection. Steve Marsh
JOTA - FRANCISCO TÁRREGA F. TÁRREGA: Jota; Tango Maria; Gran Vals; Sueno; Capricho Arabe; Lagrima; Studio Sobre la Sonatina d’Alard; Adelita; Las Dos Hermanitas; Vals; Maria; Alborado; Recuerdos de la Alhambra; Mazurka en Sol. J. MALATS: Serenata Espanola. S. de YRADIER: La Paloma. I. ALBÉNIZ: Sevilla. J. MASSENET: Notti de Spagna. J. S. BACH/C. GOUNOD: Ave Maria. Michael Erni Guild GMCD7332 From a personal viewpoint I have always had a fondness for the music of Francisco Tárrega, probably stemming from the fact that his music was some of the first ‘proper’ classical guitar music I remembering hearing. I also like the idea of compilation or ‘themed’ discs. Consequently I was looking forward to the enjoyment of listening to this CD dedicated to the some of Tárrega’s original compositions plus a handful of his arrangements. Given Michael Erni’s exceptional technical virtuosity and the clear recording sound, this new release is particularly disappointing. Having listened to this disc several times now I have to report rather a lack of enthusiasm with the performances which are, on the whole, taken far too fast making for uneasy listening. For the main part, this is supposedly poetic, expressive music but it seems that Erni’s penchant for technical pyrotechnics has supplanted all that. Where is the lyricism and tenderness in the phrasing? The pace at which the two tremolo pieces are taken at is uncomfortable; the appreciation of the romanticism in Recuerdos is lost. It is not all bad news however, as there are some moments of musical quality and sensitivity here and there, Erni proving that he has it in his soul to display this aspect in his performances, but the overall impression at the end of the day is one of a high velocity programme leaving the listener with that impression. If ‘serious’ Tárrega is what you are looking for there are better recordings out there; David Russell’s name springs to mind. Steve Marsh
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P ersonal CD R eviews
NEW MUSIC FOR 2 GUITARS TILMAN HUBNER: Cantus Latvius; Cantus Firmus; Lang Wird der Weg; Cantus Campi. SEBASTIAN SPRENGER: Tu Iridem Aspicies; Chant Spirituel; On My Way. ULLI GOTTE: Four Colours. FRANCIS KLEYNJANS: Homage a Stanley Myers. Tatjana Kukoc & Tilman Hübner www.newmusicfor2guitars.de Tatjana Kukoc & Tilman Hübner first collaborated together on a CD titled ‘Jovka’, where on that occasion Kukoc was the performer with Hübner contributing several compositions to the programme. Shortly afterwards they formed a duo and began performing together with the emphasis on contemporary music. Hübner’s contribution as composer on this particular disc comes with four works all leaning towards minimalism. His writing is inventive and interesting enough to hold the attention and never become tedious or outstays its welcome as much music written in this style can, and often, does. Unfortunately the four pieces are scattered through the programme as single items but work very well and in my opinion, much better, when listened to as a ‘set’ of four, one after the other. The German composer Sebastian Sprenger has a penchant for experimental music as witnessed in the first two of three of pieces written by him featured on this programme. These two are quite energetic and forceful in nature with, stylistically, more than a passing hint at the spiritual aspects of Indian raga music. His third contribution could not really be much more of a contrast with On My Way (full title being On My Way to the Bus Stop), a short composition which could easily have been an easy-listening pop ‘standard’ from the 1960s. The longest single item at just over ten minutes’ duration, comes with Four Colours written by the influential minimalist composer Ulli Götte. Written for the two performers on this disc, this piece comes the nearest to ‘true’ minimalism as anything else on the programme and is a work which develops out of, as the composer puts it, ‘four sound colours, or four scales’. The work ebbs and flows with varying multi-rhythms created between the two instruments with several dynamic and rhythmic peaks and troughs before concluding in a calm, quiet ending. French composer Francis Kleynjans’ one contribution to this disc comes in the form of a pastiche of Stanley Myers’ classic miniature masterpiece, Cavatina, but this Homage a Stanley Myers is too sugary-sweet for my liking, is not in the same league as the piece which was the inspiration for it and really is the odd-one-out in this programme. A large majority of this disc contains some fine writing for two guitars and allows the listener to discover compositions and indeed, composers who may not yet be familiar. Of particular interest are the four pieces by Tilman Hübner which, collectively at over 20 minutes, makes the CD worth having in its own right. Although initially some of the music contained on this disc may not have immediate attraction, familiarity could ensure a fuller appreciation of the music. Steve Marsh MUSICBOX L. BROUWER: Un Dia de Noviembre. W. MUTHSPIEL: Drei Tonspiele. F. TÁRREGA: Capricho Arabe. A. IGLESIAS: Arabesca. A. LAURO: Triptico.
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A. BARRIOS: El Sueno de la Munequita. R. DYENS: Tango en Skaï. I. SAVIO: Cajita de Musica. Zsofia Boros www.zsofia-boros.com This new disc features the Hungarian guitarist Zsofia Boros (given as Boros Zsofia in the sleeve notes) performing established works alongside ones less familiar in the guitar repertoire. The more famous compositions in this programme, the ones by Brouwer, Tárrega, Lauro, Dyens and Barrios, are dispatched with a fine sense of musicianship, the player taking several of these pieces at a slightly less hurried, more deliberate tempo than one is accustomed to hearing, the music not suffering in the slightest, in fact at times this pace is quite advantageous. The works which were not known to me came as a very pleasant surprise. The three pieces by the Austrian jazz guitarist and composer Wolfgang Muthspiel are, maybe due to their unfamiliarity, one of the high points of this recording. The first movement is a relentless, frantic composition where brief periods of gentleness break in now and again. The second part is a beautiful slow, lament-styled composition evoking late-night moody jazz sensations. The set concludes with a darkly resonant and slightly menacing work which picks up the pace mid-way through in a flurry of tense agitation before the piece finishes in similar mode to the opening section. The early-20th century Spanish guitarist Angel Iglesias, whose name is almost unknown nowadays, is represented by an Arabesque which has flamenco/Moorish overtones. In this piece Zsofia demonstrates a commendable command of technical control and puts in a performance of a work which, being perfectly honest, could have sounded quite garish and cheap in lesser performers. I found this a really likeable disc presented by a guitarist of skill and discernment. The recording quality is good and although there is not much information given in the sleeve notes the packaging is excellent. Steve Marsh FOUNTAIN D. O’NEILL: The Juggler; Manggha; Clouds; Samba Ali; Fountain; A Remark You Made. J. S. BACH: Cello Suite No. 1; Prelude from Lute Suite No. 4. D. SCARLATTI: Sonata in A k209; Sonata in F minor k32. T. O’CAROLAN: Carolan’s Receipt. G. SANZ: Canarios. Darragh O’Neill www.darraghoneill.com This recording was the final one to review from a batch of several other ‘Privately Released’ CDs; a bunch which was of a particularly high standard throughout and, pleasing to say that this too, does not let the side down. Darragh O’Neill, who studied with Carlos Bonell at the Royal College of Music, is technically equipped to ably handle all the music presented in his programme. His own pieces which, begin the programme, are very entertaining, and highly listenable; being a mixture of contemporary evocative compositions in a blend of Latin/Jazz style. He gives clean, sensitive and authoritative performances of the rest of the programme from the Baroque era, playing with what Carlos Bonell describes as a ‘deceptive simplicity’, which is absolutely accurate, O’Neill conveys the impression that this is all so easy - which we all know is far from the truth. A very enjoyable and desirable debut recording. Steve Marsh
Classical Guitar Magazine
MARCIN DYLLA Interview; GIULIANI: Rossiniana No.1. TANSMAN: Variations on a Theme by Scriabin. RODRIGO: Tres piezas españolas. Mel Bay Publications, Inc. MB21932DVD A spectral figure emerges from the blackness. This is Marcin Dylla, hailed as a guitar sensation from Poland. He is more than a sensation, of course; he has the technical skills of a virtuoso coupled with the mind of a thinking musician - a rare enough combination, but one that cannot guarantee success unless backed by the kind of publicity that only a large production can give him. Mel Bay are going a long way in that process with the issue of this remarkable DVD, in which Dylla not only plays three substantial works but also talks at length about his training, his methods and his beliefs. The playing tracks show Dylla’s hands in generous detail. This is a great help to students of the guitar.
Classical Guitar Magazine
We used to see a lot of Julian Bream’s hands on TV a generation ago; today’s camera techniques make even more detailed close-ups possible, and this is true progress. Dylla took up the guitar at the age of seven. In itself this is not particularly important - he tends to believe that the teenage years are better - but the fact that his first teacher was also an engineer ensured that he grew up with an intimate knowledge of how the fingers actually worked. This was a formative experience. His attitude to competitions (he has won 19 at international level, culminating in the GFA) is refreshing. He does not join in the general condemnation of those who see competitions as unseemly races more suited to athletes than musicians, but says they can be ‘beautiful events’. His attitude helps to explain this unusual view: he does not think in terms of winning or losing, but of doing his best, of showing audiences and judges what his present state of development is. Viewed like this, it makes sense but how many competitors are capable of it? It can hardly be said that the knack of winning competitions is the mark of a true musician, but this one certainly found them a challenge, a goal, something to work towards. He did not enjoy them, but they provided useful checkpoints in the long journey of learning and discovery he had set for himself, working with a determination and a precision of approach that are seemingly the antithesis of the ‘spontaneous’ school. Spontaneity, if you are going to play the classics, can only be an illusion at best. The interview, in which the questions are not heard and the interviewer not seen, makes you concentrate on the answers to an unusual extent. Dylla’s guitar, by the Polish luthier Boguslaw Teryks, satisfies any difficulty in choosing between spruce and cedar. This guitar has a double top, spruce above, cedar below, and it is claimed that you can hear both types in the sound. In fact the various characteristics blend so well that a perfect cohesion is achieved, with the clarity of one and the warmth of the other. Has Teryks found the answer? His guitar certainly suits Marcin Dylla very well. As you would expect, the three works are outstanding in the performance Dylla gives them. Colin Cooper
DVD R eviews
ANYWAY Roland Dyens À bátons rompus... (interview); DYENS: Improvisation; Sols d’Ièze; Anyway; Djembé. GILLESPIE: A Night in Tunisia (arr. Dyens); RAMIREZ: Alfonsina y el mar (arr. Dyens for guitar ensemble); BADEN POWELL: Berimbau (arr. Dyens); JOBIM: Felicidade (arr. Dyens); RODGERS & HART: My Funny Valentine (arr. Dyens). GHA 126.470 Roland Dyens explains his work very clearly and in musical French. The accompanying family photographs are charming; an intensely beautiful young woman in a boat (his mother?); the young Roland, wearing a bow ties and holding a large book He admits that every time he starts composing, he feels that creativity will stop. Fortunately for us, it doesn’t, and the fountain continues to flow. Creativity, he thinks, comes during the process of writing. All of us who have created anything at all, a story, a painting, a musical composition, will recognise the truth of that. It leads to a certain impatience with those who say ‘I stopped composing (painting, writing) because I had nothing more to say’. They, of course, must be the best judge of that. He mentions the historic occasion when he performed his Concerto for two guitars in Tychy, Poland, with Jérémy Jouve, and pays tribute to the orchestra and its ‘absolutely extraordinary conductor’, Marek Mos. This was a performance to treasure, as I vividly remember. One of the great originals though he is, Dyens is proud to be a member of the classical guitar tradition; he feels he owes a debt to the huge personalities of the past, people like Tárrega and, particularly, Sor. We are treated to a close-up of his hands as he plays Gran Solo, so simple, so elegant, so absolutely right. We get, too, his arrangement of Nuages, or much of it. The rubato of jazz, he points out, is not a slowing down, but is a ‘slaloming with the beat’: something that jazz musicians understand intuitively. Take the A Train is used as an illustration. I could have done with more of it. ‘Everyone knows that the French chanson is a major art.’ Not in Britain, unfortunately. Dyens’s arrangements were inspired by Llobet’s of Catalan songs, and surely deserve equal consideration. I hope I have said enough to demonstrate what a good DVD this is. Roland Dyens is unique in the enormous contribution he has made to contemporary guitar. Colin Cooper
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B ook R eviews
EL INALCANZABLE: AGUSTÍN BARRIOS MANGORÉ Congreso de la Nación, Centro Cultural de la República, Asunción, Paraguay (2007) ISBN 978-99953-843-0-2 pp.290 Paperback £65 from www.FretsOnly.com This amazing book, which all lovers of the music of Barrios will treasure, is complete with parallel texts in Spanish and English. It is a truly magnificent example of the art of publishing and from now on will certainly take its place in guitar literature as a seminal source of reference on the great Paraguayan. After various short introductory essays (including a preface by the eminent biographer, Rico Stover), a detailed chronology of both the life of Barrios and later developments (1945 -2007), in terms of research, performances and events, provides the basic information on which the book is founded. A unique collection of historic photographs (18931944) follows, offering a panorama of Barrios through the decades, a section which might well have constituted a book in its own right. This is complemented by a display of documents ranging from his baptismal certificate to copies of letters and poems, illustrations of many hand-written scores, and a full account of Barrios’s guitars, with excellent photographs of several of his concert instruments (now preserved in museums). Next comes a pictorial discography not only of Barrios’s own recordings but also a number produced by subsequent generations of players. After a useful selection of recital programmes (1925-1939), editions of the musical scores and books about
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Barrios are well covered, again in full colour pictures. The final chapters depict copies of Paraguayan stamps commemorating Barrios, and discuss the various Medals of Honour awarded to those who have helped propagate his music, with a fine photo of John Williams being presented with his medal in Asunción, Paraguay on 17 November, 1994. The tongue-twisting title of the book, El Inalcanzable, is explained by Rico Stover in his Barrios biography: It has been claimed that when asked for his opinion of Barrios, Villa-Lobos reputedly declared “Inalcanzable” (“Unreachable”). The exact source of this quote is unsubstantiated and I doubt its authenticity. (Richard D. Stover, Six Silver Moonbeams: The Life and Times of Agustín Barrios Mangoré, Clovis, California: Querico Publications, 1992, p. 201). In Lisa M. Peppercorn’s The World of Villa-Lobos in Pictures and Documents (Aldershot: Scolar Press, 1996, p. 38). there is a photograph of Barrios in Rio de Janeiro with the Brazilian composers, Quincas Larenjeiras and João Pernambuco. This was taken on 5 July 1919 at the Cavaquinho de Ouro in the Rua Carioca, which (according to Peppercorn’s caption) was ‘a place often frequented by Villa-Lobos and popular musicians’. However, on this evidence, it cannot be affirmed (or denied) that Barrios actually met Villa-Lobos, let alone whether the Brazilian maestro ever coined the phrase quoted at the front of the book, “...Agustín Barrios, el inalcanzable.” Though another title might have been more pronounceable (imagine asking for a book called El Inalcanzable in Waterstones!), the publication itself achieves a kind of perfection. The range of material presented is dazzling in its scope and intensity. Altogether this is a unique cornucopia of Barriosiana and an immense pleasure to read and to browse. To produce such a work necessitates a corporate effort by many dedicated people as well as vision and imagination. The result is a triumphant affirmation of scholarship made accessible by excellent design and presentation. All self-respecting lovers of the guitar should purchase a copy immediately. Graham Wade
Classical Guitar Magazine
FIONA HARRISON PAUL GREGORY ANDREW GOUGH St Andrews Church, West Dean 16 August 2009 Fiona Harrison, a graduate of the Royal College of Music who gained her Masters degree at Yale University, is musical, sensitive and poetic in her approach to her music, which is always well shaped and with plenty of point. She played Danza Española No.5 by Granados, Oblivion by Piazzolla, Mallorca by
Classical Guitar Magazine
Albéniz, and concluded with The Legend of Hagoromo by Keigo Fujii. The last of these is based on an ancient legend of a celestial dancer who somehow loses her nightie (or ‘night-mantle’, as the formal version has it). The human and somewhat ungallant fisherman who finds it will not return it unless she dances for him. The Irish poet W.B. Yeats drew on the legend in his At the Hawk’s Well. Fujii’s version is a kind of neoRomantic tone poem, with harp-like arpeggios, harmonics, a discernible melody, all rather folky in manner. With a certain amount of repetition, it reaches a climax of some intensity. Fiona Harrison brought to it the same virtues she brought to the other pieces in this short recital, principally a clear melodic line that made sense of the story. Her pointful and well-received recital made an excellent start to the musical proceedings of the 18th festival at West Dean. Andrew Gough, also a tutor on the West Dean course, offered a novelty for this classical audience, a recital in 7.1 Surround Sound. A certain feeling of helplessness comes over one when surrounded, but this music was not at all threatening. On the contrary, it turned out to be an engaging display of modern technology, in which the sound, especially its direction, was manipulated by the designer and mixing engineer, Matthew O’Malley who was an accomplished guitarist before going on to study music production techniques. The performance of Steve Reich’s Electric Counterpoint was announced as being the first in surround sound. To these ears, it improved the minimalist message, though whether hearing it disappear into one corner of the Sussex Barn, only to return in a corner opposite, is a true musical effect or merely a clever dodge, is perhaps debatable. When you read the movement titles of the Suite Le Grazie (‘Thanks’) - Homage to Fats Waller, Homage to Vivaldi Homage to Michael Tippett - you know at once that the composer can only be Gerald Garcia. An enthusiastic supporter of the collaboration between O’Malley and Gough, he no doubt enjoyed Homage to Fats Waller in surround sound as much as I did. Le Grazie was a premiere in this form, as was Electric Counterpoint. David Carroll’s Pastoral was a world premiere, which by definition seems to give the other two works an extra-terrestial quality. Pastoral was pleasant enough, but I thought the clever pastiche played by the composer in a Brouwer masterclass a day or later was better. Dave Carroll is clearly a composer of talent and originality, with a good track record that includes working with The Royal Shakespeare Company. Make a note of the name. Paul Gregory, an international prizewinner, produced a full, round tone in Giuliani (Grande Ouverture op.61), Villa-Lobos (Valsa Concierto No.2, written in 1904, when the composer was only 17, and completed by Paul Gregory), Tárrega (Capricho Arabe) and Malats (Serenata Español). There was to have been a piece by Teresa De Rogatis (Quasi una Fantasia, from 1940), but there was some reason why it was not performed. Instead we heard Fortea’s Nocturne, which I might have appreciated more if had not been disappointed by the absence of the De Rogatis piece. It was a satisfying 40 minutes nevertheless, with all Paul Gregory’s youthful skill intact, as far as I could judge. These three mini-concerts got the festival off to a flying start; they formed the substance of a busy afternoon, and were much enjoyed by a capacity audience, which of course included many of those who had come for the Open Day. Colin Cooper
C oncert R eviews
LOS ANGELES GUITAR QUARTET St Paul’s Church, Chichester 15 August 2009 Paying one of their rare visits to Britain, the LAGQ performed to a well-filled St Paul’s Church, Chichester, on the opening night of the 18th International Guitar Festival of Great Britain (West Dean). As well as being a feast of good and interesting music, it was an object lesson in presentation: no fuss, no showing off, no unnecessary activity. They are old hands, of course, and it shows. There have been few changes in their long history, the latest being the departure of Andrew York, a highly talented composer and solo guitarist who was seeking fresh woods and pastures new, and moreover an admirable ensemble player: his loss must have been difficult to replace. Matthew Greif (pronounced Grife) has all that is required, which is a lot: ensemble playing is never, ever, an easy ride. He joins the veterans Scott Tennant and William Kanengeiser and, more recently, John Dearman, to make up a quartet of brilliance, in which the qualities demanded of members of an ensemble are always paramount. It is regrettable, though hardly surprising, that the repertory of original music for guitar quartet is still a long way from that of a classical string quartet. The LAGQ make up for this lack with the quality of their arrangements and a high degree of enterprise, imagination and adventurousness: a potent blend that has brought them a success that is both popular and critical. After an expertly executed performance of Rossini’s Barber of Seville Overture, the LAGQ devoted the remainder of the first half to William Kanengeiser’s arrangements of Spanish Renaissance music, with pieces by the vihuelistas Narváez, Mudarra, Valderrábano and Milán inserted at intervals to beef up the structure. The work, titled Music from the Time of Cervantes, originally formed part of a project in which John Cleese, who has a place in history as the actor who brought the theatrical craft of farce to British TV in the impossible-to-follow Fawlty Towers, read extracts from Cervantes’ monumental Don Quixote. William Kanengeiser, who arranged the music, says that he felt obliged to look at the words first, but became addicted and had to read more. The music makes a fine collection; aided by a wealth of percussion effects and the extending of the guitar’s lower compass offered by John Dearman’s 7-string instrument, it makes a substantial addition to the repertory. The second part of the concert juxtaposed Images of Brazil (in which Leo Brouwer’s Cuban Landscape With Rain oddly found a place) with four ‘American Classics’ consisting of Sousa’s march The Black Horse Troop, Count Basie‘s Jumpin’ at the Woodside, Andrew York’s arrangement of the traditional Shenandoah, and Hoedown from Aaron Copland’s Rodeo, arranged by Gregg Nestor. This was an excellent concert, enjoyable and satisfying in about equal proportions. Colin Cooper
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GRAHAM DEVINE Rosie Reed, flute Charlotte Stock, viola The Sussex Barn, West Dean, 18 August 2009 Leo Brouwer was in the audience to hear Graham Devine, with Rosie Reed and Charlotte Stock, give the first UK performance of his Paisajes, Retratos y Mujeres (Landscape, Portraits and Women). The three movements are headed Retrato de Wagner con Mathilde, Mujer bailando un Minuetto, and La pasión según Dowland (Portrait of Wagner with Mathilde, Woman Dancing a Minuet, The Passion According to Dowland). The references to Wagner and Dowland are clear enough in the music, but there was some argument about whether the minuet quoted was referring to Haydn or Mozart. To me, it sounded like the 1st theme of the 2nd movement (the Minuet) of Haydn’s ‘Military’ Symphony. The pattern of Brouwer’s piece reflects to some extent that of his Sonata, with which Devine ended the concert in as satisfying a performance as I have heard. In the ensemble piece, the composer gave the three players plenty of opportunities to achieve that unique simultaneous blending and contrast that is characteristic of the best chamber music. I wasn’t sure how well the themes from three older periods were integrated into the structure, as the Mendelssohn snippet is in Maw’s Music of Memory, and will have to hear it again before I can decide. Meanwhile, it passed my personal test by being entertaining and even provocative. And the parts were well written, always a good sign. Brouwer writes well for the violin family, as his third Guitar Concerto amply demonstrates. The whole of the second half was devoted to Brouwer’s music, and included two other first UK performances: Cantilena de los Bosques and Paisaje Cubano con Fiesta, the first requiring a seamless legato, duly provided. Some echoes of El Decameron Negro might be heard, too. Froberger’s Suite No.20 began the concert, arranged and compiled by Graham Devine from original pieces for harpsichord. Original is the word: here is no tame Baroque composer happy enough to follow the conventions of his time. Froberger was his own man. Few composers have written their own tombeau, as Froberger does in his Meditation on my Future Death. The 1st fret capo used for this suite meant that, in conjunction with a warm summer’s evening, tuning difficulties lasted some way into Ponce’s Sonata Romantica. By the time the second movement came along, all was well, and Devine made much of its Schubertian overtones. Contemporary pieces by Juan Antonio Sanchez and Javier Contreras brought the first half to an end, and led naturally to the Brouwer group that formed the entire second half. The single encore was more Brouwer, his elegant Homage to Szymanowski. It brought to an end a concert full of interest and achievement. The performance of the trio in the presence of its distinguished composer (now a lively septuagenarian) made it landmark in the 18 years’ history of the International Classical Guitar Festival at West Dean. Colin Cooper DUO MONTES-KIRCHER Sussex Barn, West Dean, August 19, 2009. Adding another voice to 2009 as a year reflecting on music anniversaries, if measured from their debut performance in 1984, Duo Montes-Kircher now celebrates a 25-year partnership. More than a mere time marker however, the real draw of this ensemble is the intrinsic musical understanding and experience that goes with this period. Two early items on the programme could be loosely viewed as the most canonised works for guitar
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ensemble: Espanoleta & Canarios - Gaspar Sanz (arr. Kircher); and excerpts from El amor brujo - Falla (arr. Montes-Kircher). These pieces also provided a chronological basis from which the remaining programme could unfold. Separating these works was Montes’ Tonada & Joropo, a melodic and sensitive composition well placed within the overall scheme. Ulrich Uhland Warnecke, as the composer apparently likes to be known, from Stuttgart was the next featured composer. His Jubilee Suite, dedicated to MontesKircher, was receiving its British premiere on this occasion. Pluralistic in nature, this work employs Methenylike melodies and harmonies in the first movement; a tricky 7/8 metre in the second almost minimalist in construction; a late romantic collage mixed with mysterious Arab sonorities in the third; and a funky display of rhythm and colour in the last. This truly was a multi movement work with something for everyone. ‘The Beatles Suite’ comprising Till There Was You, Here There and Everywhere, All My Loving , The Fool on the Hill and Penny Lane, introduced part two. With the exception of the final two items borrowing from Leo Brouwer, all songs were arranged by Montes himself. Although the presence of Lennon and McCartney on the page stood out at first glance, the vast majority of composers represented in this concert belonged to the latter two thirds of the twentieth century: a testament to the diversity of that period perhaps. Mirroring the first half of the concert was music by another German composer to dedicate a piece to the ensemble. Ulrich Wedlich studied guitar and composition at both the Music Academy of Stuttgart and Vienna, in addition to philosophy at the Academy of Performing Arts. El Cielo Que Esta was written for Duo Montes-Kircher for their 10th Anniversary, and they offered a sample of this work by presenting two movements: El Horizonte & El Sol. With influences encompassing Greek, Spanish, impressionist and rock music, this was attractive music not least because of underlying widespread appeal. Subsumed under the heading ‘Popular and Latin American’, the duo turned firstly to Hugo Blanco’s Moliendo Cafe. The infectious syncopated accents were carried off with rhythmical precision, and the straight unison runs further demonstrated this tight weld. To conclude, Alfonsina y el Mar - Ariel Ramirez provided a plateau before a particularly vibrant presentation of Antonio Lauro’s Seis por Derecho, in which Montes exchanges his guitar for the cuatro. Adopting a profile stance in order to aid acoustic balance with this instrument, and in doing so placing greater visual emphasis on Kircher’s leading role, the duo produced a gypsy-like virtuosic display. The audience then engaged the ensemble in a way that resulted in three encores. Reinforcing this as an event to speak of, Duo Montes-Kircher was to surprise composer Peter Stuart who was in attendance with a piece he had once written for a special friend (An uchd a mhathair (In your mother’s eyes). Stepping up to this new level of performer-audience interaction, the duo finally departed the platform. Guy Traviss XUEFEI YANG West Sussex Guitar Club, Recital Hall, Bognor Regis, September 4 2009. West Sussex Guitar Club has once again staged a world class performer within the intimate surrounds of the Recital Hall in Bognor Regis. This venue was particularly cosy on the occasion, since Xuefei Yang carries a name that is now synonymous with the guitar. So with extra seating in place and barely allowing for the audience’s physical presence, Yang settled in with the Prelude from BWV 999, and Fugue from BWV 1000 (a daunting task by any standard). The next item
Classical Guitar Magazine
was asked to perform music derived from popular culture, Yang decided to incorporate some of these same pieces into her programme for the West Sussex Guitar Club patrons. Adding to Michelle Beatles (arr. Takemitsu) - which featured of her first disc, Yesterday from the same collection of arrangements was performed exceptionally well. The colour and rubato essential to this piece’s character was controlled with a precise yet seemingly effortless touch. Also in this section was Dyens’ arrangements of All of Me (Seymour Simons) and two pieces form Black Orpheus: Manha de Carnival (Louis Bonfá) & Felicidade (Antonio Carlos Jobim). In keeping with this theme, and returning to an instrument-intended composition for only the second time thus far, Yang performed Andrew York’s Sunburst. Despite approaching this piece without a consistent inner pulse, she employed her great technical facility to produce a vivacious interpretation nonetheless. Yang finalised her programme with her iconic arrangement of La Cumparsita, before returning to the platform and offering two works, each representing one of her two discs to date. Firstly, Antonio Lauro’s ever popular Seis por Derecho (Romance de Amor); and then, departing from Latin-American, Gerald Garcia’s traditional Chinese folk song arrangement of Plum Blossoms in the Snow, which left listener’s with enough melodic fragments to accompany themselves homeward. Guy Traviss
L etters
to the
C oncert R eviews
introduced music by Albéniz, a composer for which Yang has a natural affinity, in the form of Suite Espana, Op. 165, Seis Hojas de Album. It is gratifying to hear this set in its entirety, considering the attention it receives and the fact that the Tango has forged a place for itself in the repertoire. All six movements demonstrated Yang’s innate understanding of the romantic style, particularly within more sonorous and bold moments. The first half was rounded off with two pieces by Tárrega (Fantasy on Themes from Verdi’s La Traviata & Carnival of Venice), and with him came the end of pre-war compositions and any theme and variation-type framework. Following the interval, and demonstrating her ambition to bring Chinese music to a western instrument, Yang presented her arrangement of the 1st movement from The Butterfly Lovers, Violin Concerto - Zhanhao He & Gang Chen. Although not readily recognised for addressing her listeners at length, Yang informed her audience as to the origin and purpose of the piece. This understanding most definitely contributed to an enhanced experience, particularly in regard to the sonic depiction of both the male and female butterfly by dividing the guitar’s range in two accordingly. Often regarded as the Chinese equivalent of Romeo & Juliet, this work provides a platform for western audiences to identify with Chinese music. It is also a feature of her most recent disc, 40 Degrees North. Based on the merits of a recent recital where, at the request of concert organisers in Belgium, she
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MAY I use the letters page of this magazine to express my thanks to John Williams for publishing his music scores on his website free of charge? There is a huge amount of free guitar music on the internet but little of it is of the quality and originality of the work found here. This is indeed a generous gift to all the classical guitarists in the world and I look forward to other scores appearing there soon. GEOFFREY NEEDHAM Stocksfield. Colin Cooper in his review (CG, October) of Jérémy Jouve’s recording of Arcas’s Fantasy on Themes from ‘La Traviata’ (Naxos 8.557597, notes by Mark Delpriora), is correct in stating that a paragraph about Tárrega in the annotation is misplaced ‘as there is not a note of [Tárrega’s] music to be heard’. But one could go further down the rocky path of Tárrega ‘confusions’. Mark Delpriora comments in his notes that the Fantasy on Themes from ‘La Traviata’ by Julián Arcas is often attributed to Tárrega’. The accuracy of often should perhaps be challenged. I can only find one such false attribution and that comes, surprisingly, in David Russell’s Francisco Tárrega: Integral de Guitarra (Opera tres, CDS 1003/4, 1991), where it should not actually have been included at all. In the sleeve note for Alice Artzt’s long-playing record, Guitar Music by Francisco Tárrega (Meridian E77026, 1978), John W. Duarte assumed that the arrangement of Paganini’s Variations on ‘The Carnival of Venice’ was one of Tárrega’s original compositions, claiming that the work represents ‘a rare lapse from Tárrega’s state of musical grace’. The item was thus placed on Side 1 of the recording among Tárrega’s original compositions (when it should have been on Side 2 among ‘Transcriptions’), and also omitted from the list of arrangements.
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A frequent (more comprehensible) ambiguity occurs, mainly in recital programmes, with Tárrega’s extended transcription of Arcas’s Fantasy on ‘La Jota Aragonesa’. Here Tárrega’s edition, complete with introduction, runs to some 325 bars of music, while Arcas gives us less than 200 bars. Tárrega borrows some episodes directly from Arcas but elsewhere the younger master’s imagination is let loose around traditional (and composed) themes. Thus Tárrega has a claim to being the composer here but not altogether! (On the compilation CD, Ida Presti and Luise Walker- (Pearl, GEMM CD 9135, 1995), this Fantasy is attributed to ‘Tárrega (arr. Roch)’, making the process of ascertaining the true source of the arrangement even more complicated!) Another perennial mislabelling is Tárrega’s version of Étude No. 2 written by the great French violinist and composer, Delphin Alard (1815-1888), a study often found masquerading under the title of Estudio brillante. The original violin score, significantly marked to be played Andante con espressione, poco marcato la melodia, includes a statement of the purpose of the exercise: Absolute equality in the value of the notes; place the bow broadly on the string and endeavour to obtain perfect smoothness in going from one string to the other. That a work so far from Tárrega’s characteristic style was ever considered as one of his original compositions was due to a certain casual attitude about such matters in past decades. Such confusions are now part and parcel of guitar mythology. But in this age of greater factual awareness it is essential for both players and writers of notes to be scrupulous and vigilant in how they present classics of the repertoire to the public. GRAHAM WADE Withernsea, East Yorkshire, Northumberland.
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CLASSICAL GUITAR TEACHERS
A FREE SERVICE FOR ALL TEACHERS WHO ARE SUBSCRIBERS AVON Adam Khan, 64 Winchester Road, Bristol, Avon, BS4 3NH. Tel: 0117 972 1942. Matthew Machin, BA (Hons) Music, Flat 1, 44 St. John’s Lane, Bedminster, Bristol BS3 5AD. Tel: 07709 400 194. email: [emailprotected] The Spanish Guitar Centre, 103 Cold Harbour Road, Westbury Park, Bristol BS6 7SD. Tel: (0117) 942 0479. BEDFORDSHIRE Bertram Whitton, LTCL, TD, 94 Chiltern Road, Dunstable, Beds, LU6 1ES. Tel: (01582) 603 185. BERKSHIRE Mr. Colin Arenstein, BYMT, 100 Cockney Hill, Reading, RG30 4EZ. Michael Hinchliff, BSc, BA(Music), 4 Windsor Rise, Newbury RG14 7TY. Tel: 48501. BIRMINGHAM The Classical Guitar Centre, 51A, St Mary’s Road, Bearwood, West Midlands B67 5DH. Tel: (0121) 429 7446. e-mail: [emailprotected] Andrew Gough, MA, PGDip, BMus(Hons), 27 St Laurence Road, Northfield, Birmingham B31 2AU. Mob: 07702 742418. e-mail: [emailprotected] Web: www.classicalguitar.org.uk Miss E. Larner, BMus Hons, PGDip, Birmingham, B17 8TA. Tel: 0773 683 9134. e-mail: [emailprotected] www.liz-larner.co.uk BUCKINGHAMSHIRE Nicholas Tillyer, ALCM, 40 Pheasant Drive, High Wycombe, Buckinghamshire HP13 5JL. Tel: (01494) 533669. CHESHIRE Peter Baldwin, 1 Barley Croft, Cheadle Hume, Cheshire ST8 6SL. Tel: (0161) 485 7389. John R. Gort, LGSM, Flat 2c, Sunnybank Avenue, Heaton Mersey, Stockport, Cheshire SK4 3PR. Tel: (0161) 442 4107. DERBYSHIRE Steve Marsh, ALCM, 5 Shaftesbury Ave, Ashgate, Chesterfield, Derbyshire S40 1HN. Tel: (01246) 233496. email: [emailprotected] www.stevemarsh.uk.com James Rippingale, BPA, 4 Clement Road, Horsley Woodhouse, Ilkeston, Derbyshire, DE7 6BH England. Tel: 01332 781026 Mobile: 07934 386701. Website: www.james-rippingale.co.uk Email: [emailprotected] Peter Swaby, cpfa alcm alcm.td, Yellow Grove House, Moor Lane, Youlgrave, Bakewell DE45 1US. Tel: 0775 459 2106 [emailprotected] DEVON Alison Smith GTCLHons PGTCMperfDist 100 Lynwood Avenue, Woodford, Plymouth, Devon PL74SG. Tel. 01752 346 805. email: [emailprotected] www.alisonsmithguitar.com DORSET John Edwards, LTCL, LRAM, MSTAT, Flat 2, 72 Southcote Road, Boscombe, Bournemouth, BH13SS. Tel: 01202 293917. email: [emailprotected] Stephen Kenyon, BA Dip ABRSM, 36 Poundbury Crescent, Dorchester DT1 2NX. Tel: 01305 257099. e-mail: [emailprotected] ESSEX Judith Tonge, A.B.S.M., 6 St. Kildas Road, Brentwood, ESSEX, CM15 9EX. Tel: (01277) 217812. Ian K. Woolway, ALCM, 2 Nursery Road, Chelmsford, Essex CM2 9PJ. Tel: (01245) 358 131. GLOUCESTERSHIRE Marguerite Pettit, LGSM, LTCL, 46 Courtenay Street, Cheltenham, Glos GL50 4LR. Tel: (01242) 583 408. HERTFORDSHIRE Eric Hill, Radlett. Tel; 01923 854509. E-mail; [emailprotected] Over 100 free downloads at; www.erichillguitardownloads.co.uk Deborah Wiggins-Hay BA(Hons), Castle End Farm, Lea, Ross on Wye, Hertfordshire HR9 7JY Herefordshire / Gloucestershire border. Telephone: 01989 750342 e-mail: [emailprotected] Tom Parsons, ALCM, 67 Regent Street, Watford, Herts, WD2 5AT. Tel: (01923) 245 559. Neil Simon, 20 Bull Stag Green, Hatfield, Herts, AL9 5DE. Tel: (01707) 267 511. IRELAND Alec O’Leary, B.Mus. M.Mus., Kilkenny, Ireland Tel. 087 234 6256.
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KENT Roy Chilton Music, 15 Hawkhurst Way, West Wickham, Kent BR4 9PE. Tel: (020 8777 6414). [emailprotected] LANCASHIRE Chris Dumigan, 14 Rochester Road, Davyhulme, Manchester M41 0RL. Tel: (0161) 747 3851. Paul Fowles, BA, LLCM, A.Mus.TCL, c/o Manchester Guitar Circle, Flixton House, Flixton Road, Manchester M41 5GJ. Email: [emailprotected] Voicemail: 07831-416358 Website: www.guitarcircle.co.uk Stephen Henshaw, CT,FVCM LVCM (Hons) AVCM (Hons) 72-74 Topping Street, Blackpool FY1 3A0. Tel: (01253) 751 450. Mark Houghton, ALCM, 29 Alcester Road, West Derby, Liverpool L12 9EA. Tel: 0779 0174465. e-mail: [emailprotected] Sebastian Karstad, 13 Delaine Road, Withington, Manchester M20 4QP. Tel: 07749 340505. e-mail: [emailprotected] Rory Russell, 24 Ladysmith Road, Didsbury, Manchester M20 6HL. Tel: 07766 58 37 37. [emailprotected] Neil Smith, FLCM, 177 Lee Lane, Horwich, Bolton, Lancs. BL6 7JD. Tel: (01204) 468 945. www.guitaristuk.com Paul Twine, LRSM, CTABRSM, 75 Chelsfield Grove, Manchester, M21 7BD. Tel: (0161) 881 1484. Email: [emailprotected] Website: www.innovation-music.com LEICESTERSHIRE Roger Coombs, 97 Frederick Street, Loughborough, Leicestershire, LE11 3BH. Tel: 01509 263542. Christopher Susans, “Wavertree” 26 Burton Road, Ashby-de-la-Zouch, Leicester LE65 2LL. Tel: (01530) 416564. Alan Thomas, guitarist, teacher, and composer. Tel: 07905 035444. e-mail: [emailprotected] Web: www.alanthomas-guitar.com LONDON Petros Andreou, LLCM, ALCM, 20 Pollard Road, Whetstone, London N20 0UB. Tel: (0208) 368 6717. Mr. C. Bonell, [emailprotected] Robert Boyle, 417A Finchley Road, London, NW3 6HJ. Tel: 0207 4357438. Hubert de Camillis, 53 Gondar Gardens, West Hampstead, London NW6 1EP Tel: (0207) 794 1892. Steve Dell, Flat J, 10 Sutherland Road, West Ealing, London W13. Tel: 020 8621 1394. Guy Depreux, Flat 8, Allingham Court, Haverstock Hill, Belsize Park, London NW3 2AH. Tel: (0207) 435 7203. Colin Downs, Hon A.R A M, 50, Holly Park Road, London N11 3HD. Tel: 020 8361 3192. mobile: 07760107386 email- [emailprotected] Mohie Elsayed, Mohie Elsayed, 31 Cascades Court, 13-19 Hartfield Crescent, Wimbledon, LONDON, SW19 3RL. Tel: 020 87155574 email [emailprotected] www.m-elsayed.co.uk Richard Hand, ARAM, DipRAM, LRAM, 61 Balcombe Street, Marylebone, London NW1 6ND. Tel/Fax: (0207) 724 3806. Eleftheria Kotzia, 56 Fernwood, Albert Drive, Southfields, London SW19 6LR. Tel: (0208) 785 4054. e-mail: [emailprotected] Tony Rath, 27 Brunswick Street, London E17 9NB Tel: 0208 521 4340. Thérèse Saba, 9 Methuen Park, Muswell Hill, London N10 2JR. Tel/Fax: (0208) 442 1489. e-mail: [emailprotected] Timothy Walker, Hon ARAH, 16A Algernon Road, London. NW6 6PU. Tel: 0207 624 7937 e-mail: [emailprotected] Spanish Guitar Centre, 36 Cranbourn Street, WC2H 7AD. Tel: (0207) 240 0754. MIDDLESEX Dale Harris, BA(hon) MA PhD, 82 Squires Bridge Road, Shepperton, Middx, TW17 0QA, Tel: 07941 582194. Philip John Lee, Flamenco guitar tuition – all levels, 46 Fir Road, Hanworth, Middlesex TW13 6UJ. Tel: (020) 8755 0528. e-mail: [emailprotected] NORFOLK J.E. Crisp, BA DipMus ALCM, Thetford, Norfolk Tel: (01842) 752 697. Bob Parslow, BA(Hons) Music, LGSM, Springfield Cottage, 72 Gloucester Street, Norwich NR2 2DY. Tel: (01603) 620 261. [emailprotected] NORTHANTS Peter Nuttall, MA (Oxon), 48 Hillside Crescent, Nether Heyford, Northampton NN7 3LS. Tel: (01327) 341 133.
NOTTINGHAMSHIRE Catherine Dickinson, Post Graduate RNCM, FLCM, LLCM SMTC, Spanish Guitar Centre, 44 Nottingham Road, New Basford, Nottingham. Tel: Nottingham (0115) 962 2709. OXFORDSHIRE Raymond Burley, 'Ty Fynnon', 4 Yew Tree Mews, Church St., Ducklington, Oxon OX29 7UQ Tel: (01993) 700332 email: mailto:[emailprotected] Brian J. Penny, ALCM, Classical Guitar Services, The Studio, 68 Evenlode, Banbury, Oxon OX16 9PF. Tel: (01295) 271900. e-mail [emailprotected] www.classicalguitarservices.co.uk John Whitworth, MA. D.Phil, 25 Bickerton Road, Oxford OX3 7LT. Tel: (01865) 761 273. e-mail: [emailprotected] SCOTLAND Lindsay Cargill, BA Hons. 77 Gairn Road, Aberdeen AB10 6AP. Tel: (01224) 584 906 e-mail: [emailprotected] Matthew McAllister Bmus (Honours) RSAMD, Flat 3/2, 96 Great George Street, Glasgow, Scotland G12 8RY. TEL:0141 339 4296 email: [emailprotected] Website: www.matthewmcallister.com Graeme Scott, Mmus RSAMD, 63 Sannox Drive, Motherwell, North Lanarkshire, Scotland ML1 3PX Tel: 07944 089015. email: [emailprotected] website: www.graemescott.com SOMERSET Brian Sharman, Chancel View, Church Street, Wiveliscombe, Taunton, Somerset TA4 2LT. Tel: (01984) 623 132. SURREY Patrick Burke Guitar Studio, 92a High Street, Carshalton, Surrey SM5 3AE Tel: 0208 6697052. e-mail: [emailprotected] Mr Roland Chadwick, 60a High Street, Haslemere, Surrey GU27 2LA. Mr P. de Fleury, CERTMUS, 4 Reynolds Place, Richmond Upon Thames, SURREY TW10 6JZ Tel: 0208 9488480. Stephen Goss, BA (Hons), PhD, LRAM, Hon ARAM, specialist areas include composition, contemporary music, and ensemble work. Parkers Lodge, Rectory Place, Portsmouth Road, Guildford, Surrey GU2 4DG. Tel: (01483) 456177. e-mail: [emailprotected] Fiona Harrison, MM, GRSM, Dip RCM, 14 Westlees Close, North Holmwood, Dorking, Surrey RH5 4TN. Tel: (01306) 882 323. Milica Ilic. Richmond, Surrey, TW10 6DU. Email: [emailprotected] Grahame Klippel, MPhil ARCM, 60 Pemberton Road, East Molesey, Surrey KT8 9LH. Tel: 020 8941 0810. e-mail: [emailprotected] Myer Rosen, BA (Hons), LTCL, PGCE, Knowsley, 7 Ash Grove, Guildford, Surrey GU2 8UT. Tel: (01483) 35852. e-mail: [emailprotected] SUSSEX Vic Ellis, 172 Springfield Road, Brighton BN1 6DG 01273 558 217. Linda Kelsall-Barnett, BA (Hons) LRAM, 3 The Rummers, Brandy Hole Lane, Chichester, West Sussex PO19 5RT. Tel: (01243) 784 442. Registry of Guitar Tutors, Registry Mews, 11-13 Wilton Road, Bexhill, E. Sussex TN40 1HY. Tel: (01424) 222222. www.RegistryOfGuitarTutors.com TEESSIDE Stephen Munro, B.A. 12 Zetland Terrace, Saltburn by the Sea, Cleveland TS12 1BS. Tel: (01287) 203437. TYNE & WEAR John Ferguson, LTCL, “Glenburn”, 4 Burn Road, Blaydon Burn, Tyne & Wear NE21 6EA. Tel: (0191) 414 7469. WALES Jonathan N. Richards, LTCL, Ground Floor Flat, 12 Hawarden Road, Colwyn Bay, Conwy, North Wales LL29 8NA. Tel: 01492 539589 Mobile: 07717224098. Timothy Tate, BMus MMus, 33 Egerston Rd, Canton, Cardiff, CF5 1RF Tel:07799 691 504. [emailprotected] www.theguitarcircle.com/ttate.aspx WILTSHIRE Harry Drabble, LTCL Sycamores Back Lane, Marlborough, Wilts SN8 1JJ. Tel: (01672) 513 699. John and Cobie Mills, 1 Fairways, Dilton Marsh, Westbury BA13 3RU. WORCESTERSHIRE Jon Godfrey, ALCM, 68 North Malvern Road, Malvern. Worcester WR14 4LX Tel: (01684) 893 414. Rod Willmott, Guitarist & Lutenist, May Willmott, Guitarist & Teacher, L.R.A.M. 2
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Pitmaston Road, St. John’s, Worcester WR2 4HY Tel: (01905) 427 026. www.rodwillmott.com ARGENTINA Prof. Juan Gallino - Classical guitar - Tango guitar. Buenos Aires - Coghlan. www.juangallino.com.ar e mail: [emailprotected] www.bocaccio-gallino.com Director of www.guitarristas.com BELGIUM Alexis Blumberg, ARCM, Hessenstraatje 20/C1.1, 2000 Antwerpen. Tel: +32 (0)3 227 01 31. Mobile: +32 (0)475 63 07 71. e-mail: [emailprotected] Norbert Leclerq, 12 Bld, de la Woluwe (B135), 1932 Woluwe St Etienne. BRAZIL Jonatas Batista Neto, Rua Bela Cintra, 359 Apt. 95, Sao Paulo-SP. Brazil 01415-000. Tel/Fax (5511) 32312690. e-mail: [emailprotected] BULGARIA Ekaterina Vasseva-Ikonomova, BA in classical guitar, 14 years of teaching experience P.O.box 5 / 27 Skobelev Blvd. BG-1463 Sofia, Bulgaria +359 88 6441994. [emailprotected] CANADA Mariette Stephenson, BA (Mus )ARCT, Cambridge, Ontario, Canada. [emailprotected] CHINA Morgan S.S. Velautham, PO Box 38 Taipa, Macau, S.A.R. of China. Tel: 853-557223. e-mail: DENMARK Arnie Brown, Møllevej 8, Møgeltønder, 6270 Tønder, Denmark. Tel: 74 738343. Karen Dusgaard Nielsen, Infanterivej, 42D, 8900, Randers, Denmark. Tel: 86 40 31 24. FRANCE Claudette Coinel, 25 Traverse Pitance, Mourepiane, 13016, Marseille. Lorraine Eastwood, 26 Rue St. Jacques, Grenoble 38000, France. Telephone: (0033) 476 508025. Email: [emailprotected] James Wilson, 6 Rue Marguerin, 75014 Paris. Tel: (1) 43 35 14 03. GERMANY Charles De Burgh, ALCM, LLCM, LTCL, Ruedigerstrasse 30 70469 Stuttgart, Germany. Jörg Gauchel, Diplom-Musiklehrer, Annettenstraße 13, D-53175 Bonn Tel: +49 228 384736.
e-mail: [emailprotected] GREECE Dimitris Karvelis, Voreadi 20, 71409 Heraklion, Crete, Greece. ITALY Giuseppe Caputo, Via Girolamo Santacroce 13, Naples 80129, Italy. Tel: 081 5785069. Antonio De Innocentis, Via Dei Vecchi Pini, Coop. Smeraldo, 81023 Falciano-Caserta, Italy. Tel/Fax: (823) 471 713. ISRAEL Sonia Michelson, c/o Elisheva Levin, Yishuv Ofra. D.N. Mizrach Benyamin. Israel 90627. [emailprotected] JERSEY Robert Ozard, ARCM, 49 La Grande Pouclee, Richmond Road, St. Helier, Jersey JEZ 3GX, Tel: 01534 768 727. MALTA Charlotte Smith, L.L.C.M. (TD), L.Mus. V.C.M., A.L.C.M., A.Mus. L.S.M, “Sentosa” 7, Carmelo Bugeja Street, Dingli DGL 1152, MALTA. Tel: (0356)21450496 Mobile: (0356)79450496. email: [emailprotected] MEXICO Juan Gaspar, Classical Guitar performer, composer and maestro at the Puebla Conservatory of Music, 5 Norte 201-6, Puebla, Mexico. Telephone: (222) 2324202. e-mail: [emailprotected] www.juangaspar.com NORWAY Trond Davidsen, Klarinetten 12, 3033 Drammen, Norway. Tel: 0047 32 886 286. POLAND Krzysztof Pelech, Bzowa 35/13, 53-224 Wroclaw, Poland. e-mail: [emailprotected] www.pelech.art.pl PORTUGAL Jorge Pires, Tel: +351965109150 E-mail: [emailprotected] SERBIA (SR Yugoslavia) Uros Dojcinovic, Guitar Studio Solunska 12, 11000 Beograd. Tel/Fax (011) 180-587. SINGAPORE Thomas Liauw, M.A., B.A (Hons), LTCL, ALSD, PO Box 0596, Marine Parade, Singapore 914404. Tel (65) 6344 3671 Tel (65) 6344 3615. e-mail: [emailprotected] website: www.tomas-music.com SOUTH AFRICA A.M. Ludwig, P.O. Box 2340, Halfway House 1685,
South Africa. Tel: (011) 314 1802. e-mail: [emailprotected] SPAIN Clive Davies, Classical / Fingerstylist; Performer, Composer and Teacher for over thirty years. Offers ‘Guitar innovation- broad outlook- workshop holidays‘ in Montefrio, Granada, Spain. Apartado de Correos 22, 18270 Montefrio, Granada , Spain. Tel. +34 685 201 265. email; [emailprotected] mailto:[emailprotected]> www.clivedavies.eu USA Mariano Aguirre, Mannes College of Music, New York Guitar Seminar-Coordinator, 150 West 85th Street, New York, NY 10024 USA [emailprotected] Jeffrey Ashton, MAT Mus, BA Mus, 204 SE 63rd Ave, Portland, OR 97215. Tel: (503) 235 1062. Lyster Bass, 4154 Arrayo Dr. Snellville, Ga.30039, USA. (Tel) 770-972-7178 Emai: [emailprotected] William Buonocore, Guitar Dept. Co-ordinator, The Boston Conservatory, 8 The Fenway, Boston, MA 02215. Tel: (617) 536 6340. Fax: (617) 536 3176. [emailprotected] Maud Laforest, Plano, TX. e-mail: [emailprotected] web site: www.maudlaforest.com Ronald Louis Fernandez, Flamenco and Portuguese guitar., P. O. Box 5153, Irvine, California, 92616. Tel: 949-856-1537. website: www.fernandezmusic.com. e-mail: [emailprotected] David Grimes, 8701 Bellmead Drive, Huntington Beach, California 92646, USA. Craig Yarbrough, 26 East Oak Ave, Flagstaff, Arizona 86001. Tel: 928 213 0752. Email: [emailprotected]
● Our Teacher’s Column is updated Bimonthly starting February, April, June issue etc. When sending alterations or additions please state: country, county, full name, qualifications, address and telephone number in this order. If changing areas, state old county address so this can easily be deleted.
Classical Guitar Societies Directory Berkshire Guitar Society, Richard Butters, 10 The Dell, Woodlands Park, Maidenhead, Berks, SL6 3NS. Website: http://www.berkshireguitarsociety.org.uk Birmingham - Classical Guitar - See web page on Yahoo Groups or contact Paul Grant 07760 175 626. Small informal meetings on a monthly basis. Blackburn Classical Guitar Society. Jack Wilkinson, 82 Queen Street, Great Harwood, Lanc's BB6 7AL. Tel (01254) 889555 E mail: [emailprotected]
Brighton Classical Guitar. Small informal group meets every 4th Thursday. Details: Jim Westbrook 01273 746192. Bridge Guitar Circle. Meets Central Library, Albion Street, Hull. Full details from Secretary Sue Jones, 34 Rockford Avenue, Hull. Tel: (01482) 75684. Bristol Guitar Society, meets 2nd Thursday of the month 8pm at The Pierian Centre,Portland Square,Bristol. Contact David Evans Tel.(0117) 9567251 or Tony Lewis(0117) 9734070. www.bristolguitarsociety.org British BMG Federation. Secretary: Sandra Woodruff, 104 Tower Road North, Warmley, Bristol BS30 8XN. E mail: [emailprotected] Website: www.banjomandolinguitar.org/> Bromley Guitar Society Denis Stockton02087774887 Kent. www.bromleyguitarsociety.org.uk Cambridge Classical Guitar Society. Meets first Thursday in the month. For information please telephone Tim Christmas (01223) 565552. Canterbury Guitar Society. For further information ring John Kemp on (01227) 265 503. e-mail: [emailprotected] Cambridge Guitar Orchestra, Contact Tony Ainsworth (Chairman) via www.cgo.org.uk or [emailprotected]. We are a performing ensemble and rehearse every two weeks or so on Sundays during term time on the outskirts of Cambridge. We will always welcome intermediate or advanced players. Chester Guitar Circle. Meets 1st Wed/Month at
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Chester Deaf Centre, Southview Road, Chester. Sec: Steve Smith, 16 Daleside Chester, CH2 1EP. e-mail: [emailprotected] Web site: http://www.members.aol.com/chestguitarcirc Chesterfield Guitar Circle. Contact Peter Swaby (Secretary), Yellow Grove House, Moor Lane, Youlgrave, Bakewell, Derbyshire DE45 1US Tel: (01629) 636 165. Derby Classical Guitar Society. Contact: Nigel Harris, 9 Glamis Close, Oakwood, Derby, DE21 2QJ. Tel: (01332) 664 425. e-mail: [emailprotected] website: www.derbycgs.org.uk Dorset Guitar Society. Meetings on 3rd Sunday in month at Kinson Community Centre, Pelhams Park, Milham Lane, Kinson. Sec: Margaret Tredwell. Tel: (01425) 613 739. Durham University Guitar Society. C/o Dunelm House, New Elvet, Durham. Sec: Elaine Young, Van Mildert College, Durham. Visiting tutor: Peter Batchelar. Ealing Guitar Society. Meets 1st Sunday each month at St Matthew’s Church Hall, North Common Road, Ealing W5 at 7.30p.m. Correspondence: Steve Dell, Flat J, 10 Sutherland Road, West Ealing, London W13 0DT Tel: 0208 621 1394. www.ealing-guitar-society.co.uk Enfield Classical Guitar Society. Sec: Mrs J Warwick, 43 Morley Hill, Enfield, Middlesex EN2 0BL. e-mail: [emailprotected][emailprotected] Website: http://members.lycos.co.uk/enfield_guitar/ Farnham, Surrey. Mozart Guitar Players. Meet every Tuesday during term time. Musical Director Myer Rosen, Knowsley, 7 Ash Grove, Guildford GU2 5UT. Tel: (01483) 35852. Federation of Guitar Societies UK, A group of Societies mainly in the South of England that co-ordinate together through a Website. www.FederationofGuitarSocieties.org.uk Annual meeting and Concert in June E-mail [emailprotected] Fretful Federation Plucked Orchestra; Brighton. Orchestra of mandolins, mandolas, mandocellos,
guitars and mandobass. New members welcome. Ian 07939368874. Grand Canyon Guitar Society, LTD, Flagstaff, Arizona 928.213.0752. Craig Yarbrough, Executive Director. www.CanyonGuitar.org Greenwood Classical Guitar Club. An informal group. Meets every Friday 7.30-8.30pm at the Greenwood Centre, School Road, Hampton Hill, Middlesex. Contact Martin Shaw (0208 891 6889) or turn up at the Centre. Hastings & Rother Classical Guitar Society, we meet at 8pm on the 3rd Wednesday of every month at The Beacon below St Mary’s Terrace, West Hill, Hastings. Contact Richard Butler 01424 465 414 or via the website http://www.hrcgs.org.uk Hampshire Area Guitar Orchestra. Meets fortnightly and has vacancies for intermediate and advanced ensemble players. Ring Derek Hasted 023 9247 9200 or email: [emailprotected] Hertfordshire BA(Hons), Castle End Farm, Lea, Ross on Wye, Herefordshire HR9 7JY Herefordshire / Gloucestershire border. Telephone: 01989 750342 e-mail: [emailprotected] Haverhill Classical Guitar Society. Details: Colin Shulman (01440) 705 371. Hertfordshire Guitar Orchestra. Meets twice monthly and is always looking for good ensemble players. Details from Tom Parsons on Tel: (01923) 245 559 or www.hertfordshireguitarorchestra.com Highland Classical Guitar Society. C/o Roger Niven, ‘Iona’, High Street, Avoch, Rosshire. Tel: Fortrose 21012. Hounslow Guitar Society. Hounslow Music Service, De Brome Building, Boundaries Road, Feltham TW13 5DT. Lauderdale Guitar Society. Meets at Lauderdale House, Highgate Hill. Details from 63 Marlborough Mansions, Cannon Hill, London NW6 1JS. Tel: (0171) 794 9108. Leeds Guitar Society. Sec: Matthew Hill, 1 Grosvenor Terrace, Leeds LS6 2DY. Tel: (0113) 785 341. Classical Guitar Society of East London. Informal meetings last saturday each month at 3pm. Contact
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Maria Sentivani on Tel: 020 507 8299 for details. The Lute Society. Sec: Chris Goodwin, Southside Cottage, Brook Hill, Albury, Guildford, Surrey, GU5 9DJ. Tel: (01483) 202 159 Fax: (01483) 203088. Manchester Acoustic Guitar meets on the 3rd Tuesday of every month at the Urmston Cricket and Lawn Tennis Club, Moorside Rd, Urmston. All acoustic and classical guitar styles welcomed. Open mike, workshops, special recitals. All you need is an interest in the guitar, not necessarily to be able to play. For details contact: Chris, tel. 0161 747 3851. www.manchesteracousticguitar.com Manchester Guitar Circle, (Est. 1946). Informal evenings on the first Thursday of every month at Flixton House, Flixton Road (opposite Rothiemay Road), Manchester M41 5GJ. Visitors always welcome. Contact: Paul Fowles. Email: [emailprotected] Voicemail: 07831-416358 Website: www.guitarcircle.co.uk Midlands Fretted Orchestra meets fortnightly on Thursdays 7.30pm, at St. Mary’s Hall, St. Mary’s Road, Bearwood Smethwick, B67 5Dh. Contact: Danielle Saxon Reeves 01384 893 987 e-mail: [emailprotected] www.m-f-o.co.uk Newent Guitar Society. Sec: Keith Sandall, Holts House, Holts Road, Newent, Gloucestershire GL18 1BT. Tel: (01531) 820 436. North Bucks Guitar Club. Meets 3rd Sunday of the month. Information from Kevin Cook. Tel: (01296) 427 836. www.northbucksguitarclub.org.uk Classical Guitar Society for Northern Ireland . Meets on the first Sunday of the month at the Ulster College of Music, Belfast. Contact Keith Thompson (028) 90703311. Email: [emailprotected] Website:www.cgsni.org The Northumbria Guitar Society. Correspondence to: Pete Boothby, Engine Cottage, Accomb, Hexham NE46 4RL. Tel: (01434) 600 340. North Devon Guitar Society. Meets third Tuesday of month in Barnstaple. Contact Terry Bourne at North Lodge, Filleigh, Near Barnstaple, North Devon EX32 ORE. Tel: (01271) 74529. North East Scotland Classical Guitar Society meets the third Wednesday of every month at Queen’s Cross Church, Aberdeen. Contact Peter Stock (chairman) on 01467 642729, e-mail: [emailprotected] www.nescgs.co.uk www.nescgs.co.uk North Wales Guitar Circle, Meets the 2nd Tuesday of every month at 7.45pm at The Anglesey Arms, Menai Bridge, Anglesey. Contact Jane or Dave Sinnett 01407 831480. e-mail: [emailprotected] website: www.northwalesguitarcircle.co.uk Nottingham Classical Guitar Society. Contact: Ian Jones. Tel: 0115 923 1038 Email: [emailprotected] Pena Flamenca de Hull. Sec: Ron Burbela, 40 Warton Avenue, Beverley, E. Yorks, HU17 0JB. Tel: (01482) 863 553. Meetings 1st Sunday of month, 8.00pm, Blue Bell, Hull. Pena Flamenca de Londres. Sec: Ron le Voi, Flat 6, 45/53 Myddelton Square, London EC1R 1YD. Pendon Guitar Society. Peter Li, 15 King Henry Mews, Harrow-on-the-Hill, HA2 0JS (020) 8423 3202. Putney Guitar Society. Sec. Chris Blade, 18 Gwendwr Road, West Kensington, London W14 9BG. Tel: (0171) 603 1820. Richmond Guitar Society meets every 4th Sunday of each month 7-9 pm @ Richmond Parish Rooms, Church Walk, Richmond upon Thames,Surrey Details 0208 891 6889 Saddleworth Classical Guitar Society. Ring Hazel and Colin Davies. Tel: (01457) 875 378. Southampton Classical Guitar Society. Meets last Wednesday of every month at 7:45pm. Contact Wayne Lines. Tel: 01329 310792. wwv.scgs-guitar.org.uk South Lincolnshire Guitar Society and Orchestra. Meetings are fortnightly on Tuesdays at Central School, Grantham. Contact Peter Constable, The Elms, 3 Sleaford Road, Ruskington, Lincs, NG34 9BP. Tel: (01526) 834 120. South Wales Guitar Society. Chairperson: Kate Williams, 18 Westbourne Crescent, Whitchurch, Cardiff. Tel: (01222) 626 826. Surrey Guitar Society, 2nd Wednesday monthly at Tanyard Hall Gomshall 8pm. Contact: George Swallow (01306) 886 196. Swansea CG Circle. Keith Morris, 3 Dulais Grove, Derwin Fawr, Sketty, Swansea, Glamorgan. Tel: (01792) 202576 Warwickshire Spanish Guitar Society. Peter Pettifor, 73 Lodge Road, Sratford-upon-Avon CV37 9DN Tel: (01789) 263 697 e-mail: [emailprotected] Wealden Guitar Society. Meets at the Friends Meeting House, Grosvenor Park,Tunbridge Wells on
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the 2nd Wednesday of each month...nice hall, great accoustics,supportive members.Contact Marcia Burton on 01892 534631 or Richard Frenkel on 0207 233 9076’. West Sussex Guitar Club. The Regis School of Music, 46 Sudley Road, Bognor Regis, West Sussex, PO21 1ER. (01243) 866 462. www.westsussexguitar.com Windsor Classical Guitar Society. An informal group who enjoy playing together at 7.30pm first and third Wednesday of each month at the Windsor Arts Centre. Tel: (01753) 859 421. The Wirksworth Classical Guitar Group. Contact: Jonathan Priestley, 5 Cooks Yard, West End, Wirksworth, Derbyshire. Tel: (01629) 825 129. Worcester Classical Guitar Society: A performing society of Junior and Senior orchestras and ensembles. We meet regularly during term time. Contact: Andrew Filer. Tel. 0121 445 3345. email: [emailprotected] www.worcesterguitar.co.uk ARGENTINA Musical Centre ‘Franz Liszt’. Directresses: Ana M. Polinori and Mariana Vlaho, Montevideo 967 (1019), Buenos Aires. AUSTRALIA Classical Guitar Society of South Australia. Lincoln Brady, 19 Emerson Drive, Morphett-Vale, Adelaide, SA 5162, Australia. Tel: (08) 832 51052. The Classical Guitar Society Sydney. P.O. Box 829, Bondi Junction. N.S.W. 1355 Australia. Tel: (02) 9453 3113. BULGARIA Classical Guitar Association (CGA). PO Box 879, 40900 Plovdiv, Bulgaria. BRAZIL BRAVIO - Associacao Brasiliense de Violao QI 25 bl. L apt. 501 - Cond. Sgto Wolff Guara 2 - Brasilia - DF - 71060-250 Tel +55 (61) 3567 6589 / 9968 5528 www.bravio.blogspot.com [emailprotected] Géris Lopes Consalter (Fernando Sor Guitar Association). Rodovia BR 116 No. 12500, b. São Ciro ‘brasdiesel’, CAXIAS DO SUL-RS 95055-180. CANADA The Halifax Guitar Society. 6199 Chebucto Road, Halifax, Nova Scotia, Canada B3L 1KY (902) 4236995. [emailprotected] Vancouver Guitar Concert Association. 1807 Collingwood St, Vancouver, B.C., V6R 3KA. COSTA RICA Asociacion Guitarristica Costaricense. Apartado 373-1009, San José, Costa Rica. Tel: 21-44-53. CZECH REPUBLIC Classical Guitar Society. The Czech Music Society, Vladislav Blaha, Renneska 25 639 00 Brno. Czech Republic. Tel. – Fax: 00420 – 543 242 407. DENMARK The Danish Guitar Society. c/o Jeff Duckett, Karlemosevej 7, 4.tv., 4600 Koege, Denmark. Web: www.danskguitarselskab.dk E-mail: [emailprotected] EGYPT Cairo Classical Guitar Society. President: Sherif S. El-Salhy, 7 Abdel-Hamid Said St, Apt. 22, Maarouf, Cairo 11111, Egypt. Tel: +202 5758097. Fax: +202 3414168 (BISC). FINLAND Helsinki Guitar Society. President: Jussi-Pekka Rannanmäki. Vanha Sotilastie 3, 00850 Helsinki, Finland. GERMANY Kultur u. Gitarre. Dietmar Kunzler, MittelstraBe 69a, 66126 Saarbrücken, Germany. Meetings held first Sunday of each month at Bistro Stadthalle Dillingen/Saar, 10.30 am. HONG KONG Hong Kong Guitar Information Alliance. G/F 14 Nanking Street, Yaumatei, Kowloon, Hong Kong. Tel: (852) 2780 4864. Fax: (852) 2770 5520. IRELAND Cork Classical Guitar Circle. Established in 1960. Meets last Wednesday of month at Cork Arts Society Rooms. Sec and Treasurer: Laurence Egar, Herbert Park, Cork. Tel: (021) 504832. Dublin Classical Guitar Society meets last Thursday of each month at Booterstown Parish Centre, Booterstown Ave., Blackrock. email: [emailprotected] ISRAEL The Guitar Society of Israel. The Rubin Museum, Bialik St. 14. Tel-Aviv 65241, Israel. ITALY Florence Guitar Association. Via del Bargellino 15, 50014 Fiesole, Firenze, Italy. Phone 055/597012. JAPAN International Guitar Orchestra Association. 143-14 Fujisawa, Fujisawa-shi Kanagawa-ken, 251-0052 Japan. Tel: +81-466-23-8338. Fax: +81-466-23-9337. Japan Federation of Guitarists is the only official corporation authorized by the Ministry of Education
in Japan since 1966, for the aim of contribution to the culture by the study and spread of guitar music. Akira Ugajin, Secretary General, Japan Federation of Guitarists. Wada Bldg. 5F 6-14-4 Shimbashi, Minano-ku, Tokyo, Japan. Tel. 81-3-3438-1819 Fax. 81-3-3438-1899. e-mailto:[emailprotected] website: www.guitarists.or.jp MALAYSIA Alor Setar Classical Guitar Club. Chairman: Chan Kok Peng, 29 Taman Sultan Abdul Halim 05300 Alor Setar, Kedah, Maylasia. Kota Kinabalu Guitar Society. Sec: Lawrence Chong. HSE. No. D47, Lorong Raja Udang 2A, Taman Kingfisher, 88400, Kota Kingbalu, Saba, Malaysia. PERU Centro de la Guitarra / Intermusica, Jr. Carabaya 421, Lima 01, Peru, telfs. 461-4670, 933-1599, Fax 336-6442, Email:[emailprotected] POLAND ‘Gitariada’, ul Gdynska 5/g/16, 80-340 Gdansk, Poland. Tel: (058) 57-80-83. Wroclaw Guitar Society, BOX 1063, 50-131 Wroclaw, Poland e-mail: [emailprotected] www.gitara.wroclaw.pl SERBIA (SR Yugoslavia) Yugoslav Association of Classical Guitarists (Guitar Art Festival) Bosko Radojkovic, director; address: Bul.Kralja Aleksandra 530, 11000 Belgrade, Serbia and Montenegro; tel: +381 64 1407583, fax: +381 11 2623853. e-maill: [emailprotected]
