A look at an elaborately published Japanese magazine, Guitar Music (1-1-15 Asagaya, Minami, Suginami-ku, Tokyo, Japan), reveals plentiful guitar ensemble activity. The February, 1975 issue, sent to CGI by Lois Shishido, contains results of the Fifth All-Japan Guitar Contest. Portions of the magazine were translated for CGI by Mrs. James Gully of McAllen, Texas (the former Masako Gunji of Tokyo. * Besides pictures and stories of ensemble groups, Guitar Music carried four pages of results of ensemble contests—two pages for schools and two for clubs (one club represented the Sumitomo Insurance Company of Tokyo). Students were pictured in ensemble and one article told of an award to a group of high school students from northern Japan performing in the contest for the third time.

Tabulation of results included winners, pieces they played, and names of judges as well as comments of the judges.

Colin Cooper wrote of a recent performance by the Omega Quartet in the Purcell Room in London that "...the audience cheered and cheered. This proves, I think, that there is a ready and enthusiastic audience for guitar ensemble music..." Due for release in England (and eventually in the U.S.) is a record by the Omega Quartet containing a transcription of a Stravinsky work (see CGI, Vol. 2, #2, p. 14), and two works by Omega leader-composer Gilbert Biberian.

At least two guitar quartets were heard in concert in the U.S. during the 1974-5 season, the Argentinian Zarate Quartet, and the Romeros. In Richmond, Va., the Romeros played "Concierto Vasco" for four guitars and orchestra by Francesco de Madina. Angel Romero told CGI writer Grete Dollitz the Madina work likely will be recorded in London within the year.

An unusual guitar sextet, with Leticia Alba and Miguel Melgarejo as soloists, performed a Vivaldi "Concierto para dos guitarras y orquesta" recently in Mexico City. The program, sent by John Ford, listed as "concerto ripieno" performers, Sergio Straffon, Carlos Berlanga, Cecilia Michelone and Salvador del Rio. (The program also included a solo performance by Enrique Velasco and a political speech attended by Mexico's president.)

Also in Mexico City, a four-guitar ensemble performed two works, the "Cuarteto Virreynal" by the late Mexican composer Miguel Bernal Jiménez (transcribed by Manuel López Ramos) and "Sarabanda Sentimental" by Benjamin Britten (transcribed by Maricarmen Costero). Performers were Steve Gallegos, Corazón Pereznieto, Jorge Madrigal and Jesús Ruiz.

Music for four guitars, not always available in the U.S., abounds elsewhere. For the second straight year a music prize is being offered in Zaragoza, Spain for music composed for 2 - 4 guitars.

A composer able to write in four voices for string quartet or choir should be able to write for four guitars. The composer's need to know the instrument may not be as pressing with four guitars as compared with solo guitar composition. Demands on the ensemble performer may differ from those of the solo performer. Ensemble work requires precise counting, careful listening to the other voices, and allows fewer liberties with the music.

(Editor's note --CGI will keep its readers informed of developments in ensemble music. And the Mock family of five guitarists, including Julian, 5, Nelson, 7, and Melody, 9, plans

to tour the eastern U.S. and parts of Europe during

spring-summer 1976 performing music for guitar ensemble. For details, write CGI.)

A recent announcement of grants by the National Endowment for the Arts indicates that American composers con­tinue to pass over the classic guitar.

The National Endowment granted fellowships totaling $419,925 to 128 music composers, nine librettists, and two translators. Only one work listed involved guitar: "Three Impressions" for guitar and percussions to be written by Paul Felter of St. Paul, MN, as one of three works under a grant of $7,500.

The fellowship-grants to composers/librettist/translators is to encourage new compositions and professional development. They do not fund foreign travel, production costs, nor are they designed to help with master's degree theses or doctoral dissertations.

The National Endowment program also includes grants involving jazz-folk-ethnic music, and works through arts agencies in each state.

The National Endowment is probably the main body of a maze of material leading to grants to musical groups as well as to individuals.

Financing has been obtained in some cases for classic guitar performances. A series sponsored by the Guitar Workshop in New York was made possible by the New York State Council on the Arts. Performances at Spring Hill College, Mobile, AL, by Manuel Lopez Ramos received support from the Alabama State Council on the Arts and Humanities.

Some guitar societies are seeking ways to participate in these programs. The main hurdle for qualification seems to be for an organized group to become non-profit according to the ground rules of the National Endowment. For further information, write Office of Music Programs, National Endowment for the Arts, Washington, D.C. 20506.

Other avenues exist for groups or individuals not wishing to go through the legal details of becoming non-profit. Local groups may have the non-profit status and welcome guidance. In such a manner Mario Beltrán, Mexican guitarist, was brought to McAllen, TX for a program made possible by a unique grant under the Library Service Construction Act. Estella Zamora, program coordinator, said the Title I grant was the only one in Texas designated to aid the cultural development of the Mexican American. Other Title I grants are for the disadvantaged. Beltrán was obtained on recommendation of CGI. His appearance was one of a monthly series of programs aimed at Mexican American cultural development.

Another possibility, at least for artists, is the Department of State's Cultural Presentations Program. Beverly Gerstein of the Office of International Arts Affairs of the State Department writes that sometimes the department assists artists who already have arranged tours. Gerstein said that assistance is usually for countries outside of Western Europe, Japan, or "other countries where many American performers appear on their own supported by private funds or as the result of commercial arrangements."

Gerstein said that sometimes embassies can make "arrangements for additional performances by qualified artists either directly or through local booking organizations." Artists need to furnish itinerary, biographic and program information and a tape or record of a recent performance. Write: Department of State, Washington, D. C. 20520.

For those willing to go through the motions of becoming non-profit, federal money is available for the promotion of the classic guitar as an art medium.

"Gran Sonata Eroica," op. 150, ESZ 7762; "Variazioni," op. 112, ESZ 7764; and "Variazioni su un tema di Handel," op. 107, ESZ 7763, all by Mauro Giuliani, revised and fingered by Ruggero Chiesa, Edizioni Suvini Zerboni.

Sylvio Cerutti of Zerboni in Italy sent CGI these works, which Zerboni notes "are a result of an initiative... to revalue an original guitar literature, written at the beginning of the 19th century and unfairly forgotten in our age. . . These works are perfect as regards the instruments, composed by the most important composers -guitarists of the time: Giuliani, Carulli, Legnani, Sor, Paganini, only to mention the most famous ones."

Cerutti wrote, "We should greatly appreciate your examining them and reviewing them in your interesting and informative magazine."

Chiesa wrote that the accusation that such literature is of little artistic value stems from the absence of "aesthetic analysis" and "unfamiliarity of the performers" with the music.

Zerboni notes that Giuliani the Italian played in a trio with the violinist Mayseder and the pianists Moscheles and Hummel, and also that he played cello in the premier of Beethoven's "Seventh Symphony." Giuliani wrote three pieces for guitar and orchestra plus many sonatas, variations and dances.

In Giuliani's music, Zerboni notes, "the tuneful lines are very important, the harmony is simple, but vigorous, bound to the important Haydn and Mozart models.. .Strictly classic, he perceives only as a hinted reflex the romantic solicitations of the time." Giuliani was well accepted in Europe in his lifetime, but soon forgotten for a century.

Students of the guitar will find the Giuliani compositions playable, delightful, and most important, guitaristic. Chiesa's fingering is very helpful.                                       Ruth Mock

Mauro Giuliani: Oevres Choises pour Guitare (Thomas F. Heck) Heugel & Cie., Paris, 1973.

The editor of early music has great latitude in determining the extent to which his personal prejudices enter his work. It is recognized that the primary function of an editor is to establish the composer's intentions based on the most reliable authentic sources known. Of course many modern editions include the markings of an interpreter (usually a well-known performer or pedagogue). The interpreter commonly makes additions, changes, and deletions for musical and /or technical considerations. The criteria for this editing is how the interpreter theorizes the music should be performed. Problems will occur, however, if the only available editions are the work of such interpreters. The "practical" musician, lacking the time, resources, and skills necessary to determine authenticity of the available edition, is forced to accede to the aesthetic judgements of the interpreter. Unfortunately this is the case with most music today.

In his collection of works for solo guitar by Giuliani, Thomas Heck has republished the earliest known sources of the music, making parenthetical correction of the obvious errors. Evidence (dating and location of the sources, with brief commentary) is given to verify the authenticity of the edition. The music has no interpretive markings other than those of the composer.

The pieces in the collection are categorized by the compositional genre in which Giuliani excelled: Short etudes, dances, rondos, themes with variations, character pieces, and larger works. Among the larger works chosen are the "Sonata," Op. 15, and the "Grand Overture," Op. 61.

There are few errors in the collection: The editor supplies an errata list upon request. A second printing projected for later this year will amend these mistakes.

While the price of the collection is high ($15.25), it represents good value. There are over one-hundred pages

of music printed on high-quality paper, with plenty of space for the addition of pedagogical symbols for performance. For all who prefer an urtext* approach to music editions this work is highly recommended.

It is hoped that Dr. Heck's compilation will establish precedence for future critical editions of the music of Sor, Aguago, Coste, Tarrega, and other important contributors to the guitar repertoire.                                                                     Michael J. Decker

(© 1975 by Charles Richard. Portions of this review will appear in a forthcoming annotated handbook of classical guitar music to be published by Gale Research Co., Detroit. Richard, who has an M.A. degree in music and aesthetics, teaches privately in San Francisco.)

This essay developed in response to the thought provoking article, "More About the Needs of Children," in the winter issue of CGI (see Vol. 2, #2, p. 18). It is addressed particularly to teachers, and to those students who are not so fortunate as to receive consistent instruction from a teacher well acquainted with the vast field of guitar repertory.

Students of the guitar, whether children or adults, will find abundant material for musical and technical growth in the following volumes.

Béla Bartók for Children: 25 Pieces for Guitar. Arranged by Ferenc Brodszky. Budapest, Edito Musica (Boosey & Hawkes). 1968. 22 p.

Béla Bartók for Children; Selected Pieces for Descant Recorder With Guitar. Arranged by Ferenc Brodscky. Budapest, Edito Musica (Boosey & Hawkes). 1971.19p.

Guitarists who are curious as to how these pieces sound on the piano may consult the recent Musical Heritage Society recording: MHS 1842, Béla Bartók, performed by Sahan Arzruni. Other recordings of For Children are listed in the discography found in Ujfalussy's book, including a recording made by Bartók himself. I am unaware of any guitar recording of a single piece by Bartók. This is a pity, for many of these pieces are well suited for the instrument. To our great loss, Bartók apparently wrote nothing for guitar.

The Tansman pieces have a certain kinship with Bartók's For Children in as much as Tansman's Polish heritage is apparent in several of the Douze Pieces Faciles; but the similarity stops there. Whereas Bartók's For Children were composed within a modal structure, the Tansman pieces are tonal with a definite contemporary flavor despite such titles as "Sarabande", "Minuet", etc. The pieces are a unique admixture of old and new elements "a la Tansman". Although not specifically designed as such, both volumes of Douze Pieces Faciles seem to have been written especially for children, or for the young at heart of any age. As such, they provide a fresh source of beginning pieces for the student, whose repertoire relies so heavily upon the works of 19th century guitar masters. Finally, both Tansman volumes are praiseworthy for ample and accurate fingerings and adequate spacing between staves, which affords room for notes or comments. The paper is of higher quality than most guitar editions, as well. All of these factors, in my opinion, combine to make the Tansman volumes "a must" for the student, and therefore, the teacher.

The Bartók pieces, unquestionably the most important of the volumes listed above, were written for piano and date from 1908-9.* They have been classified as being within the category of Bartók's "mature compositions" by Jozsef Ujfalussy, in: Béla Bartók. Translated by Ruth Pataki. Boston, Crescendo Publishing Co. 1972. Concerning the significance of For Children, Ujfalussy (op. cit. p. 91) writes:

Apart from their aesthetic worth, the Bartók pieces are invaluable because they provide the student with the opportunity for an excursion into a realm of modern music which stresses shifting rhythms. For example, No. 21 (First Series, 25 Pieces...), employs three metric combinations in four successive alternations, ending with a fourth combination in the space of 34 measures!

The overall quality of Ferenc Brodszky's guitar editions of Bartók's For Children, especially the books for solo guitar, is high. The recorder versions likewise, are well done and provide an interesting set of preparatory ensemble pieces.Unfortunately, the editions lack editorial comments. This inexcusable oversight can be misleading in a number of ways. For example, the first series of For Children: 25 Pieces... is based upon Hungarian folk tunes and the second series, upon Slovakian folk tunes. Furthermore, the numerical listing of the pieces in the Brodszky edition does not correspond with the numerical order found in the piano edition. Similarly, there are 42 pieces in Volumes I and II (Hungarian pieces) of the piano version of For Children, with 43 pieces totalling Volumes III and IV (Slovakian

away from the strumming style with his method. The Italian composer included punteado passages (with the fingers of the right hand, like the older lute music) along with rasgueado (strumming.) Foscarini was a professional lutenist.

Danner pointed out that Foscarini's guitar method contained entire pieces without strummed chords, apparently in spite of advice from Benedetto Sanseverino who wrote in 1622 that "it seems to me that one ought to play the Spanish Guitar with full strokes, and not otherwise, because playing with diminutions, slurs or dissonances is more suited to the playing of the lute than to the Spanish Guitar..."

the sales department under Ruben. Hal also teaches classic guitar classes at Saddleback College. His Method deals primarily with the mechanics of hand positions and finger movements, with one hand taken at a time. Especially noteworthy is the "Spider," which is a left hand exercise to develop the left hand fingers in pairs.

(CGI, Vol. 2, "v, pp. 7-10, contained an article on transcriptions of renaissance lute and vihuela music .The following two articles cover, briefly, the baroque and the classic guitars.)

The baroque period in music dates roughly 1600-1650. It was during this period that the guitar had some of its most important developments. A resurgence in interest in music and instruments of antiquity includes the baroque guitar.

Musicologist Dr. Peter Danner has written two papers which cast some light on the music itself: "Giovanni Paolo Foscarini and his 'Nuova Inventione,'" in the Journal of the Lute Society of America, 1974¹, and a draft of "Adapting Baroque Guitar Music for Modern Performance," which appeared in the Italian publication il "Fronimo," in April, 1974.²

Baroque guitar composers included Gaspar Sanz, Robert de Visee, Francesco Corbetta, Ludovico Roncalli, and Foscarini. Danner points out their music is rarely heard and even then "usually fails to reflect the sound of the original."

The baroque guitar had five courses (sets) of strings, each course being double strings. The earliest baroque guitars were used for battente music, essentially strumming. Apparently it was Foscarini, Danner wrote, who broke

In his article on Foscarini, Danner suggests that the use of the baroque guitar in performance would open the "doors into an unusual and once-flourishing musical world..."

Edici ED 21290: Musique baroque pour deux guitares: Scarlatti, Domenico: Sonata in E minor, Sonata in E major; Marcello, Alessandro: Adagio in D; Bach, J.S.: Bourree I and ll,and Gigue from the English Suite no. 2, Gavotte and Musette from the English Suite no. 3; Vivaldi, Prelude and courante from Suite no. 8, Andante in E minor; Corelli, Sonata in E minor, op. 5, no. 8.

Evidently the works are both transcribed and performed by the Greek guitar duo, Evangelos and Liza. For lovers of Baroque music and guitar duos, this album is pure pleasure. The ensemble playing is superb.

Klavier KS 537: Masters of flute and guitar, vol. 2; Bach, J.S.: Sonata in G minor for flute and harpsichord; Locatelli: Sonata for flute and continuo; Koechlin: Four miniatures; LeClair, Jean Marie: Musette, Gigue; Doran, Matt: Andante and finale from Suite for flute and guitar; Castelnuovo-Tedesco: Sonatina for flute and guitar.

Floyd Stancliff is the flutist on this enjoyable disc. With the exception of the works by Doran and Castelnuovo-Tedesco, all have been transcribed by Macaluso for the 10 string guitar. The album is an enjoyable addition to the growing body of recorded chamber music with guitar.

RCA ARL 1-0864: The Intimate Guitar: Weiss: Bourse; Benda, Georg: Sonatina in D, Sonatina in D major; Bach, J.S.: Prelude, Sarabande, Minuets I and II from Suite no. 1 for violoncello; Scarlatti, Domenico: Larghetto, Minuet, from two sonatas; Sor: Andante in C minor and Minuet in C, Minuet in A, Minuet in C; Ascencio: Dipso; Ponce: Prelude in E.

The second in "a series of new recordings by the beloved master of the guitar." The first, RCA ARL 1-0485 was mentioned in CGI, Vol. 2, #2, p. 16. Unfortunately, adequate information to specifically identify the works performed is lacking, and there is no indication of a published source for the music. Segovia does introduce still another unpublished work, Ascencio's Dipso, a beautiful addition to the repertoire. This disc is more interesting than the first in the series, and it is hoped that future discs will continue to document the maestro's mastery.

With some ten recordings of Rodrigo's popular guitar concerto currently available, including another by Williams (Columbia MS 6834 with Ormandy and the Philadelphia Orchestra), one might well ask "What, again?" However,

the flip side recording of the Villa-Lobos concerto is most welcome, for since the premiere recording by Laurindo

Almeida (Capitol Sp 8638) which is not completely adequate, the only other recording now available is by Julian Bream (RCA LSC-3231). The Williams performance is both competent and satisfying.

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professional design and layout man. I was a professional novelist and scriptwriter, though not a conspicuously successful one. George and I had a classical background to our guitar playing and teaching. Sean Thompson was into blues. We knew many other guitarists including flamenco players, folk players and rock performers. Realizing that we had a very wide range of expertise to call on, we decided to start a magazine. It was to be eclectic, including all kinds of guitar in the hope that some common ground might be discovered and explored to everyone's advantage. After nearly three years I don't think this has been achieved.

We took the idea to a big publishing company, who went as far as doing a market research operation before turning us down. Two other publishers expressed interest that was outweighed by their extreme caution. We knew we would have to go it alone. Discussion with a friend who edited a small magazine convinced me that going it alone was not only necessary but desirable. So George Clinton borrowed some money from a friend, and we registered a partnership of four including the man with the money.

I gave up all other commitments and turned my house into the office. The other two working partners continued with their full-time jobs, devoting spare time to the magazine. A printer was found, and a distributor. Originally we had intended to have an advisory board containing as many big names as we could muster, but we decided against this kind of window-dressing, preferring to rely on the merits of the magazine itself.

It proved successful from the start. The first issue (August 1972) sold out. The office was flooded with subscription orders. It was apparent that a profit would be made after only two or three issues - and it was all achieved with the minimum of publicity and sales promotion.

It was then that internal dissensions caused the break-up of the original partnership. It was reformed without the designer/layout man, whose function was taken over by a design unit set up by the printers. The continuing improvement in the financial situation enabled an office to be rented

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in London's West End, and a limited company was formed. But this did little to resolve the personal differences within the managerial structure, and I left at the end of February 1972, leaving George Clinton in full control. The magazine seems firmly established, but to me and perhaps to others who worked on it at the very beginning it does appear to lack something of the dynamic, pioneering spirit it had in its early days.                             _₀_

(Editor's note: The present philosophy of Guitar is contained in a recent letter from its editor, George Clinton, to CGI, in which he wrote: "...Guitar was begun as a direct result of the existence of Guitar News which I personally thought too parochial, in that it dealt with the top soil of guitar interest at a time when the guitar was being played and enjoyed /but not taught - more's the pity on a very broad front. Guitar News did not reflect or promote interest in the guitar as an instrument of music, only of "classical" music. I, along with a great number of guitarists was very pleased therefore when Guitar News ceased to exist."

For the classic guitarist, the sound of the instrument is of supreme importance. It is produced by the manner of exciting the strings, by the nature of the guitar, but very significantly through the strings themselves. While physical analysis of the design and construction of guitars has made comparatively few advances explainable in rigorous mathematical terms, the study of strings is an entirely different matter.

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I look at Mario, a man in his twenties, doing what he loves to do, and doing it well. Born and living in Mexico, educated there, a brilliant person, eyes reflecting sensibility. I see myself, doing some of the things I love to do, and not doing them half as well as I'd love to. I refer to the guitar.

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