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GUITAR
CLASSICAL
Editorial Consultant:
2009 Colin Cooper
Features Editor:
Guy Traviss
Reviews Editor:
NOVEMBER
Tim Panting
Music Editor:
Neil Smith
Managing Editor:
Maurice J. Summerfield
News Editor:
VOLUME 28, No.3 Thérèse Wassily Saba
4 Editorial
5 Classical Guitar News – Compiled by Thérèse Wassily Saba
8 Events, Festivals and Competitions
10 Concert Diary
11 Milos Karadaglic – Interviewed by Guy Traviss
16 The First Classical Guitar Retreat – by Guy Traviss
19 A continued conversation with Jorge Morel –
by Ana María Rosado
25 Heinsberg 2009 – by Steve Marsh
28 Letter from New York – by Julia Crowe
34 4th Vrnjci International Music Festival – by Paul Fowles
37 Rincon Flamenco No.58: Reviews – by Paul Magnussen Milos Karadaglic –
38 Gruppetto page 11.
39 Music Reviews
46 CD Reviews
50 Personal CD releases
51 DVD Reviews
52 Book Reviews
53 Concert Reviews
55 Letters to the Editor
56 Classical Guitar Teachers
57 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. Jorge Morel –
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Classical Guitar Magazine 3

Editorial
certo for Guitar and Orchestra’ on a CD or in a concert thought lost forever among the flotsam and jetsam
programme generally produce feelings of apprehension appeared, in close to miraculous circumstances, in a
in at least one pair of ears. with a concerto by Mozart or neat window that was as easy to view as the weekly
Beethoven)? An over-familiar Vivaldi? An edited version 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 QUIZ, whether on the television screen, on radio or
the end results if they take a little longer and the end
in the pub, has become part of the British way of life.
results are far better?’
The standard of knowledge of the contestants is not
The question was answered for me unequivocally,
generally high, and sometimes - particularly in musical
after a typical trawl through the cyber seas. I readily
matters - it is downright abysmal. This includes the
admit that if my internet paddle was snatched from my
brainy scientists who nowadays comprise the intelli-
grasp, I would most likely find myself up that proverbial
gentsia. It used to be the other way round: artists knew
creek. I am all for rescued footage from TV and radio
nothing about the Second Law of Thermodynamics.
broadcasts. The patient rescuers of these snippets
Many of them still don’t, of course, and it’s nothing to be
(often much more) have done much to bring the ‘lost’ to
proud of.
the ‘found’ department. What, in most examples, they
Nor is the ignorance of music currently shown by sci-
have had to forgo is the aspect of quality. It seems to me
entists. Apart from questions relating to the Beatles, the
that if what I mean by quality is a form of excellence,
Rolling Stones or Britain’s last entry in the European
then these easy-to-get forms of reference leave a lot to
Song Contest, they are clueless. The ignorance some-
be desired; so much so, that during the aforementioned
times extends to those who set the questions. Sample
search I was forced to close down the ‘tab’ and re-gath-
(from a television quiz): Which famous Spanish painter
er my senses. I had a mini-rebellion in the sense that I
shared the same first name with a famous Spanish gui-
could no longer accept footage that actually detracted
tarist? The contestant got it in one: Pablo. (Applause.).
from the original performance. I could be speaking here
Pablo Picasso and Pablo Casals. Who doesn’t remember
at direct odds with those who have lovingly rescued
Pablo Casals and his eloquent guitar? Why, he was
wax-cylinder recordings, 78s and countless vinyl LPs
nearly as famous as Andrés Segovia and his cello!
and have produced packages that bring the distant past
Nobody questioned the questioner.
evercloser and more realistically to our 21st-century
Translate that question into the world of science, and
ears. Yet I am probably talking more about our own
ask which famous biologist shared the same first name
impatience, especially with the added phenomenon of
with the author of a famous book on angling, and the
the internet.
answer might well be Isaac. There would be a storm of
So the review pages of CGM become yet a stronger
letters protesting that, while Isaac Walton certainly
cause for the provision of excellence than ever before.
wrote The Compleat Angler, Isaac Newton could not be
TIM PANTING
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!), con-
fronted 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 sub-
jects, 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 musi-
cians, let alone guitarists, could answer the most basic
questions about molecular physics.
COLIN COOPER
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 circum-
stance 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 promis-
es. These middlemen were banished with a mouse
click. Rarities were no more. That scrap of celluloid,
4 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 internation-
al 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 gui-
tar competition, the Alessandria, is affiliated to and Classical/Flamenco. Each of the winners
the World Federation of International Music will win many different prizes, and the grand
Competitions. But don’t let that put you off (you prizewinner will receive a four-year, fully paid
can get all the competition information you tuition scholarship for Berklee College of Music
need through the pages of CG): the Boosey & as well as having the opportunity to record on
Hawkes 2010 Music Diary provides all the basic the superstar guitar record, String Theory. The
information you expect from a diary, and a lot album will include legendary guitarists from var-
more. ious genres blending their original styles. Some
of the top ten guitarists from around the world
Online guitar competition will be participating: BB King, George Benson,
John Scofield, Steve Lukather and Lee Ritenour,
It seems that online competitions are becoming among others. As the contest progresses, they
more and more popular. The Barrios will be posting the top 25 YouTube videos on
WorldWideWeb Competition is into its second their website; the address is below. The compe-
round as I write and now we have news of anoth- tition finals will be held at the Broad Stage in
er competition. The Yamaha Six String Theory Santa Monica, California on 22 March 2010.
Guitar Competition began on 1 October 2009, www.sixstringtheory.com
but it is not too late to post your videos online for
the competition, as the last date for submission Alicia de Larrocha (1923–2009)
is 1 February 2010. Lee Ritenour and The
Yamaha Corporation, in association with On Friday 25 September 2009 the Spanish
Concord Records, the Yamaha Corporation, pianist Alicia de Larrocha died in Barcelona at
Berklee College of Music, Monster Cable and the age of 86. She had given her last public per-
D’Addario Strings, have organised the Six String formances at the age of 80 in 2003. Her perfor-
Theory Guitar Competition. It is an online, inter- mances of Mozart were highly regarded for their
national competition to find the top six gui- lighteness and elegance, and Bach and Scarlatti
tarists, one in each of the following categories: highly regarded for their attention to detail but
Rock, Blues, Jazz/Fusion, Country, Acoustic for guitarists she has always been a guide for

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 violin-
ist 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 gui-
tarist Manuel Barrueco and the aforementioned
Cuarteto, all consummate musicians. I was
aiming for a rather spare language in the open-
ing solo guitar movement, and then a craggy,
Manuel Barrueco with Gabriela Lena Frank. dissonant second movement. Perhaps this was
in reaction to having written a large lyrical viola
the interpretation of the works by the Spanish concerto immediately before getting to work on
composers Granados, Albéniz, Mompou and the guitar quintet. In any case, the men dug
Turina. She studied with the Frank Marshall, into the work, not shying away from its spaces
who was a student of Enrique Granados. He or edges, and I know that the Grammy nomina-
established the Academia Marshall in tion reflects the hard work from all of us togeth-
Barcelona during Granados' lifetime. It was a er. On behalf of all of us, I’m truly grateful for
hub of cultural activity for Spanish and over- the recognition for Inca Dances.’
seas artists and continues as such. After Frank
Marshall’s death in 1959, she took over as the Kavanagh joins Koblenz
Director.
The Canadian guitarist Dale Kavanagh has
Latin Grammy joined the academic staff at the Koblenz
International Guitar Academy in Germany.
Gabriela Lena Frank’s Inca Dances for guitar The Academy was established in 2005 and is
and string quartet has been nominated for the dedicated to the development and further edu-
Latin Grammy in the category of Best Classical cation of young guitarists. The Academy offers
Contemporary Composition. Manuel Barrueco postgraduate studies in guitar with a soloist’s
premièred Inca Dances with the Cuarteto diploma and specialist training for teachers in
Latinoamericano and its première recording music schools. There are presently 25 stu-
also appears on their recording called Sounds of dents 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 gui-

tarist 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
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 musi-
cologist 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 cen-
tury is yet to be appreciated fully. Equally
Federico Sopeña was a central figure in
Spanish culture life; he was also a music crit-
ic, 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 con- All of the concerts and conferences are open
ferences in celebration of the 100th anniversary to the public with no entrance fee and are being
of Andrés Segovia’s first public recital. That held at the Fundación Andrés Segovia, Calle
recital took place in October 1909 at the Salón Cánovas del Castillo, 59 23700-Linares (Jaén),
de Actos del Centro Artístico y Literario in Spain.
Granada, Spain. www.segoviamuseo.com
An exhibition of philatelic and collected
memorabilia in homage to Andrés Segovia and Trinity College of Music Guitar Day
the celebration of the centenary of his first
recital will open on Thursday 6 November at Trinity College of Music will hold a guitar day
8pm at the Fundación Andrés Segovia and will on Thursday 19 November 2009, commencing
remain open until 22 November 2009. This
evening will also be the start of a series of
nightly concerts each at the Fundación, pre-
sented in collaboration with the Excmo.
Ayuntamiento de Linares. Starting with the
Duo Melis (Susana Prieto and Alexis
Muzurakis) on 6 November, then with the gui-
tar 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.
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 con-
cert 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, popu-
larly 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.
Volker Höh’s Savio
at 10am with a lecture on Julian Bream by
Graham Wade. This will be followed by a The German guitarist Volker Höh has made a
short recital of Bream-inspired works such as recording of the Preludes, Chôros No.1 and Suite
works by Walton, Britten and Arnold, given Popular Brasileira by Villa-Lobos and a selection
by guitar students at Trinity College of Music. of 11 pieces by Isaias Savio, some of them possi-
The Trinity Guitar Ensemble conducted by bly previously unrecorded. The recording, called
James Woodrow will be performing a Cenas Brasileiras is on the Aurea Vox label.
lunchtime recital and this will be followed by In July and August 2009 Volker Höh travelled
a masterclass from 2.30–5.30pm by John to Bolivia and Argentina to give concerts for the
Mills. All events are free for the public to Goethe Institute; his programme was entitled
attend. More information can be found on the ‘Bach at the Amazonas’. We hope to read about
Trinity College of Music website: his travels in the Views from Everywhere sec-
http://www.tcm.ac.uk tion soon.
Wirral Festival Mercedes Sosa (1935–2009)
This month the 21st International Guitar The legendary Argentinian folk singer Mercedes
Festival of Great Britain will be held from Sosa, known as ‘La Negrita’, died in Buenos
3–29 November 2009 in Wirral. The artists Aires on Sunday 4 October. She had just
include: David Parsons, Alison Smith, recorded her 40th album, which has been
Galina Vale, Esmond Selwyn, Ralph McTell, nominated for a number of Latin Grammy
Steve Hackett, Martin Taylor, Woody Mann, Awards this year. Other artists appearing with
Telecaster Day presented by Paul Balmer, Mercedes Sosa on this album are Shakira,
John Etheridge & John Williams among oth- Joan Manuel Serrat, Joaquín Sabina, Lila
ers. John Williams will also give a solo recital Downs and Julieta Venegas. Her interpretation
on 15 November at 2.30pm, followed by of songs was sensitively powerful and unforget-
John Etheridge’s Sweet Chorus band at table for its profound expressiveness, such as
8pm that evening. Violeta Parra’s Gracias a la vida or Ariel
Unfortunately, Brendan McCormack, one Ramírez’s Alfonsina y el mar. Like Atahualpua
of the International Guitar Festival Yupanqui, the influence of her life’s work is
founders, passed away earlier in the year, immeasurable and will be felt for many genera-
and his very lively presence will be very tions to come.
E vents, F estivals & C ompetitions
Compiled by THÉRÈSE WASSILY SABA
FESTIVALS & COMPETITIONS acoustic musical instruments, from any country

and with no age limit. The prizes include over
6–8 November 2009: Brussels, Belgium. The 1,000,000 Roubles, a concert tour in Russia’s
Brussels Barrios Festival 2009 with Antigoni best concert venues and a package of additional
Goni, Raphaëlla Smits, Luz María Bobadilla with prizes. Contact: Alexander Shirunov, Executive
Manuel Obregón, Berta Rojas, Eliot Fisk, Rene Director, I International Terem Crossover
Izquierdo, Elina Chekan, Jerome Mouffe, Enno Competition. 31, ul. Kirochnaya, St. Petersburg
Voorhorst, Dr Jorge Sanabria and Felipe Sosa. 191123, Tel. +7(812) 400 2259. Fax +7(812) 400
There will be an exhibition of manuscripts and 2258.
instruments from the Barrios Museum in email: [email protected]
Asunción, Paraguay and a two-hour documentary www.terem-competition.ru
film about Barrios will be shown. Contact: Jan de
Kloe, Kroendaalplein 7a, “Villa-Lobos”, B-3090 7–10 April 2010: Veria, Greece. The 9th
Overijse, Belgium. International Veria Guitar Festival and the 2nd
email: [email protected] Veria International Guitar Competition is in two
www.Barrios2009.com age categories: Category A with no age limit cate-
gory – First Prize is €2,500; Category B for gui-
12–14 November 2009: Barbezieux, Charente, tarists born after 1 April 1989 – First Prize is €500.
France. The competition of Concours Contact: Mrs Olga Milona, tel. +30 23 3107 8100,
International de la Guitare Classique Robert J. fax +30 23 3102 7914.
Vidal is open to solo guitarists of all nationalities email: [email protected]
under the age of 32 on 12 November 2009. The veriaguitarfestival.gr
competition is in three rounds. Variations sur un
thème de Django Reinhardt by Léo Brouwer is the 6–8 May 2010: Sassari, Italy. The XVI
set piece in the Preliminary round. First Prize is International Biennal Guitar Competition
€10,000. Entry deadline: 15 September 2009. ‘Emilio Pujol’ organised by the Associazione
Contact: Concours International de Guitare Chitarristica Sassarese with First Prize of €4,000;
Robert-Jean Vidal, ODECA / Régine-Claire Second Prize of €2,000; and Third Prize of
Boissard, 27 rue Louis Desbrandes, 16000 €1,000.Entry deadine: 15 April 2010. Contact:
Angoulême, France. Tel. +33 (0)6 16 86 59 08. Associazione Chitarristica Sassarese, Via
email: [email protected] Flumenargia, 33, 07100 – Sassari, Italy.
www.concours-robert-j-vidal.com www.assochitarra.it
20–22 November 2009: Tokyo, Japan. 52nd 2–6 June 2010: Velbert, Germany. The 6th
Tokyo International Guitar Competition 2009 International Competition for Young Guitarists
organised by the Japan Federation of Guitarists ‘Andrés Segovia’ organised by the municipality of
for guitarists born after 1974. Preliminary round Velbert in collaboration with EGTA (Germany) is in
on 17 August 2009; applicants must send their three age categories: Group I: up to 13 years old;
recordings by 31 July 2009. Contact: Japan Group II: 14–16 years old; Group III: 17–19 years
Federation of Guitarists, Wada-bldg. 5F, 6–14–4, old. The date for calculating the guitarist’s age is 2
Shimbashi, Minato-ku, Tokyo 105–0004, Japan. June 2010. Contact: Musik & Kunstschule der
Tel. 81 3 3438 1819. Fax. 81 3 3438 1899. Stadt Velbert, Kaiserstr. 12, D-42549 Velbert,
email: [email protected] Germany. Tel. +49 (0)2051 490 776, fax. +49
www.guitarists.or.jp (0)2051 490 780.
email: [email protected]
23–28 November 2009: La Herradura, Granada, http://gitarrevelbert.de
Spain. The XXV Certamen Internacional de
Guitarra Clásica ‘Andrés Segovia’ is in homage 22–27 June 2010: Austin, TX, USA. The Guitar
to Francisco Tárrega and Isaac Albéniz, who are Foundation of America International
celebrating their centenaries, and also in homage Convention & Competition including the
to Leo Brouwer, who is 70 this year. The guitar International Concert Artist Competition and
competition has a First Prize of €9,000, a guitar by the International Youth Competition with
Paco Santiago Marín and two recitals in Madrid guests: Pepe Romero, LA Guitar Quartet, Berta
and Granada and there is also the composition Rojas, Katona Twins, Adam Holzman, Ana Vidovic,
competition XXII Concurso de Composición Marcus Tardelli, Ronn McFarlane, Atanas
‘Andrés Segovia’. Ourkouzounov & Mie Ogura, Miró String Quartet
email: [email protected] and the Austin Symphony Orchestra.
www.certamenandressegovia.es www.guitarfoundation.org
26 November 2009: London, UK. The 12th Ivor 28 September–2 October 2010: Vienna, Austria.
Mairants Guitar Award is a competition open to The International Guitar Competition Karl
guitarists of any nationality born after 1 January Scheit is open to guitarists of any nationality,
1982. Entry deadline: 31 October 2009. Contact: born in or after 1980. The prizes are €7,500 for
The Worshipful Company of Musicians, The First Prize, €5,500 for Second Prize and €3,500 for
Clerk’s Office, 6th Floor, 2 London Wall Buildings, Third Prize. Entry deadline: 15 March 2010.
London, EC2M 5PP. Contact: International Guitar Competition Karl
Scheit, University of Music and Performing Arts
March 2010: St Petersburg, Russia: I Vienna, Anton von Webern Platz 1, A-1030 Vienna,
International Terem Crossover Competition is a Austria. Tel. =43 1 71155 2021.
musical forum intended for professional and young email: [email protected]
talented instrumental ensembles comprising any www.mdw.ac.at/gitarrenwettbewerb
C oncert D iary
NOVEMBER 20 Friday
1 Sunday Dallas, TX: WILLIAM KANENGISER. Owen Arts
London: DIMITRIS DEKAVALLAS: Hellenic Center, SMU 6101 Bishop Boulevard, 7.30pm.
Centre, 16-18 Paddington Street, Marylebone, 21 Saturday
London W1U 5AS. Tel. 020 7193 2699 (London Amsterdam: DUO MELIS. Concertgebow.
Greek Film Festival). 25 Wednesday
3 Tuesday Blackwood, Wales: GERARD COUSINS.
Newcastle: SIMON THACKER & NAVA RASA Blackwood Miners Institute High Street, NP12.
ENSEMBLE. Eastgate Theatre. Tel. 0191 443 Lunchtime.
4661 (new concerti by Osborne and Korde). 29 Sunday
4 Wednesday Hall, Austria: LORENZO MICHELI (theorbo, gui-
Bideford: AGNEW MCALLISTER DUO. Bideford tar & baroque guitar).
Music Club, Greenville College, 7.30pm. 30 Monday
London: FRANCISCO ANTONIO (flamenco gui- Canterbury: DIMITRIS DEKAVALLAS: Friends
tar) and CHRISTOPHER EVESHAM (classical Meeting House, 6 The Friars, Canterbury CT1
guitar). The Forge, Camden, NW1 7NL, 2AS, 7.30pm. Tel. 01227 265 503.
7.30pm. DECEMBER
Peebles: SIMON THACKER & NAVA RASA 3 Thursday
ENSEMBLE. Sage Gateshead. Tel. 01721 725 Newcastle: AMANDA COOK. Customs House,
777 (new concerti by Osborne and Korde). South Shields, Tyne & Wear, 1pm. Tel. 0191 454
5 November 1234.
Poole, Dorset: XUEFEI YANG, COBIE SMIT, CRAIG 5 Saturday
OGDEN & JOHN MILLS. The Lighthouse Concert New York: MANUEL BARRUECO. 92 St. Y.
Hall, 7.30pm. Pittsburgh, PA: LOS ROMEROS. Manchester
6 Friday Craftmen’s Guils, 1815 Metropolitan St, 8pm.
Inverness: SIMON THACKER & NAVA RASA 10 Thursday
ENSEMBLE. Eden Court. Tel. 01463 234 234 Los Angeles, CA: SHARON ISBIN & Pacific
(new concerti by Osborne and Korde). Symphony. Segerstrom Concert Hall, Orange
London: DIMITRIS DEKAVALLAS: St James, County Performing Arts Center (Rodrigo’s
Piccadilly, 1pm. Fantasia para un gentilhombre).
7 Saturday 11 Friday
Mallaig: SIMON THACKER & NAVA RASA Guildford, Surrey: STEVE THACHUK & SARAH
ENSEMBLE. Community Centre. WASS (flute). University of Surrey, 8pm.
Tring, Herts: RAYMOND BURLEY. Methodist Ancona, Italy: MANUEL BARRUECO.
Hall, HP23 5BB, 7.30pm. Tel. 01296 677 230. Los Angeles, CA: SHARON ISBIN & Pacific
8 Sunday Symphony. Segerstrom Concert Hall, Orange
Drumnadrochit: SIMON THACKER & NAVA RASA County Performing Arts Center (Rodrigo’s
ENSEMBLE. Glen Urquhart Public Hall. Tel. Fantasia para un gentilhombre).
01456 450 528. 12 Saturday
New York: SABRINA VLASKALIC. Roger Smith Guildford, Surrey: STEVE THACHUK & Surrey
Hotel, 501 Lexington Ave, at East 47th St, 4pm. Mozart Players, conducted by Ken Woods. Holy
9 Monday Trinity Church (Malcolm Arnold guitar concerto).
London: DIMITRIS DEKAVALLAS: St Martin-in- Los Angeles, CA: SHARON ISBIN & Pacific
the-Fields, 1pm. Symphony. Segerstrom Concert Hall, Orange
10 Tuesday County Performing Arts Center (Rodrigo’s
Aberdeen: SIMON THACKER & NAVA RASA Fantasia para un gentilhombre).
ENSEMBLE. Sound Festival. San Francisco, CA: PEPE ROMERO. Herbst
11 Wednesday Theatre, 8pm.
Edinburgh: SIMON THACKER & NAVA RASA 13 Sunday
ENSEMBLE. Queens Hall. Tel. 0131 668 2019. New York: ANTHONY BEZ. Roger Smith Hotel,
Reading: GERARD COUSINS & DEREK GRIPPER. 501 Lexington Ave, at East 47th St, 4pm.
South Street, 8pm. Tel. 0118 960 6060. 14 Monday
12 Thursday Alicante, Spain: MANUEL BARRUECO.
London: SIMON THACKER & NAVA RASA 15 Tuesday
ENSEMBLE. Bishopsgate Institute, Grand Hall. Manchester: BERTA ROJAS. Bolton School Arts
Tel. 020 7392 9220. Centre, 7.30pm. Tel. 07831 416 358.
13 Friday Castellón, Spain: MANUEL BARRUECO. (recital
Bognor Regis: GARY RYAN. Recital Hall, West commemorating the 100th anniversary of
Sussex Guitar Club, 7.30pm. Tel. 01243 866 Francisco Tárrega’s death).
462. 16 Wednesday
London: GERARD COUSINS & DEREK GRIPPER. Bilbao, Spain: MANUEL BARRUECO.
Schott Music Shop, Great Marlborough St, 31 Thursday
6.30pm. Tel. 020 7292 6090. New York: LOS ROMEROS. Kaufman Ct Hall,
14 Saturday 92nd Y, 1395 Lexington Avenue, 8pm. Tel. 212
Boston, Lincs: EL MORENO. Blackfriars Arts 415 5500.
Centre, Spain Lane, 7.30pm. Tel. 01205 363 108. JANUARY
Eastleigh, Hants: BERTA ROJAS, The Point, 9 Saturday
Leigh Road, SO50 9DE, 8pm. London: GORDON GILTRAP & VIRGINIA LUQUE.
15 Sunday Purcell Room, 7.30pm. Tel. 0844 875 0073.
Brecon, Wales: GERARD COUSINS & DEREK 10 Sunday
GRIPPER. Subud Hall, 7.30pm. Tel. 07941 923 New York: GABRIEL BIANCO. Roger Smith Hotel,
795. 501 Lexington Ave, at East 47th St, 4pm.
Fareham: DIMITRIS DEKAVALLAS: Lysses Hotel, FEBRUARY
High Street, 3.30pm. 13 Saturday
18 Wednesday Fort Worth, TX: PEPE ROMERO. Ed Landreth
Wirral: ALISON SMITH. Williamson Art Gallery, Auditorium, TCU 2800 S. University, 7.30pm.
7.30pm. Tel. 0151 666 0000. Tel. 817 498 0363.
19 Thursday 14 Sunday
Fort Worth, TX: WILLIAM KANENGISER. The New York: THOMAS VILOTEAU. Roger Smith
Modern Art Museum of Fort Worth 3200 Darnell Hotel, 501 Lexington Ave, at East 47th St,
Street, 7.30pm. Tel. 817 498 0363. 4pm.

MILOS KARADAGLIC
Interviewed By GUY TRAVISS
Milos Karadaglic.
HAVING WON more than thirteen top prizes, Milos recitals at the Purcell Room and Wigmore Hall,
Karadaglic has established himself as one of the most and performed at several other venues in the UK
promising young musical talents of today. Born in and overseas. In addition to this, Milos has been
Montenegro in 1983, Milos started playing guitar at featured on BBC Radio 3’s In Tune programme to
the age of 8 and very quickly began performing in promote a concert series at London’s South Bank
public. By the age of 14 he had already performed in Centre, and recorded pieces for the ABRSM gui-
most of the major concert halls in Montenegro and tar grade exam syllabus. This year he will release
Yugoslavia, becoming nationally recognised. his much anticipated debut CD.
Having graduated from the Royal Academy of
Music in London in 2004 (he won the Worshipful How did growing up in Montenegro affect your
Company of Musicians’ prestigious Ivor Mairants approach to learning music?
Guitar Award in the same year), Milos continued My training was slightly unusual because of where I
his postgraduate studies at the same institution grew up. From as early as I can remember I loved to
where he went on to receive the Julian Bream sing. At first I sang at home to my parents and their
Prize. He was also offered a Meaker Fellowship at friends, later joining a children’s choir and perform-
RAM for his work on materials from the Robert ing all around former Yugoslavia. At eight I attended
Spencer Collection and contemporary guitar a specialist music school where I started playing the
music especially written for him by the Academy guitar, reason being that my father had an old dusty
composers. Since then he has achieved further guitar which sat on top of the wardrobe. I was a very
success winning the Worshipful Company of fast learner and changed between every teacher
Musicians’ 2007 Prince’s Prize and their Silver available. After I had established myself with the
Medal. He is the first classical guitarist to receive right person I was entered into many competitions
these prestigious awards from the Worshipful and festivals, performing in large concerts halls filled
Company of Musicians (Musicians Livery with many people. Soon after this, I also started per-
Company - www.wcom.org.uk) one of the City of forming for television and radio.
London’s most ancient guilds.
Recently Milos presented his debut recital at Who were your influences during this time?
the famous Lucerne Festival in Switzerland to a The most well established guitarist at that time was
capacity crowd. He has also appeared as a soloist John Williams and his CD’s were available every-
with the London Philharmonic Orchestra, given where, so I listened to his recordings a lot. I loved

what I heard, and although I was only lit-
tle, 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 peri-

od?
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 mathe-
matics 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 Milos Karadaglic.
lot because they had fabulous musi-
cians and teachers there. I attended mater-classes Do you feel that guitarists should in some way
anywhere the opportunity presented itself; on one rethink their role within the classical music industry?
such occasion I played for David Russell in Italy. Absolutely! We should really be concentrating on
He was such an inspiration. It was David who this and getting to grips with ‘guitar taboo’. There is
made me aware of the Royal Academy, and a few a genuine need for guitarists to simply get out
years later I found myself in London studying with there! One of the reasons why the instrument is
Professor Michael Lewin. perceived differently to that of, say, the violin, piano
or cello, is partly through fault of guitarists them-
What sort of impact did this have on your studies? selves. There are essentially two ways of building a
I came to England at sixteen with a repertoire career. One is to participate in every competition
which included the major guitar you can manage, continually play
sonatas, tremolo and romantic the same repertoire and win many
pieces; everything was very “I have always prizes. Players can make a very
impressive, but it was from the been working nice career in this way, with great
hands of a teenager. The first attention and interest from within
piece Michael gave me was a Sor towards the same the guitar community.
Study, No.8 Op.6. I was shocked, goal, and that is Unfortunately, because of the rel-
but later I realised that to play ative size of that community, this
this piece as it should be played first of all to be a will not provide a major career in
is in fact very difficult. Suddenly good musician the general music world. The
my confidence was shaken, this other is to explore broader musi-
experience made me aware of the and then a cal areas and find a way to get to
missing elements in my training. guitarist...” the best concert podiums with
Having Michael for a teacher was innovative concepts and program-
one of the best things that could ming. This is of course much
have happened to me because he made me who I harder. When you look at the careers of major gui-
am today. tarists such as Julian Bream, John Williams, David
Russell and Manuel Baruecco, this is exactly what
How do you see yourself fitting in to the music they have done. The fact they chose the guitar as
industry at this moment in time? their instrument did not stop them performing with
I am very happy with where I am at the moment; the best artists of their time; presenting existing
it’s exactly where I wanted to be at 25. I have and new repertoire with the pride and quality it
always been working towards the same goal, deserves; recording for the best record labels; and
and that is first of all to be a good musician and appearing in festivals and concert programmes all
then a guitarist; a guitarist in the music-world over the world.
than a guitarist in the guitar-world. Everything
I have done so far has been heading in that If guitarists are to somehow demonstrate them-
direction. selves within wider musical circles, the repertoire
they present is clearly of paramount importance. talking them into writing something for you (not
What considerations do you give to programming in to mention the funding issues). So things need to
an attempt to convey the modern classical guitar to be taken a step at a time. Bream has been
those who have little or no understanding of the extremely successful in this respect and to some
instrument? degree we all need to inherit his position. He was
Well that is very difficult. What makes an audience looking to explore the guitar’s possibilities and
at a guitar festival happy may not please those at show the world what the instrument is capable of.
the Wigmore Hall or the Salzburg Festival. When I Our repertoire needs pieces that work on that
started giving recitals for more general music- level, pieces like Britten’s Nocturnal - a very sub-
going audiences I performed pieces like Sor’s stantial piece of music in any musical context; the
Grand Solo which I, as a guitarist, love. But it Ginastera Sonata; the Jose Sonata – a piece which
doesn’t carry much musical weight for listeners people respond to in the same way they would a
who are used to hearing Beethoven Sonatas, for Debussy or Ravel sonata; works by Berkley,
example. A very honest friend of mine who works Walton and many others.
within the classical music industry once said to
me that a very famous piece by Sor sounded to Many of the pieces you have mentioned so far are
him like a common Bavarian folk tune! I was those more extended compositions that have moved
shocked and disappointed as these pieces form away from small scale works we readily associate
such a great part of our repertoire. This is why I with the guitar. Do you feel this is something both
tend not to programme pieces only we as guitarists guitarists and audiences are still getting used to?
know and feel comfortable with. People love Bach I think there has been plenty of time to get used to
on the guitar; I have never performed Bach with- it. Perhaps a lot of this attitude comes from our
out a great response from an audience. People also training as guitarists. When you enter music-col-
love Rodrigo just because they know the concerto, lege you suddenly discover that pianists and other
but he has also produced some substantial pieces. instrumentalists carry masses of substantial
I don’t wish to sound harsh as there still repertoire with them. Then, when you match your
remains a great deal of fantastic music for the little Torroba Piece you have been practising so
guitar, both original and transcribed, but I think enthusiastically against a Prokofiev Sonata, you
the instrument’s future lies in commissioning don’t feel so good about yourself. We do need small
new works. Many of us will know that this is pieces however; all instrumentalists play small
not an easy task, as the major- pieces and miniatures of sorts, but we cannot
ity of composers today do not thrive on them alone.
know our instrument well. On the other hand, as with all 20th and 21st
In addition to this you need century repertoire, you could not realistically pro-
to be recognised enough in gramme Britten, Tippett and Ginastera, for exam-
order to approach the ple, in the same recital. That would be ridiculous.
most established com- It’s possible get away with one or two pieces such
posers, before 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 con-
nection that will cause a
performance to be better
understood and ten times
more intense. This is some-
thing that all performers should
do today, particularly gui-
tarists, owing to instrument’s
‘novel’ status.
If we are to increase
the scale of the
Milos
Karadaglic.

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 sig-
nificant enough problem with the instrument’s
limitations to prevent it from doing so. Today we
have instruments which are very loud and projec-
tive, 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 instru-
ment, take it to wider audiences, then it is some-
thing we absolutely must do.
Have your own experiences on the platform lent

themselves to this ethos? Milos Karadaglic receiving his Worshipful
Recently I performed a concerto with the London Company of Musicians' Silver Medal in June 2008
Philharmonic Orchestra, and afterwards I was called from Leslie East, Master of the Musicians
out to play an encore (for which I chose Barrios’ Company at that time, at the Stationers' Hall
Ultimo Tremolo). There was an incredible silence of in the City of London.
over nineteen hundred people. Naturally there was a
sudden change of volume in contrast to the orches- but the audience was concentrating on every
tra, but the listeners re-adjusted their senses and it move and sound, it was a magical experience.
was like a dream! Some of the most articulate and This to me is proof of how important presentation
interesting people I know speak very quietly, and you is in any circumstance. One has to forget about
listen more carefully because of that. My teacher told the limitations and concentrate on the good
me Segovia once played a solo recital at the Royal things. This is the only way to succeed.
Festival Hall with no amplification!
I had a similar experience with It has been interesting to discuss
my debut performance at the “One has to the values you have subscribed
Luzern Festival in Switzerland.
The recital was being held in a
forget about the to in you early career. How will
you proceed with things in the
large hall which had thick velvet limitations and more immediate future?
curtains hanging on all sides,
even the platform area was
concentrate on In the very near future I will be
giving a solo recital at the
draped with curtains. It looked the good things. Wigmore Hall (8 January
as though no one was going to
be able to hear me. During
This is the only 2010); appearing as a soloist
with the English Chamber
rehearsal the only thing I could way to succeed.” Orchestra; playing a debut
hear was the sound my nails recital at the Menuhin Festival
were making against the strings. in Gstaad and other cities in
I was about to present myself to one of the most Switzerland, Germany and Italy; and partici-
knowledgeable and sophisticated audiences in pating in an exciting chamber music recording
the world, so you can only imagine how frustrat- project with some of the most distinguished
ed I felt. I asked for all the lights in the hall to be artists of today. However, the release of my
taken out, leaving only a few dim lamps so people debut CD is the next big step. There are some
could read their programmes and a spotlight on very interesting things in play at the moment,
the platform. I thought this would help the audi- but I cannot announce anything yet. There will
ence focus. When I eventually came out to play, it be a lot to talk about, so let’s make it a subject
felt as though I was in the most acoustic church. of our next interview…
Yes, I had to project more then I usually would For more information visit: www.milosguitar.com
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

coast of Scotland, the ‘Retreat’ certainly lives up to its
name. A ten minute ferry across the Firth from Largs on the
Whates (bass), in addition to the guitar faculty assem-
bled for the occasion: Peter Stewart, Allan Neave and
Amanda Cook - not forgetting of course the contribu-
north Ayrshire coast of the mainland brings you to tions made by Matthew McAllister as an extension of his
Cumbrae, an island with a cir- duties 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 seclu- with one another. With these
sion, the Cathedral of the Isles, Aisling Agnew and Harry Taylor. 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 con- initial rehearsals and the distribution of materials nec-
cerned, 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 con-
site possesses several advantages for a guitar course; per- vincing approach which can be difficult when performing
haps none more than having all course elements working music so often exercised by the masses. McAllister con-
within 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 mistak-
en, 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

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
(Aisling Agnew, Feargus Hetherington and Douglas Three Songs of She by composer in residence, Peter
Whates) to form the Frevo Quartet. Piazzola’s Histoire Stewart (who later joined Neave for an encore perform-
du Tango – the work which yielded the ensemble fol- ing another of his pieces – Making Friends). Walton’s
lowing 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
Standing Stones, Music from he is.
Scotland and Ireland. This reper- Among the components you would
toire explores the traditional folk expect to find making up the stan-
idioms 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 com-
Scotland and Ireland, made for a position, and successfully managed to
special atmosphere within the sur- negotiate the difficulties associated
rounds of the cathedral. with addressing an audience encom-
Having achieved some degree of passing a wide spectrum of knowl-
acclimatisation most were occupied edge and experience. On another
with ensemble roles, orchestral occasion Amada Cook shared her
rehearsals, masterclasses and pri- thoughts 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
kind of tone CGR is trying to pro- Coffee break. lunchtime concert organised within
mote. Never travelling any real dis- the 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 meth- was 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 with- Bogdanovic’s Mysterious Habitats, she went on to deliv-
in. Evening times are spent in college social rooms er two Scarlatti Sonatas (K309, K175) with impressive
reflecting on the day’s activities, strengthening friend- control; 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 intro-
With 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 understand-
Bach’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
The ambience he managed to create with these pieces, music by G. Shearing (Lullaby of Birdland arr. William
especially so close to the beginning of the programme, Lovelady), A. Bardi (Gallo Ciego arr. Jorge Morel) and
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 per-
form 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 creat-
ing it, with all performances being greatly appreciat-
ed by staff and students alike. In particular, Peter
Stewart, who had composed music especially for the
Views of Arran from Cumbrae.
occasion, managed to lead an ensemble comprising
not only the students but many of the staff as well for

a fitting representation of
the festival’s ethos.
Based on the successes of
the first CGR there are now
options available to the fes-
tival. 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 activi-
ties. 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 posi-
tion to maintain Scotland’s
presence on the festival
scene in years to come.
Perhaps nothing could rein-
force 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 opportuni-
ty to see such calibre in this
environment is worth taking Cathedral of the Isles.
a place on the course alone.
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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 player with brilliant finger-work and with intri-
trying to describe the scope of Jorge Morel’s cacies of rhythmical style. His most dominant
inspiration as a composer. His works cover a wide influence comes from the folk rhythms of
swathe of territory, from reflecting the spirit of Argentina: the chacarera-malambo complexes
the southern tip (Cono del Sur) of South America that play with the alternation and juxtaposition
as an Argentinean, to embracing the jazz and of 6/8 and 3/4 meters in very idiosyncratic
blues inflected idioms he partakes from his cho- ways, and the tango-milonga 4/4 metric strains.
sen hometown, of almost 40 years, New York City, Also in this solo category we find pieces that
with stops in Brazil, Cuba and Puerto Rico along capture the essence of Caribbean music, with
the way. His musical creations can be classified its emphasis on the clave, or additive rhythmic
in three main categories; the original works for code, and the use of the anticipated bass line so
solo guitar, the arrangements and transcriptions prevalent in the Cuban son. and rumba com-
of popular and classical music, also for solo gui- plexes and in their progeny, the Salsa reper-
tar, and the larger works for guitar, several gui- toire. Other pieces in his solo production are
tars, and guitar with other instruments. Latin more classically inspired, following stylistic
Images for orchestra is one of his rare works not trends and forms derived from European music.
to feature the guitar. Morel’s transcriptions and arrangements are
In the first category, solo pieces, we find a sub- exemplars of virtuosic conception as they trans-
stantial number of pieces that challenge the late music from one medium: orchestral, piano

or vocal repertoires into the sonic micro cosmos Musicians, inspired no doubt by the Company’s
of the guitar. track record of supporting young musicians. With
A comprehensive list of all Morel’s work would roots in an ancient craft guild, the Musicians’
necessarily be very long, as he is a very prolific Company is the only City of London Livery
composer. We need make a special mention, how- Company devoted to the performing arts. Many
ever, of his works for guitar and orchestra: famous composers and musicians have been
Fantasia de la Danza. Concierto Rapsodico. associated with the Company, as liverymen or
Romance Criollo, Fantasia Latina (two guitars), award winners, including, among many others,
Rapsodia del Sur, Rapsodia del Plata and Suite del Lennox Berkeley, Peter Maxwell Davies, William
Sur. They are as a whole an important contribu- Walton, Michael Tippett and Julian Bream.
tion to the repertoire of an instrument still strug- Here I would like to ask Jorge Morel a few ques-
gling to gain its long overdue recognition within tions in an attempt to understand his amazing
the great instrumental traditions of the Western life force and the motivations that make him con-
world. tinue to work so hard at a time when others
An indefatigable creator, Morel, whose career would simply bask in their past glory; and to con-
spans well over six decades, continues to work tinue the dialogue we started in our first inter-
towards the goal of improving the guitar’s reper- view back in 1991…
toire and the level of performance by writing
pieces for young players, the Young Guitarist Ana María Rosado: Not only do you write music
series published by Mel Bay in 2009, to instruct with the energy of a young man, but the music
them in the style of Latin music and at the same itself is fresh sounding as well.
time improve their technique and musicality. The Jorge Morel: Thank you. Maybe the energy of my
three books are dedicated respectively to solo, music at this stage of my life comes from my spir-
duet and quartet pieces and contain titles such it, I try to keep it young.
as Milonga, Pampero, and Waltz, among Preludes,
Canciones and Studies. Another book published AMR: How do you keep your ideas so relevant, do
this year is Classic Guitar Solos in Latin American you listen to much music?
Rhythms, also in the Mel Bay catalogue, whose JM: I listen to a lot of music, not only from the
Milonga Urbana and Milonga Campera, Tango, guitar for my work, but mostly for my own enjoy-
Malambo, Bossa Nova and Baião are more tech- ment. I like to listen to composers like Gershwin,
nically demanding and musically sophisticated, Ravel, Debussy, of course, the great Spanish tra-
geared towards more advanced players. dition: Manuel de Falla, Albéniz, Granados, the
In 2007 a book dedicated to the life of Jorge works of Joaquín Rodrigo for the guitar, Villa
Morel was also published by Mel Bay: The Lobos… well, I would need to mention a lot more,
Magnificent Guitar of Jorge Morel, A Life of Music they all give me great pleasure and their music
by John McClellan and Deyan Bratic. encourages me to keep writing.
Interspersed between the interview style ques-
tions by the authors are essays and reflections by AMR: Does your inspiration hail from the guitar
Morel and his daughter Francesca, photographs world or from popular music?
that span his life from Argentina to NYC, and a JM: My inspiration? I don’t know exactly where
trove of pieces, some new and others reprinted I get it from, I think a little from the guitar world,
here. It’s the kind of text that Julian Bream has some from popular music, and the rest from all
seen printed in his life as well, homages to tran- my travels. My ideas sometimes come from a sim-
scendental figures in the history of the guitar. ple pattern, whether melodic or harmonic, but
Another significant book came out the same year, mostly harmonic. Sometimes when I am relaxing
a compilation entitled The Very Best of Jorge with the guitar in my hands, I hear a rhythmic
Morel, Volume1, published by Ashley Mark in the pattern, if I like it, I write it down and take it from
UK, that brings together 15 of his most popular there, it doesn’t work every time, but when it
pieces previously published separately. Latin does, I’ll go all the way to accomplish what I
Serenade, The music of Jorge Morel, with himself want. I did not like my early compositions very
and guest artists performing his compositions for much, I thought they were too simple, but soon I
solo, duets and ensembles is his latest recording discovered that by developing that simplicity in
project, currently in development and produced the structure of my pieces, through melody, har-
by Luthier Music of NYC. mony, rhythm, I could accomplish something
An important premiere will take place in good and still remain simplistic. Of course, I also
London on November 11 2009; the Eden Stell had to study and read many books.
Guitar Duo will perform Latin Serenade for the
City of London, commissioned by Maurice AMR: You have recounted in casual conversation
Summerfield, at a banquet to celebrate Mr. how the world of the classical guitar did not recog-
Summerfield’s induction as Master of the nise you when you were younger, nor even consid-
Worshipful Company of Musicians (Musicians er you a ‘real’ classical performer because of the
Livery Company) in the City of London. Mr. Morel music you played. Do you feel validated now that
dedicates this work to the Worshipful Company of guitar has embraced its folk origins, especially
with the Latin American repertoire, and is there a JM: I think on the solo book I departed a little
feeling of ‘sweet revenge’ from the acclaim you from my Latin American roots, and the Dotted
now enjoy? Study is perhaps a bit long, but it is not to hard
JM: Yes, of course, but I would not call it sweet to play, considering the level of students that
revenge, maybe just a nice feeling. The prejudice many schools have today.
of certain people of the early days, with regards to
my playing, was due to a complete ignorance of AMR: In the book of duet pieces the pace seems
that literature and a misunderstanding of the relaxed with the Danza del Norte, Milonga and
nature of my arrangements. Preludio, but then you present the duet version of
your Pampero solo that should get things rolling
AMR: You have been visionary and prescient in with the 3/4 6/8 juxtaposition. Yet it still seems a
your approach to repertoire, now it is habitual to simplification of the solo, is it?
see concert guitarists playing transcriptions of tan- JM: You are right; Pampero is probably the most
gos, even rock & roll, and compositions based on difficult but only in terms of the rhythmic pattern
popular forms, but when you and the particular accent that
were starting this was the excep- “You perform should be given to these pieces.
tion. You said in our earlier con- The duets are perhaps the most
versation that this was by with your playable, I like to have the stu-
default, not by design; you were students, even dents get together and have a
just being true to your musical good time while learning about
heritage and your musical pref- record with them these rhythms, the same goes
erences. How much of it was and give them for the book of quartets.
also due to a perceived intransi-
gence in the classical field as opportunities to AMR: These three books dedicat-
well, or to the embrace you develop their ed to solos, duets and quartets
enjoyed early on from jazz musi- respectively are all in standard
cians? talent with notation without tablature,
JM: Well, yes, I was always true your active whereas the Classic Guitar Solos
to my musical heritage, I did not on Latin American Rhythms
feel I had to play what every mentoring.” includes tablature versions of the
other guitarist was playing at pieces. At least you include the
the time, I believe the best way to please an audi- tablature version after the notation and not at that
ence is to please oneself musically first. Both the same time, which I find makes reading music very
classical guitar world and my relationship with cumbersome…and extremely annoying. Are the
Jazz has helped me develop this way of writing. players who study this type of repertoire really in
need of tablature?
AMR: Your concern with young people’s musical JM: I would not use tablature at all, but I was
development extends to your teaching: you perform surprised to find out that there are so many
with your students, even record with them and give young guitar players that don’t read music. My
them opportunities to develop their talent with your publisher, Mel Bay, advised me that the Latin
active mentoring. Is this something you enjoyed as American Rhythms book should be presented
a student and are you now passing this on to the with tablature, that it would be of help to many of
young players you are in contact with? the young players, and that it could help in sell-
JM: Yes, it is the legacy of my teacher, Pablo ing the books as well.
Escobar, who was always helping me and giving
me opportunities to play. He would take me to his AMR: You have expressed discomfort with the
radio programme and perform with me, how can ‘classical guitar’ label, what would you then
you forget all that! call this instrument we play: classic, as in this
book we just mentioned, or acoustic, or nylon-
AMR: This new series of books for young gui- string?
tarists seeks to fill a huge void in the repertoire for JM: Just GUITAR, not that I don’t like to use the
easy to moderate pieces for students that are not name classical, but I hear so many styles and lots
the usual fare of Carulli-Carcassi and some of of different literature today that is not classical. I
Giuliani- Sor. don’t think we will diminish the stature of the
JM: These three new books had been an idea of guitar by omitting that word.
mine for some time, but they were also requested
by some of my friends who are active teachers. AMR: What is the future of the guitar in your
mind’s eye?
AMR: Some of the pieces like the Prelude in the JM: The future of the guitar I believe is in the
book of solo pieces do not have a connection to folk hands of music creators. Great performers will
idioms and the Dotted Study from that same book always be there, great composers are what we
is perhaps a little too long for young players. How need for the future. Can you imagine what the
do you know what is really easy to play? piano would have been without a Chopin or a

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Piazza Garibaldi, 16 - 15100 Alessandria
Tel. 0039.0131.253170 - 0039.0131.251207 - Fax 0039.0131.253170
[email protected] - rules on www.pittaluga.org
member of world federation
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Rachmaninov, or an Alberto Ginastera of are not very good at arranging a concert tour, so if
Argentina in the music of Latin America? you have professional management you can trust,
all the better, but you should learn as much as you
AMR: Regarding a performance career with the can about the business anyway.
guitar; we seem to have enough competitions to
keep the players busy, but how about real life with Reference Articles, Books, and Scores
the guitar on stage and making a living at it, what McClellan, John and Bratic, Deyan. (2007) The
Magnificent Guitar of Jorge Morel, A Life of Music.
do you recommend? Pacific, MO: Mel Bay Publications, Inc.
JM: A career as a guitar performer can be most Morel, Jorge. (2009) Classic Guitar Solos on Latin
attractive, if only we are able to confront the many American Rhythms, In Notation and Tablature. Pacific,
obstacles of the music business; namely traveling, MO: Mel Bay Publications, Inc.
and most importantly, management. Some of us (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
ROLAND DYENS
Price: UK & Europe
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Available now from

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ASHLEY MARK PUBLISHING COMPANY
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: [email protected] Web: www.FretsOnly.com

HEINSBERG
2009 by Steve Marsh
PHOTOS: E. JENNES
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 sunbather’s paradise, this sundrenched atmosphere
International Guitar Festival and Competition seeming to lift the spirits of the whole populace
(HIGFC) has seemed to arouse ‘guitar fever’ in and (unless everyone in Heinsberg is always this friendly,
around Heinsberg, a delightful and attractive small which could be true).
town situated to the west of North Rhine-Westphalia All jury members were accommodated in one hotel
and within easy reach of Dusseldorf, Cologne, Liege while most of the competitors had been housed by
and the legendary football city of Mönchengladbach. ‘host’ families scattered in and around Heinsberg. Of
The festival takes place every two years and for this, such high regard is the festival thought of that
the third one, I was privileged to be invited to be a financial assistance was provided by the State, and
member of the 12-person jury judging the Hans-Heinrich Grosse-Brockhoff (the State
competition. Other jury members were: Susanne Secretary of Cultural Affairs) actually made the effort
Schulte (Germany), Denis Azabagic (Bosnia), Tania to attend at one of the days’ activities, while the
Chagnot (France), Graham Devine (England), József town’s mayor attended every evening concert.
Eötvös (Hungary), Shin-ichi Fukuda (Japan), Christian The festival began proper with an opening night
Gruber (Germany), Peter Maklar (Germany), Micaela concert given by Christian Gruber and Peter Maklar,
Pittaluga (Italy), Boško Radojkovic (Serbia) and one of the leading duos on the International guitar
Roman Viazovskiy (Germany). scene, and in an entertaining and polished recital,
Evidence of the support which the festival receives which included music by Albeniz, Ourkouzounov,
from the locals was in abundance; to enter the town Giuliani, Scarlatti and Bogdanovic, they showed
one had to pass under banners strewn across the roads themselves to be musicians of the highest ranking with
announcing the HIGFC, all the main streets were warm and charismatic personalities. This proved to be
festooned with flags of many nations (presumably to a very popular opening concert.
welcome the competitors, performers and jury All events took place in the centrally-situated
members) and there were thousands of posters and Rathaus (Town Hall), the acoustics of which are
handouts in cafés, bars, general shops, etc. The excellent and the actual competitive part of the
predicted bad weather of storms and flooding festival began on day two promptly at 9.30 a.m. The
sweeping across Europe at the time seemingly gave 38 competitors from 27 nations (the UK was
Heinsberg a wide berth and the week became a noticeable by an absence of entries) had been whittled

down from a much higher number of entrants who Tedesco and included Keigo Fujii’s superb composition
had each sent in an unedited CD recording of one of The Red Book of the Black Madonna, for me, easily
the compulsory works of either Study 2, 7 or 12 by the pivotal moment of the evening.
Villa Lobos, and with each participant playing up to Day three was almost a carbon copy of the previous
15 minutes in total, this first round had to be spread one with the last 20 players in the First Round vying
over two days. At the end of the first day, after for a place in the next day’s semi-finals. The evening
listening to some superb performances which seemed concert on this particular day was supplied by Graham
to grow in technical and musical stature as the day Devine, who, after experiencing tuning problems (an
drew on, all the jury members seemed to agree that unfortunate spin-off from the hot weather we were all
we were in for something rather special over the next experiencing) in the opening item - a Fantasia by
few days. David Kellner, soon settled down and gave a brilliant
Despite being faced with a large jury, an audience recital of music by Froberger, Ponce and Contreras,
of local guitar enthusiasts and many of the ‘host’ his performance of the Ponce works - 20 Variations
families for support, most players, despite their lack of and Fugue on ‘La Folia de Espagne’ and ‘Sonata
years, were highly professional in their dress code, Romantica’ - being for this reviewer, one of the
stage presence and mannerisms; the actual guitar highlights of the week’s music making.
playing never dropping below the ‘very good’ mark, in Day four and we were down to 18 semi-finalists
fact most reaching ‘exceptional’ in the technique and who all had to play a free-choice programme of
musicianship department. Every competitor could, it between 17 and 20 minutes of music from different
seemed, play at a high rate of knots ranging from epochs, all played from memory. On this day most
‘super-fast’ to ‘turbo-charged’, but to make any players raised the bar both technically and musically,
impression upon the jury they had to display a high and there was some extremely fine playing by nearly
sense of musicianship and an understanding of the everyone with just a few suffering from nervous
music performed rather than rely on super-quick anxiety (and one strange ‘mis-reading’ in La Maya de
pyrotechnics, a proviso which was unfortunately lost Goya!). Music chosen included works by Dowland,
on a couple of the male contenders who, though Froberger, Guiliani, Piazzolla, Albeniz, Sor, Barrios,
fascinating and exhilarating to watch, never made it Jose, Martin and several Bach pieces (including a
through to the second round. truly magnificent rendition of the Adagio and Fuge
The evening concert on this second day was from Bach’s 3rd violin sonata BWV1005). Inevitably
provided by Shin-ichi Fukuda who gave a most some pieces were duplicated including several
enjoyable and ‘personal’ interpretation of music by performances of Llobet’s Variations on a Theme by
Tarrega, Granados, Rodrigo, Berkeley, Castelnuovo- Sor (4 times), Rodrigo’s Tres Piezas Espanolas
The Prize Winner: Marko Topchii.

The Finalists: Koki Fujimoto, Magdalena Kallithea, Vladimir Gorbach, Gabriel Bianco and Marko Topchii.
(twice), Aguado’s Andante and Rondo (three times) from the Ukraine, a most deserving winner. His
and a couple of Caprichio Diabolicos. (The inclusion technical control and amazing innate musicianship
by one contestant of Etude 12, one of the compulsory earning him 4,000 Euros, a ‘Yuichi Imai’ guitar
Villa Lobos studies from the first round which the jury specially made for the competition, a Marcello ‘C’
had already heard twelve times, was perhaps not the wristwatch and about eight concert engagements
most prudent of choices). around Europe. Other prizes went to Koki Fujimoto
From these 18 players the jury had to choose 5 (2nd prize), Gabriel Bianco (3rd prize), Vladimir
finalists, and due to the extraordinarily high standard Gorbach (4th prize) and Magdalena Kallithea (5th
of performances from nearly all involved, this time the prize).
decision was far more difficult, but in the end we This final also included, as well as the official jury, a
came up with a unanimous choice of five names sizeable ‘Junior Jury’ comprised of local
representing Russia, France, Japan, Ukraine and schoolchildren, plus an audience vote; both parties
Bulgaria. came to the same decision as our own group had
The evening’s concert on this day was a stunner, come to and Marko Topchii ended up walking onto the
with Denis Azabagic in superb form playing works by stage three more times that evening to collect his
Bach, Torroba, Ivanovic, Ascencio and José. After lion’s share of the awards.
three well-deserved encores, this performance I have no idea what the atmosphere is like in
provided an appropriate and fitting conclusion to the Heinsberg in a ‘normal’ week, but during the festival
week’s professional recitals. there is certainly an observable buzz in the air and for
Expectations were high for the Final and nobody me, and most likely many other people involved in this
was disappointed in any respect. Playing to a capacity affair, it was an event I’ll remember for many a day.
hall, the jury, the mayor of Heinsberg, local Council The town itself is providential in many ways: the
members and a video camera, there was obviously no geographical situation makes it easily accessible from
pressure on these five young people all striving for all approaches; also the townspeople are fortunate
first prize. Proceedings began at 7.00 p.m. with each enough to have in their midst the very genial and
finalist providing a programme of around 35 minutes. seemingly indefatigable Theo Krings and Roman
During the evening there were a couple of interludes Viazovskiy, the main driving forces behind the
before the jury finally retired to consider their organisation of this impressive, entertaining and
evaluations and final decision. Several members of the highly-polished festival; and last but not least, the
jury were highly experienced at adjudicating in word Heinsberg lends itself to a ‘Guitar-Logo’
various guitar competitions and the universal designer’s heaven, with the left side of the ‘S’ and the
agreement from them was that this final was one of right side of the ‘B’ forming both left and right sides
the most exciting and musically productive ones they of a guitar shape used throughout all the advertising.
had ever had to vote on. However, the unanimous What a stroke of luck that! Now if Krings and
verdict was finally given on stage just after the stroke Viazovskiv were living in say, Mönchengladbach,
of midnight with the first prize going to Marko Topchii things may have been different.

L etter from N ew Y ork
By JULIA CROWE
‘GUITAR OF THE AMERICAS’ themed this year’s

9th New York Guitar Seminar at Mannes with a five-
day-long full schedule of activities. These included
masterclasses, guest lectures, ensemble rehearsals,
open performance opportunities, young-artist mas-
terclasses and evening faculty concerts, all culmi-
nating 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 capabili-
ty 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 dis-
cernment of dynamics can be kept in mind.
Fernández’s quote, ‘Villa-Lobos without vibrato is Ben Verdery, masterclass.
like a hamburger without ketchup,’ became the oft-
repeated, hallway catchphrase of the day. He also The first day’s afternoon lecture by Michael
advised a student that it is best to have reason for Lorimer looked at ‘Guitar in Mexico,’ focusing on
how one is playing based on what is delineated in the music of Santiago de Murcia (1673 -1739) and
the sheet music, not by what has been absorbed contemporary composer Ernesto Garcia de León,
from recordings of a piece. who teaches guitar and composition at the Music
Rene Izquierdo, who heads the guitar department School of the National Fine Arts Institute in Mexico
at the University of Wisconsin in Milwaukee, wise- City. Lorimer performed Santiago de Murcia’s
ly took the last rites approach, asking a student “Villanos” from the Salvidar Codex No 4. upon
what they specifically hoped to achieve within the baroque guitar. Although de Murcia had been the
limited time of the masterclass rather than official guitarist to Queen Maria Luisa Gabriela de
attempting to remedy all that had gone wrong. The Savoy, the first wife of the first Bourbon king of
time was used to focus on the art of relaxation, pos- Spain, this Codex had been discovered in Mexico
ture and balance when performing, all designed to and is presumed to have been brought there at a
enhance blood flow and reduce nerves. later date since there is no proof that de Murcia
Pablo Cohen urged a student to play rest stroke had actually traveled to Mexico. Lorimer also per-
on Tarrega’s Adelita in order to bring out the formed several works by Ernesto Garcia de León
melody and create body within the phrasing: ‘We and explained how the composer wrote his 20
often tend to think guitar playing is all about the Studies as a musical attempt to rehabilitate his left
left hand.’ Michael Lorimer told a student: hand technique after sustaining an injury that had
‘Fernando Sor tended to avoid use of the ‘a’ finger. been serious enough to put him in hospital.
You never have to worry about playing too softly Lorimer also played sample recordings, the first, a
upon the guitar.’ Laura Oltman pointed out how fandango written by Antonio García de León; El
various pieces tend to rise and fall in popularity, Chuchumbé, performed by Grupo Mono Blanco
expressing surprise at hearing a student perform with guitars, clog dancing, and a donkey jaw played
Tansman’s Danza Pomposa, which she recalled percussively with a stick running over its teeth
had been played a lot by guitar students during the xylophone-style. For the second sample recording,
1970s. Lorimer played the Paul Bollenback jazz ensemble’s

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av ar
Now ctors H on
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Col er Edi
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El Inalcanzable:
Agustin Barrios Mangore
by Carlos Salcedo Centurion
T 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, pro-
grammes, 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
Price £65.00
Post and Packing: UK: £5.00. Europe: £7.50. Rest of the World £10.00
Available now from
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ASHLEY MARK PUBLISHING COMPANY
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: [email protected] Web: www.FretsOnly.com
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 pro-
gramme 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 launch-
ing into a quintet with the addition of guitarist
Pablo Cohen, flautist Clare Hoffman and ban-
doneón player Daniel Binelli to perform an arrange-
ment of Binelli’s pulsing, cascading, lurching über-
tango, Metropolis.
For the second half of the programme, Cohen and
Binelli brought the tango to life like a pair of rene-
gade graffiti artists awaking a New York neighbour-
hood 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 Pedro Baez.
Pascoal’s São Jorge. Cohen performed two tangos
by Horacio Salgán, Grillito and Don Agustin Bardi. no. 1, Agustin Barrios’ Danza Paraguaya, Ariel
Binelli performed his Paris desde aquí (Vals) and Ramírez’ Ballada para Martin Fierro, Maria Luisa
Recuerdo de bohemia, tapping the ends of his ban- Anido’s Aire Norteño, Rodrigo Riera’s Prelúdio
doneón and flicking his fingers over its buttons for Criollo, Rafael Miguel Lopez’ Asi Yo Te Soñé,
percussive effect as the entire apparatus crawled Gentil Montaña’s Porro, from the 2nd Suite
across his lap like an oversized, pneumatic cater- Colombiana, Monuel Ponce’s Estrellita and Paulo
pillar. Bellinati’s Emboscada. His playing was nuanced,
Other highlights among the lectures included powerful and polished.
Rene Izquierdo’s ‘Guitar in Cuba’ with his perfor- Pedro Baez, a native of Argentina, presented an
mances of Brouwer’s Zapateo and Drume Negrita. afternoon lecture and demonstration of ‘Guitar in
Izquierdo, a graduate of Yale, explained how the the Pampas,’ demonstrating an enthralling range of
1800s contra danza, a salon dance, parlayed into sounds, textures and techniques on the guitar not
the chachacha, the mambo and salsa. His debut often heard outside the cowboy/gaucho folkloric
CD, soon to be released by Luthier Music tradition. Highlights included the swampy bass
Corporation, will feature Cuban music for the gui- work toward the end of Abel Fleury’s Cifra, and
tar. Izquierdo’s wife, Elina Chekan, performed El again in Pedro Herrera’s El Pastor y sus Llamas. An
Decameron Negro beautifully. To close, Izquierdo arrangement of La Cuartelera by Eduardo Falú
was joined by cellist Ana Ruth Bermúdez and, his proved unusual for its lingering treble vibrato.
cousin, violinst Yan Izquierdo to play a gorgeous Juan Falú’s Chacarera Utata conveyed the whimsy
piece by Afro-Cuban composer José White, Bella of its inspiration: a little lizard. Baez’s arrange-
Cubana. What no one in the audience would have ment of Ramon Navarro’s Chayita del Vidalero
know by their playing is that this couple had been evoked the South American cowboy range across
awake throughout the morning hours on the day of six strings.
their performance frantically tending to a flooded The third evening concert featured Eduardo
septic tank at the residence where they were stay- Fernández, who performed Bach’s Suite BWV 995
ing as guests. followed by Giuliani’s Rossiniana No. 4, op. 122.
Fábio Zanon performed Villa-Lobos’ Etudes no. These could easily have been pieces to close a con-
4, no. 8, no. 10 and Choros no.1, followed by cert, but Fernández, showing no signs of fatigue,
Edino Krieger’s dazzling Ritmata, which Zanon performed Mertz’ from “Bardenklänge,” op. 13, fol-
suggested was a pun, ‘to kill the rhythm.’ He lowed by Gentil Montaña’s Amanecer, Augustín
closed the first half of his programme with Barrios’ Caaxapá, and Cacho Tirao’s Milonga de
Francisco Mignone’s Four Etudes and, after a Don Taco before closing with Alberto Ginastera’s
brief intermission, performed a set of nine Latin- Sonata, op. 47. His performance was as stagger-
American pieces in tribute to the seminar’s ingly intense as the programme itself, earning a
theme, beginning with Eduardo Fabini’s Triste resounding set of standing ovations from the
Eduardo Fernandez, masterclass. Elina Chekan and Rene Izquierdo. Fabio Zanon.
packed house. Fernández seems rarely to stitch counter in order to keep track of what
acknowledge what his left hand is doing but for exactly is being performed.
occasions when he appears to be reading directly The duo opened distinctly enough with a
from a hologram of sheet music floating before selection of Four Preludes and Fugues from The
his eyes.
For the fourth day’s afternoon demonstra-
tion, Duo Cantabile (guitarist Mariano
Aguirre and his wife, soprano Lauri Aguirre)
performed Enrique Granados’ Tonadillas,
Robert Cuckson’s Worlds of Wanwood (writ-
ten 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 unneces-
sary tension.
The Tibaguí Trio, with Andreas on guitar,
Sebastian Cruz on the tiple and Alejandro
Pablo Cohen & Daniel Binelli.
Flórez on the bandola, opened the final
evening’s concert with their selection of orig-
inal works steeped in the Colombian folkloric
tradition. Highlights included Cruz’ colour-
ful Pajaro Nocturno, with its string bending
and trills.
The Brasil Guitar Duo’s concert, with gui-
tarists 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
Dean Joel Lester with Laura Oltman.
there clicking, like Madame Defarge, with a

Rene Izquierdo, Michael Lorimer, Fabio Zanon and
Michael Newman masterclass.
Jonathan (a superb student of Jorge Morel's.
Well-Tempered Guitars, op. 199 by Castelnuovo- between Edu Lobo’s Valsa Brasiliera and
Tedesco, followed by Douglas Lora’s Valsa and Zanzibar, Egberto Gismonti’s Don Quixote and
Posludio. The warp and smear of musical horses Sete Aneis, Jacob do Bandolim’s Noites Cariocas
spinning around the carousel kicked in somewhere and Paulo Bellinati’s Bom Partido, concluding
with a choros for an encore.
As you might guess, it is both a guitar glut-
ton’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 violin-
ist’s vantage point, and a lecture-demonstra-
tion 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 let-
ter conveyed how this man enjoyed his first-
ever visit to New York City, with gratitude
expressed for the masterclasses and fantas-
tic 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 back-
ground.’
Next year’s event marks the 10th anniver-
sary of the New York Guitar Seminar at
Douglas Lora, Fabio Zanon, Michael Newman.
Mannes and will take place July 7–11, 2010,
highlighting new music for guitar.

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4TH VRNJCI INTERNATIONAL
MUSIC FESTIVAL
15-25 July 2009
By PAUL FOWLES
Belimarkovic Castle.
E VERY FESTIVAL has its own unique flavour, but there

are certain behind-the-scenes characteristics that are
rarely absent. Amid the logistical acrobatics of meeting the
almost a decade before its final demise in 1994. But the
hotels are welcoming, the local cuisine is plentiful and fifty
quid’s worth of Serbian currency will keep you fed for a week.
artists at the airport, printing the programmes and briefing Held in Vrnjacka Banja, a hub of international tourism just
the front-of-house staff, the main worry of every organiser two hours’ drive from Belgrade, the Vrnjci Festival is some-
seems to be money. Even in more prosperous times, thing of a rarity in that it’s a chamber music gather-
funding 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 grimly- the inaugural concert, Dojcinovic accom-
worded email from artistic director Uros panied the engaging and sensual
Dojcinovic just four days before curtain- Bulgarian 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 hum- monte 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 Irina hypnotic account of Bachianas Brasilieras
autoroutes, ageing Fiat-derived Zastavas weave Haralampieva. No.5 by Villa-Lobos. This may not have been the
around stern-looking TAM trucks, originally manufac- man’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

Leonid Pejsakov-Katarina Tatic. Yorgos Nousis masterclass.
Nousis, who currently resides in Vienna. The presence of a police presence being limited to the occasional low-profile
microphone and pedal-board made it clear before he even foot patrol.
appeared that Nousis was going to be more than just a stan- Back at the castle, Dojcinovic was arriving on stage in the
dard-issue classical guitarist. Presenting his own works along- company of the young and dynamic violinist Jelena Rokvic. A
side those of senior composer/performers Dusan Bogdanovic guitar and fiddle recital which focuses on Paganini is hardly
and Carlo Domeniconi, Nousis soon established himself as one one for your I Spy book, but it’s not every day we get to hear
of those unique creative forces that give the likes of me plen- all 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 two-
represented 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 nei-
on 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 pizzi-
a 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 gad- celebrate elsewhere, the thrilling conclusion to
getry, Yorgos Nousis is a multi-faceted master No.4 leaving a particularly favourable impres-
guitarist 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 bereave-
Introduction 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 mas- Pejsahov, ably accompanied by Katarina Hadzi
Uros
terclasses was well underway in the noble sur- Antic 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 clear-
same 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 mak-
enjoying 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 sur-
Vox 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...

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 reis-
sues.
This pair of (separate) CDs is therefore wel-
come; but there are some apparent anomalies.
The sound quality is acceptable, and in fact
sounds identical to me on both CDs (strange con-
sidering they were supposedly recorded on differ-
ent 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.
tracks 3 through 12 are in fact the entirety of
Vol.1 (61’05”) Flamenco Fantasy (MGM E3859, 1960). The
01) Bulerías strangest thing, though, is that the last two
02) Bulerías tracks feature cante—played by a saxophone!
03) Taranta «Dolor gitano»
04) Serrana «Sentimiento» Vol. 2 (73’35”)
05) Malagueña «El Pillallo» 01) Granadina «Joyas de la Alhambra»
06) Farruca «La farruca de las tres guitarras» 02) Farruca «Rapsodia flamenca»
07) Granaína «Patio de los leones» 03) Soleá «Noches de caza»
08) Alegrías «Puerto Santa María» 04) Garrotín «Recuerdo a Carmen Amaya»
09) Rondeña «Llanto minero» 05) Rondeña «Sentimiento»
10) Fandango «Jardines de Huelva» 06) Seguiriya «Tambores del silencio»
11) Seguiriyas «Apregonao me tienes» 07) Taranta «Llanto minero»
12) Bulería «Rumbo a la fiesta» 08) Alegrías «Murallas de Cádiz»
13) Bulerías 09) Malagueña «Homenaje a Málaga»
14) Soleá por bulería 10) Fandangos de Huelva
15) Soleares 11) Capricho andaluz
16) Alegrías 12) Zapateado en re
17) Bulerías «María Magdalena» 13) Malagueña y Verdiales «Caleta y el limonar»
18) Media Granaína 14) Guajira «Mosaico tropical»
15) Danza Mora «Noches de Arabia»
Volume 1 purports to contain MGM recordings 16) Bulerías «Piropo a la bulería»
from 1940–50; esflamenco.com shows the fol- 17) El sitio de Zaragoza
lowing description:
‘This record features performances by Sabicas, Volume 2 is also supposedly taken from slate
which took place during concerts and was originals; but touch of pre-echo is heard on a
extracted from recordings made in the 1940s and couple of tracks, which I had always thought was
1950s and recorded on slate records.’ an artefact of pressing in vinyl.
But although this is supposedly recorded in The cover implies that it was recorded at a con-
concert, there is no applause, nor any other audi- cert in Los Angeles in 1958. On this volume there
ence noise. is applause: but it sounds to me as if the
However, several items are double-tracked; and applause has been dubbed in afterward (even
track 13 seems to be identical to the bulería on though Sabas’s voice is heard introducing the
Sabicas Volume 1, recorded for Elektra in 1957! final piece). Originally I couldn’t be sure; but
After this, you will be unsurprised to learn that examining the waveform with SoundEdit 16™

revealed quite a lot. In particular: at the end of Capricho andaluz is the same piece as
Piropo a la bulería, the last note (a C) dies away, Guadalquivir (from El Rey de Flamenco, as is the
and then, after a moment of silence, the applause Zapateado en re, although they seem to be dif-
starts. But just before the applause, you can hear ferent performances).
half a second of a B dying away! The applause has
been taken from a different performance! Summary
In fact, I was irritated enough by the applause These are budget albums; but are they worth get-
to remaster the CD and remove it all—this ting, even at the low price? Surprising as it may
knocked seven minutes off the total time. The seem after all the above expostulations, I think
original waveform showed something very like the answer is yes: the playing is simply too bril-
splices in several places. Capricho Andaluz is liant to ignore. Furthermore, the total time of
missing the first couple of notes, and has no each is nearly double that of most of Sabicas’s
onset transients; this is also true of Noches de original albums, which often ran less than 35
caza. minutes.
Another clue to the provenance is that tunes 10 out of 10 for the music (except for the sax-
are usually entitled «Recuerdo a somebody» after ophone!), 0 for the engineering.
the dedicatee is dead. But in 1958 Carmen
Amaya (d. November 19, 1963) would still have
been very much alive. Small Ads
This album is in fact a version of Sabicas In Rate is 70 pence per word plus 17.5% VAT, minimum 10 words.
Concert (Cultural CDC-1818, 1972), with the addi- Box number £5.00 extra.
Payment must be included with advertisement order.
tion of El sitio de Zaragoza.
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G ruppetto
IN 2008 an adjustable microtonal guitar was linger on the tenuti and the rallentandi, and to dis-
designed by Tolgahan Cogulu. It was funded as a sci- tort the melodic line as you think fit.
entific research project at Istanbul Technical 3. Employ a lot of graceful hand and arm move-
University under the supervision of Professor Sehvar ments, the more unnecessary the better. .
Besiroglu, and was completed in 2009 by luthier 4. At the same time, sway your body from side to
Ekrem Ozkarpat. side.
In designing his Adjustable Microtonal Guitar, 5. Allow the head to move with the body.
Tolgahan Cogulu was inspired by Walter Vogt’s ‘Fine- 6. If you are clever enough to play a moving guitar,
Tunable Precision Fretboard’ (1985), which had been let the guitar move too.
aimed at solving the intonation problems of the gui- 7. Grow your hair long enough to flick it out of your
tar. In Tolgahan Cogulu’s instrument, all the frets on line of vision with an imperious toss of the head,
the fretboard are movable in the channels under each making sure that you expose the slender lines of
string. Moreover, any number of frets can be inserted your shapely neck.
into or removed from the fretboard. 8. Wear a pair of dangly earrings, and make sure
The objectives of designing the ‘Adjustable they dangle enticingly.
Microtonal Guitar’ are: 9. Part your lips in a sweet smile every so often,
1. To play maqam-based music with the guitar. showing your teeth - especially if there are none
2. To play microtonal music of the contemporary missing and they have all been cosmetically capped
classical Western music repertoire. for brilliant whiteness.
3. To play pieces based on tunings other than the 10. Make a video of your performance and put it on
equal temperament system. YouTube.
As well as Walter Vogt’s development, there have Results guaranteed, in one form or another. I
been others. One of the more successful was John found on YouTube one particularly stomach-churn-
Schneider’s concept of the interchangeable fretboard, ing performance that produced a large bunch of
which he demonstrated brilliantly on a visit to Britain admiring comments expressing awe, wonderment,
some years ago. The ease with which he removed one ecstasy, etcetera, among which was only one dis-
set of frets, inset into a thin fingerboard, and replaced senting remark: the single word ‘creepy’.
it with another, was impressive. But, faced with the Not for the first time, I concur with the minority
prospect of carrying a stack of differently tuned fret- view.
boards as well as the instrument itself, most gui- Of course, some brilliant guitarists and musicians
tarists decided that the public would not mind a little give you a lot of superfluous body language as a
out-of-tuneness, even if they noticed it. matter of course, and they not only get away with it,
You can find out more about Tolgahan Cogulu's as the ‘entertainers’ do, but also make a highly
invention from www.tolgahancogulu.com and from favourable impression on more demanding critics.
www.myspace.com/adjmicrotonalguitar./ The trick for the aware listener is to close your eyes
and just listen.
OUTSTANDING features of this year’s International When a once bright and promising young musi-
Guitar Festival at West Dean were Leo Brouwer’s cian resorts to these devices, it is more tragic than
masterclasses, which revealed the wide extent of his creepy, perhaps a sign of inner insecurity but all too
musicality, both innate and acquired over 70 years of often the result of well-meant encouragement from
experience. undiscerning relatives. Of these, spouses are the
I heard a minor criticism, that he should have worst, but parents are not far behind.
talked more about his philosophy. I’m inclined to dis-
agree, on the grounds that if you want to learn about IT IS a truism that the guitar repertoire does not
philosophy, you first have to be proficient - and high- have the range and depth of the piano repertoire
ly proficient - in the language in which it is framed. and the violin repertoire. When you think of the
High proficiency is not something that you can take solid body of work composed for those instruments
for granted in a series of masterclasses conducted at over hundreds of years, the deficiencies are obvious
a summer festival, and I felt that Leo was right to put except perhaps to the blinkered vision of the fanati-
the emphasis on the music and how to play it. cal aficionados. But give us a chance: our instru-
Philosophy comes later. ment has only been taken seriously (by which I
mean taught in the conservatories and music
WHAT do you have to do to earn comments like schools) for less than a century. Other instruments
‘Awesome ... fabulous ... this chick really knows how have a head start and more.
to play the guitar ... etc.’? Here are ten basic things What do the critics mean when they talk about the
a young woman can do to enhance her career by guitar’s ‘limited’ repertory? It’s certainly not quanti-
pleasing a relatively new, undemanding, and poten- ty. Nor variety. Nor a wide range of moods and emo-
tially huge audience: tions, some of them not so easy to express on a
1. Always put yourself first. You are giving a perfor- piano, with its difficulty in getting really close to its
mance, not an interpretation of music, player, nor on a violin, whose facility for harmony is
2. It follows that dramatic effect is more important certainly limited by comparison with the guitar’s.
than musical insight. You are therefore entitled to Colin Cooper
2 ESPACES for two guitars Written in 2004 for the Appassionata Trio (who
M usic R eviews
by Norbert Leclercq gave the premiere in 2007 and subsequently
Les Productions d’OZ DZ1127. 8pp. recorded the piece), Beyond Horizons is a wonder-
Both these pieces have an air of ‘innocence’ perme- fully invigorating and jaunty work in a Latin/jazz
ating through the music; the opening bars of the style, full of vitality, good melody lines and lovely
first one, titled Rosace begins in a somewhat dead- harmonies. It was written as a homage to the mag-
ly lacklustre fashion with its nursery-rhyme-style nificent jazz guitarist and singer George Benson
tune presented by one player and equally dull and encompasses features of his guitar playing
counterpoint played by the other. However, this is style including the use of octaves, minor 9ths and
a misleading opening and things soon get under- syncopated rhythms.
way in a much more interesting fashion, this sim- As a relatively substantial repertoire piece
plistic tune being varied and shared between the Beyond Horizons has that ‘feel good’ factor sur-
instruments with ever-increasingly odd accompa- rounding it and would surely enhance any concert
niment creating dissonance between the parts and programme.
giving a slightly bizarre flavour to the piece. With an eye-catching front cover the presentation
The second one, titled Eclisse, is a fast-flowing is of top quality with full score and separate parts.
work in a perpetual motion style. Once again, a Receommended.
childlike theme infuses the music but with the dis- Steve Marsh
sonances created between the two parts this tune
becomes part of a strange sound-world the overall AURORA
ambience becoming slightly surreal (anyone who for clarinet and guitar
can remember the tune from the classic BBC tele- by Mark Houghton
vision programme for children, (The Magic Les Productions d’OZ DZ1102. 12pp.
Roundabout but played with jarring harmony, will Aurora was composed in 2007 and is dedicated to
get the picture). the Duo Musaikon which consists of Davide
Initially, I didn’t think I would get much pleasure Compostella (clarinet) and Alessandro Balsimini
from these two pieces but having gone through (guitar) who included it on their first CD. The piece
them several times they have definitely grown on won 1st prize at the ‘First Online CGML Classical
me. The standard to do them full justice is of Guitar Composition Competition’ hosted in Brazil
around the grades 6-7 mark. Presentation is good in 2008.
with full score and separate parts for the players. Mark Houghton can always be relied upon to
Steve Marsh come up with a good tune and his seemingly nat-
ural talent for writing nice chord progressions and
LUMINANCE exciting rhythms when required are much in evi-
for cello and guitar dence in this piece. Although the guitar plays the
by Nathan Kolosko part of the accompanying instrument it has much
Les Productions d’OZ DZ1177. 12pp. to do and also contributes to the melody substan-
I have played through, and reviewed, works by the tially.
American guitarist/composer Nathan Kolosko Very much in a Latin style Aurora flows along in
before and as far as I can recall have never been fine fashion in a bright and cheerful mode with a
disappointed by anything he has written. brief, slower segment coming mid-way through
Luminance, I am pleased to write, is no exception. before an upbeat return. Altogether this is a very
Dedicated to the Taiwan visual artist, Ling-Wen nice addition to the repertoire for this pairing of
Tsai (whose work, by the way, is definitely worth instruments and most suitable for concert reper-
check out on the Internet) this composition is in toire for any upper grade players.
five movements, all fairly short, all having an ori- The edition comes with full score and separate
ental flavour and each one contributing to making parts for both players.
this suite a first-rate piece of writing for the cello Steve Marsh
and guitar repertoire. The mood for the most part
tends to lean towards sad and reflective, but this is TWO FAMOUS POPULAR MELODIES
not depressing music just very emotive. arranged for guitar and mandolin
An unusual feature, but extremely effective in by Roland Dyens
this context, comes with the fourth movement Les Productions d’OZ DZ1163. 20pp.
(marked Sly, cunning) where the guitarist has to Ariel Ramirez wrote his masterpiece Alfonsina y el
play single melody notes using a brass or glass Mar as a homage to Alfonsina Carolina Storni who
slide throughout. is considered one of the most eminent Latin-
Playing ensemble music is one of the most America poets of the 20th century and who com-
pleasant experiences in music making and if you mitted suicide by drowning in 1938.
happen to be around Intermediate Grade and The universally-known Neopolitan song O Sole
know a decent cellist give this work a try, I doubt Mio written in 1898 by Eduardo di Capua has been
you’ll be disappointed. The presentation is excel- performed and arranged by a great many artists
lent with the guitar part being read from the score from Caruso, Gigli and Lanza through to Elvis and
(with no page turns) and a separate part for the Bryan Adams.
cellist. Both these renowned melodies are presented in
Steve Marsh this new album arranged for guitar and mandolin
by the inimitable French guitarist Roland Dyens.
BEYOND HORIZONS Anyone familiar with Dyens’s style of composing
for three guitars and performing will know what to expect here and
by Mark Houghton they won’t be disappointed in the least. There are
Les Productions d’OZ DZ1106. 16pp. heaps of musical directions throughout the score,
I have always been an admirer of the British gui- all of these being clarified in a two-page ‘Notation’
tarist/composer Mark Houghton’s compositions, in chart and the technical standard required
fact I’ve published quite a few of his early works throughout both pieces is very high. The rewards
and arrangements myself through Lathkill Music however are great; these are not just good
Publishers. arrangements, they are superb. The harmonies

M usic R eviews and melodic variations used throughout makes guitarist playing fast arpeggios whilst the other
this new album an absolute must for any pairing of three play a very sparse and tranquil melody line,
these instruments. mostly in harmonics.
What with a lengthy article on Dyens, a brief This serenity gives way to a sudden upsurge of
biography of Storni, a full detailed score very nice- sound and rhythmic complexity as the second, and
ly typeset and separate parts for both players, this final part of this work gets underway for the next
is a classy new edition in all respects. eight pages. The constant arpeggios from the bass
Recommended. do not let up until the final bar with the other play-
Steve Marsh ers providing an unceasing restlessness amongst
each part with copious emphasis in many different
BLUE TOUCH SONATA parts of the bars giving the whole a highly synco-
for two guitars pated and agitated outcome. The result is an excit-
by Christophe Leu ing work of high energy and exhilaration, the repe-
Les Productions d’OZ DZ1161. 16pp. titions of a minimal nature giving the whole a very
Blue Touch Sonata is a three-movement composi- ‘mechanical’ outcome.
tion written in a jazzy-blues style with In the right hands, this could easily be a suitably
classical/Baroque nuances here and there. The stunning inclusion in any programme for a high-
lengthiest movement comes with the first one, a grade quartet.
piece which is attention-grabbing from the opening The presentation is excellent and there are sepa-
bar with its contemporary jazz overtones and a rate parts for each player.
highly-dramatic mid-section. Steve Marsh
The second movement has a gentle, lilting waltz
character about it and it is in this one where the PONTICELLO TANGO
baroque influence manifests itself. (The crotchet in for flute, guitar and string quartet
the metronome indication should probably be a by Patrick Roux
dotted one). Les Productions d’Oz DZ1144. 16pp.
The final part is perhaps the most formal of the Any opportunity for the guitar to become involved
three with some ‘classical-style’ configurations but with ‘mainstream’ instruments ought to be jumped
still retaining the jazz-blues character. at and here is an offering from Patrick Roux which
Throughout the entire work there is some inter- is definitely worth trying out if you can find a good
esting and enjoyable interplay between the two flautist and happen to have a string quartet on
parts and the whole work is a most enjoyable, hand too.
interesting and stimulating composition. The real- Dedicated to the guitar and flute duo ‘Similia’
ly good news is that this would be easily accessible (twins Annie and Nadia Labrie) Ponticello Tango is
for mid-range players and to have a relatively sub- an exciting, invigorating and dramatic composition
stantial work as good as this one written for that in one movement, very much in the tango nuevo
standard is something to be welcomed. manner formulated by Astor Piazzolla, the insistent
The edition comes with full score and separate heavy accentuation forcing the music ever for-
parts for each player. wards with various musical dialogues taking place
Steve Marsh between the instruments.
A thrilling interlude arrives at the mid-way point
CEREMONIAL MUSIC volume 3 with an unexpected abrupt change of rhythmic
Arranged for guitar and violin character making effective use of rests, this small
(or melody instrument) segment concluding with the flautist playing pizzi-
by David Jacques cato ‘breathy’ sounds and the bowed string section
Les Productions d’OZ DZ1163. 32pp. playing half hair/half wood - all very effective.
Here is a collection of short and for the most part, The piece, a sure-fire audience winner, would be
well-known melodies nicely arranged in a straight- a most welcome addition in any recital programme.
forward manner by the Canadian guitarist David To do the work full justice, a group of high standard
Jacques. would be needed. The work is neatly presented with
His initiative behind this project came from his full score and separate parts for every player.
requiring easy to play, accessible repertoire mater- Steve Marsh
ial for performing at ‘ceremonial’ events such as
weddings, funerals, etc.; so in this edition he has TRIPTYQUE
collected 18 works by the likes of Verdi, Elgar, for four guitars
Bach, Mozart, Sibelius, Handel, Ravel and others by Laurent Meneret
and ably arranged them for melody instrument and Les Productions d’OZ DZ1182. 16pp.
guitar. Each one also has the chords printed above Here is a very pleasant little set of three pieces ide-
the guitar score for any additional instrument to ally suitable for the amateur guitar trio of around
join in, plus several of the pieces are supplied with the grades 3-4 standard. Each of the three titled
the lyrics. movements have an instant likeability factor. The
This type of book is also incredibly useful for teach- opening Air has a lovely ‘innocence’ throughout its
ers to use with their students as lower-grade sight- theme, an almost childlike melody, but very pleas-
reading material if playing the single melody lines and ant.
higher-grade material if taking the guitar part. Following on from Air comes a sad and haunting
The music is well-presented in full score with a Impromptu which is followed by an evocative Danse
separate part for the melody instrument. Bretonne the lengthiest of the three and a move-
Steve Marsh ment ending the suite in grand style.
I can easily see this piece gaining popularity in
LE JARDIN MERVEILLEUX the informal concert situation on the student con-
for four guitars cert, guitar society gatherings, etc. I thoroughly
by Jean-Pierre Grau enjoyed it, will definitely be using it with my own
Les Productions d’OZ DZ118. 12pp. students and urge others to give it a try.
Le Jardin Merveilleux begins with an atmospheric, Nicely presented in score and separate parts.
albeit very short six-bar preamble with the fourth Steve Marsh

CHANTS DU SOIR for flute and guitar somewhat modal in character. The harmonies are
M usic R eviews
by Erik Marchelie surprising but very friendly and it flew along in a
Les Productions d’OZ. Score and separate parts mixture of 6/8 and 9/8. A fine opener.
10, 4 and Blackwater begins lento with an improvisatory
4pp respectively) idea that relies on mixing stopped notes high up
There are two pieces in this little collection begin- the fret board with adjacent open strings. Glissandi
ning with a Melodie Nocturne, a 3/4 Andante in A and slurred runs also play an important part. Then
minor. There is plenty of friendly harmonic work, the tempo speeds up slightly to introduce a ballad
with the flute blending nicely over the top of the section which is almost folksinger/songwriter in
guitar’s accompaniment in what is an appealing style which in turn returns to lento for an entirely
melody. Then shortly the music modulates to the new idea replete with semi-tonal crunches off the
minor key a third up in a development of the main beat. A brief accelerando and the ballad/lento sec-
idea before returning for a recapitulation and a tions are repeated, reaching a lento coda with again
close on A minor. new material, winding down to a hushed final
The second piece is an Intermezzo with more chord. The final section Gulfstream is marked rit-
than a hint of a dance-like jig in its rhythms. 6/8 mico but is to all intents and purposes another
dotted motives abound together with a certain gigue in all but name. It begins with arpeggio runs
chromaticism in the surrounding harmonies up the fingerboard interspersing 6/8 and 3/4 as it
together with an almost English feel to the music. does so. Again a certain folk/contemporary
It proves a nice contrast to the opening slower acoustic style is what strikes one most about this
work. piece. The music moves swiftly but gratefully over
This is a pleasant pair of nicely written pieces the strings leading shortly to a drone in harmonics
that doesn’t extend the repertoire into any new (and then by tambora) on an open D chord to an
areas but is melodic and engaging and passes a extremely effective scampering melody to a very
friendly few minutes. It is not too difficult and a short run up and down an altered D minor chord,
duo of moderate abilities would perhaps enjoy this a loud thump on a bottom D and it is all over.
modest set. I was utterly intrigued by this very individual
Chris Dumigan music. One thing previously not remarked on is the
brevity of each section, and the fact that there is
LE SENTIER DES MURMURES little or no development of ideas, for they appear
by David Gaudreau and disappear never to return and the section
Les Productions d’OZ. 4pp. ends. It gives the music and unusual slant that is
Mr Gaudreau’s publications are many and varied; not unappealing, just a little strange when you
to be fair, there is often a great deal to be enjoyed consider it. Technically it is difficult but rewards
in much of what he writes for the guitar. the patient performer, although I found it next to
This latest little offering begins in A minor in a impossible to negotiate the two artificial harmonic
combination of 3/4 and 4/4 with the occasional runs in the first movement at the speed required.
2/4 thrown in for good measure. So far so good but Nevertheless, a better-than-average work that real-
what is a little hard to take is the rather hackneyed ly deserves to be played and enjoyed by all.
overuse of the tonic (A minor) together with the Chris Dumigan
dominant seventh of E7, often altered to include a
bluesy F or C natural in the chord, along with the BALLADE by Andrew Zohn
inevitable Dm6 chord you just know is going to Les Productions d’OZ. 8pp.
turn up somewhere near. Now I know it is often Intense is the first word to come into my mind on
impossible to really create something new that has playing this remarkable new work by Zohn. With a
never been seen before but the sinking feeling of 6th string on C# you may be initially put off by try-
knowing just what is coming next here rather ing to negotiate notes three semitones higher than
spoils the opening. A momentary diversion into a normal on your fingerboard’s sixth, but fear not as
little sequence of suspensions lead back to a slight- the effort required is so worth it.
ly varied opening section before the true middle Written in memory of Aaron Brock, one immedi-
section makes its entrance. At Misterioso Con Moto ately feels the power, the grief, and the stark beau-
an octave pedal A in semiquavers leads to a tricky- ty at work here. Beginning with a 15-bar
ish section with prominent acciaccaturas before Liberamente introduction that uses upward moving
settling down into a Con Fuoco set of rapid arpeg- arpeggios in various patterns as its basis, it leads
gios. This returns after a small interval to the to a Molto Adagio 5/4 descending bass line that
octave As and thence to the opening idea for a final underpins a sad little idea largely in sixths. The
variation on the initial theme before closing in A harmonies throughout are striking in their power
minor. and general avoidance of the obvious; everything
This little piece was not long enough to be really here is tonal but unusually so. Later on in this
interesting given its melodic and harmonic con- extended first section two ideas, one a rocking idea
tent. It was a mite too ordinary and predictable to in two voices, with the melodies in contrary motion,
really stand out in today’s morass of publications, followed by a startling four-against-three idea
which is not to denigrate Gaudreau himself whose bring about the main climactic section before a
music is often far better than this little piece poco mosso ostinato heralds a new and more rest-
implies. less idea. Again after a considerably extended time
Chris Dumigan a grief stricken largo section intervenes which
leads to a return to the molto adagio first section
JOYCE’S SUITE and a reiteration of all the slow material up to the
by Jose-Luis Narvaez poco mosso (but not including it). A brief largo coda
Les Productions d’OZ. 7pp. reminds us of several of the motifs before closing
The Joyce of the title here is not the composer’s on an altered C# major chord.
great aunt but James Joyce, he of Ulysses fame. I cannot praise this piece enough. Highly origi-
This three-movement suite which has dropped D nal, utterly compelling, moderately difficult only to
tuning begins with Dedalus. Marked tempo de play and with an intensity that caught me com-
gigue, it has an invigorating dance feel to it and is pletely unawares. This is a wonderful example of

M usic R eviews modern guitar music at its very best. Don’t miss lovely face suddenly changing and leering at you
trying it out. with its tongue sticking out. That is how this piece
Chris Dumigan sounded to me.
Chris Dumigan
FOUR LYRICAL FOLKSONGS
Arr. William Beauvais FIVE LITTLE SOUVENIRS
Les Productions d’OZ. 8pp. for 4 guitars by Andrew Zohn
This tuneful little set consists of two from Nigeria, Les Productions d’OZ.
one from Korea and one from Japan and are not 19pp plus parts
too difficult, being aimed at the intermediate play- This edition was commissioned by Loudoun
ers amongst you. County Public Schools for the 2008 Middle School
Bantu Song and Suayo, the Nigerian folk songs, All-County Guitar Festival, something that instant-
are most effective. They are naturally very rhyth- ly drew me into the work to find out more.
mic and often off the beat, so there is a large The writing is predominantly single line, and
amount of interplay between the two voices, where chords, where written, are three notes and com-
for much of the time the melody is often in a dif- fortable under the fingers.
ferent part of the beat from the bass-line. The occa- Guitar Four plays with 6=D and the writing is
sional chord interspersed between just adds a little ostensibly pitched like a choir, so that Guitar One
extra colour at salient moments. Arirang, the is always the tune and Guitar Four the bass.
Korean melody, has a similar two-voiced structure; The overall standard is probably Grade 6, but the
a feature of all the first three is the deliberately interplay between the parts will call for players
modal feel; little of the harmonic work is what you with rhythmical maturity and a little spare capaci-
might be expecting, although all of it is friendly. ty in reserve compared to a solo of similar com-
The final Sakura from Japan (the same melody plexity. It is important that the rhythm is tight and
used by Yokoh) in his famous work is noticeably free from technical rubato.
simpler altogether and consists of a quaver run of Paris, a prelude, is in 7/4 but notated 4/4+3/4,
notes in one voice, with the melody and the har- and has a lilting dreamy feel to it, with gentle dis-
monic work occupying the same voice. sonances and major sevenths acting like musical
I liked the first three but thought the last one a syrup and keeping the pace relaxed. A lovely piece
little irrelevant. I could have seen the tune being of writing, though perhaps in concert it might not
treated in the same way as the other three result- be a strong opening, and perhaps the order could
ing in a more consistent set. As it remains, this is be shuffled a little.
a very nice set of three little pieces, which you may Lipica, a folksong, has a polka-like rhythm, and
find charming and tuneful and not too difficult to the structure is pleasing and obviously carefully
play. thought out, though I found the constant diet of
Chris Dumigan dissonant chords just a bit too much – fun to play
but a little heavy on the ear.
HOMMAGE A SCHUBERT Mayaguez, a dance, also begins with dissonance,
(d’apres l’Impromptu No1 Opus 90) but it’s effective and exciting, and the mix of
by Veronique Gillet melody on and off the beat is set nicely against a
Les Productions d’OZ. 6pp. very forthright bass line that underpins the piece.
This is a strange one indeed. I have come across There are some lovely waterfall sequences in two
several of Veronique Gillet’s works before, both in lines that are set in parallel octaves to enhance the
print and on CD and have found them all very odd. effect, and some of the more static rhythm sees the
This piece is based on one of the famous inner parts moving in pitch to create the illusion of
Impromptus you would almost certainly know if more going on than is actually happening – neat
you heard it. This piece begins using the rhythm of writing.
the Schubert work with a solo introductory line Venezia, a largo, sees a gentle melody over slow
that is no doubt meant to remind you of the origi- chords but again, a little too dissonant for my
nal but yet remaining true to the composer’s style. tastes. Perhaps I have suffered in the past with
In other words it sounds like the Schubert work’s close harmonies played badly on poor guitars,
rhythm but nothing like it harmonically speaking. where the whole soundscape blurs into a mush.
This is reinforced when the harmonies begin at bar Bell-like clarity here would certainly contain the
7. Time and again the rhythm of the notes is the dissonance – harmonically rich notes will have
Schubert whilst the music is Gillet with unusual overtones that interfere with notes in a different
harmonies and musical contradictions that or me register. So with good tone, this might be delight-
fail utterly to sound effective. The piece continues ful.
in this manner for almost the entire piece sounding Pasades, a galope, is technically straightforward
like a caricature of the Schubert rather than but rhythmically demanding, requiring the ensem-
homage until the final eight bars when the original ble to play extensively three against two – not too
Schubert harmonies are suddenly applied without bad with two parts, but harder with four to get the
warning. It reminds one of the sun coming out precision needed. The reward, if it can be done, is
finally at the end of a period of very wet and some great rhythm patterns set over a deep moving
unfriendly weather. bass.
If the point behind this piece was to create Mozart it isn’t but if dissonance in your music
‘homage’ it was a very funny way to do it, which piques your ears like chillies in your stew pique
utterly failed to convince me. To elucidate further if your taste buds, this is a hot one!
you know Mahler 9 there is a moment in the mid- Derek Hasted
dle of the 3rd movement’s Rondo-Burleske where,
after all the hurly-burly of the opening, a beautiful APRÈS MINUIT for 4 guitars
haunting melody suddenly appears. Just as you by Jean-Pierre Grau/Gérard Labady
think this might be the way the movement is going Les Productions d’OZ.
to progress after all the cynicism of the foregoing, 19pp plus parts
an E flat clarinet takes this beautiful tune and The lack of descriptive notes about this suite is a
twists it out of shape, distorting its beauty, like a disappointment. From the title ‘After Midnight’ I

was anticipating some light jazz, but the cover of embellished tune further up the neck to become
M usic R eviews
the music features a leprechaun. The mighty what is essentially the ‘slow movement’ in the set.
Google translation engine confirmed that the sec- Simple writing here plus plenty of space between
ond movement was indeed ‘Leprechauns’, but it let top and bottom parts gives a refreshing open
me down disgracefully on the other two and I spent sound.
15 fascinating minutes reading furiously and Variation Four is busy with little groups of qua-
learning that Croquemitaine, the first movement, is vers echoed back and forth. Not fugal but creating
‘Bogeyman’. that effect.
It has my interest! Variation Five is in 6/8 time with a bouncy bass-
We have a suite for four guitars, but Bogeyman is line.
only for three guitars. With no performance indica- A waltz finishes the set, and one which is not
tions it’s hard to understand what’s happening labelled as a variation, and which is sixteen bars
here. Does the fourth player creep up behind the rather than ten. The fingering in part two is wel-
audience and scare them to death? come, but had it come two bars earlier it would
Croquemitaine is in 3/4 with a staccato feel and have avoided a position-shift. A Da Capo back to
lovely chromatic passages with accents that the opening theme concludes the set.
heighten the mood very effectively. The writing is These 10-bar miniatures are all straightforward.
confident; the dissonances are mild and entirely in Guitar One ventures as high as the sixth position,
keeping with the mood. The score is peppered with and there are a few high notes elsewhere, but
accidentals; the use of sharps rather than flats on rhythmically, technically and musically this is
the descending chromatic passages means there something that novices will find robust and enjoy-
are natural signs as well, all adding to the task of able to play. The entire part-score sits on one face
reading the score accurately. But the music is fin- of A3 paper, so there are no page turns to worry
gered well and much is in the lowest positions. The about in this end-to-end performance.
piece concludes with a massive descending chro- Derek Hasted
matic scale of diminished thirds and a final note
with the word ‘Hoo’ underneath it. Scared me half SATURNE by Jürg Kindle
to death even without that fourth player hiding in Les Productions d’OZ. 8pp.
the shadows… This talented composer has written a full set of
Farfadets, or leprechauns, is for four guitars, nine pieces based on the planets, most of which I
with a playful accompaniment of isolated quavers have seen in the foregoing months. It is unclear
in a rhythmic motif that permeates the whole whether this is to be played as a set or not, as no
movement. Although easy on the eye, there are reference to them being such is included in the
some tricky rhythms here because the parts inter- actual publications.
weave rather than interlock. It will need confident That said, this latest offering begins with a table
rhythm to keep the piece intact, though technical- consisting of no less than ten symbols, all being
ly it’s pleasantly simple. This is a long movement, percussive effects of various sorts and in various
which progresses from a skittish jig-like opening places on the guitar. As the whole piece is littered
through a variety of developments into a final deli- with them you have to have a very good memory to
ciously sour sequence of chords – impish and badly incorporate them seamlessly into the piece, but
behaved… providing you can do that, you have overcome one
Feux follets (Will o’ the wisp) is a subtle assembly of the largest hurdles in this piece although the
of clumps of quavers (eighth notes) that expertly cap- very percussive nature of the actual musical con-
ture the capricious nature of these sprites that lure cept might also cause any players to pale at the
travellers off their path and into bogs and ponds. complexities. It takes a full 32 bars of frenetic per-
Playful with sinister undertones. Very effective. cussion before any real theme appears although
The music is probably about Grade 4, and I think even here the music is constantly interwoven with
that the suite would be ideal at school concerts, the percussive effects, with both LH and RH fingers
especially if time was taken to set the scene first… and thumbs being used to produce them.
Derek Hasted There follows a momentary respite with a strange
section of 32 bars consisting entirely of solo note
ANNELI, WO BISCH GESCHTER GSI crotchets grouped into fours before the rhythmic
for 4 guitars by Jürg Kindle ideas re-emerge and build to an impressively
Les Productions d’OZ. orgiastic final section with a coda that proverbially
7pp plus parts slams the door in your face and allows no more
This is part of the publisher’s fast-expanding ‘Easy argument.
Music For 4 Guitars’ series, featuring music from For once I am not sure about Kindle’s piece. I am
around the world. This particular piece is a theme a firm fan of much of his work yet this seemed a lit-
and variations on an old Swiss song set in D minor tle ‘effect for effect’s sake’. I am equally sure how-
and with Guitar Four tuned down to 6=D. ever that players able to cope with the many com-
The ten-bar theme is asserted first with the tune plexities of this piece will make it sound very con-
passing between guitars one and two, though I did vincing and exciting to hear.
baulk at the quick discord in the second note of the Chris Dumigan
piece which seemed an oversight.
Variation One is rather clever – guitars three and RON SIN COCA-COLA
four play arpeggios, and guitar two manages to for 4 guitars by Roque Carbajo
weave scale segments in and out, while over the top Les Productions d’OZ.
the tune is reasserted unmodified. 11pp plus parts
Variation Two is more a ‘galop’ with the tune mov- It’s not often I find anything wrong with a
ing to guitar two and full of repeated notes to give a Productions d’OZ edition, but there’s something
constant ‘William Tell Overture’ rhythm. A counter- odd about the very first bar of this piece where
melody sits alongside, with arpeggios underneath Guitar Four has a natural F in a chord of D7 that
and little waterfalls of notes on top. should surely be sharp to match the fingering and
Variation Three will work best if guitar one the other parts. But then the bar is repeated unfin-
observes the fingering and takes the slightly gered at bars 3 and 65, both times with an A

M usic R eviews instead of an F# for which the earlier fingering ensemble with every line totally reliable, tight and
doesn’t work at all. I begin to wonder whether the able to hold their rhythm against considerable
score has been proof-read or not. A shame, distractions from the other parts, well that will
because my first reaction on seeing the score was need either a large ensemble with one strong
one of delight – some fantastic Cuban rhythms, player on each line, or a small ensemble of
some comfortable chord shapes and some delight- mature and confident players. The South
ful progressions – A7, D7, G7 C7, F#7, B7, E7, A. American feel, the catchy percussion and the
And that’s just the opening… lovely chord sequences will ensure that any per-
My delight soon returns! This is a fun piece but it formance of this piece at, say, a school concert
won’t come easy to those guitarists who take the will be a real crowd pleaser.
word ‘classical’ rather too literally. There is a neat Derek Hasted
set of interlocking rhythms that need to be felt
rather than just read, and as the piece progresses ROMANZA for guitar orchestra
each part is called up to produce many different by Jaime Córdoba
rhythm patterns, often complementing, rather than Les Productions d’OZ.
supplementing, those in the other parts. There is 14pp plus parts
an interlude where two parts clap together, in This work is for four guitars and double bass; the
between which the other two parts interweave some score indicates that a contra guitar can be used,
motifs and guitar-based percussion – all very com- but there is no treble clef part. In the Full Score we
pelling and thoroughly enjoyable. see that guitar 4 replicates much of the contra
The writing is confident with key changes and part, so it could be performed as a quartet; the
stylist variations, but all the while there is a rich piece would not sound bare, just a little light-
palette of rhythm patterns used to glorious and weight.
colourful effect. This is guitar music alive with Opening with a gentle lilting accompaniment in F
passion, with fire and with fun. Major, the composer weaves a long line of melody
I’m not sure that a few dry words can convey that proceeds effortlessly and satisfyingly, though
the joie de vivre in this piece, but I had a thor- with the occasional chord that felt a little too
oughly enjoyable hour trying out the parts. Each piquant in an otherwise well-shaped tune. The
is well shaped to fit the guitar and a pleasure to piece does not stay static; its character changes a
read and play. The piece needs a strong and con- little, with some delicious tension from the harmo-
fident team to lock it all together, and those below ny lines. Some very capable classical writing takes
Grade 8 would find the pace tough and lack the us to other keys, and here the little moments of
relaxed confidence to make this piece the stylish heartache seem less forceful and more pleasingly
success it so surely deserves to be. I like it (but resolved.
you’ve guessed that already!) For much of the piece, guitar 4 plays an undu-
Derek Hasted lating accompaniment, but from time to time the
texture changes, and a passage in artificial har-
LAS RAMBLAS for guitar orchestra monics precedes some effective writing in parallel
by Nathalie Lachance octaves at full volume, where guitars 1 and 2 ven-
Les Productions d’OZ. ture as high as fret 15.
16pp plus parts Although the piece is set in conventional SATB
This work is for five guitars and a contra guitar, for the most part, the top three lines do share a lit-
though the latter part is playable on an ordinary tle of the limelight. Much of the writing is modest
guitar and is not simply a slimmed-down copy of in technical ability, and the relaxed speed facili-
another line, but a vital part of the soundscape. tates the more awkward passages.
Percussion abounds, and the glossary explains Notwithstanding that, there are some tricky
eight different effects written as pitched notes with moments, and the big closing chords need skill in
an ‘X’ notehead. I hope players of this piece have a order to sound effortless. A Grade 6 ensemble
better memory for what pitch denotes what effect could ‘knife and fork’ their way through, but a high
than I have! Fortunately, once the few effects and standard of ensemble is needed for the piece to
rhythms specific to a line are learned, then the sound relaxed.
power of the piece comes from the way the different The work lasts over six minutes and it is not at
percussive pitches and rhythms of each line are all repetitive with a convincing melody and struc-
woven together. ture.
For much of the piece, guitar 5 is doing some- Dynamics are amply indicated. There is no fin-
thing different to everyone else, percussion when gering but in one or two places, string numbers are
the rest are playing melody, and chords when the used. When I sight-read the music, I had to guess
rest are playing percussion – an effective and which finger to use and every time, I picked wrong-
enjoyable piece of writing. ly and got tangled. A single finger number instead
Set in A minor, this feels good on guitar – shapes of a sequence of string numbers would be clearer
are familiar and the high passages are straightfor- and more valuable.
ward in rhythm and pitch. There is an opening Derek Hasted
minor theme in 3/3/2 rhythm, and a more melody-
like theme set over a lush landscape of simple CHANSON TRISTE for guitar orchestra
strummed chords, with a brisk rhythm and a love- by Henri Duparc
ly journey through minor and major keys, before Arr. by Arnaud Sans
shrinking to just rhythm and bass with guitars one Les Productions d’OZ.
to four banging and slapping variously. A slower, 11pp plus parts
squarer, tempo heralds another theme before there This is an arrangement of a work I wasn’t familiar
is a lengthy and effective reprise of the strummed with; tracking down the original was an enjoyable
section, this time taking it down to percussion and time and the version I found with voice, harp and
bass alone before building it up once more to a orchestra is rather pleasant listening. This
strong and enjoyable finish. arrangement is in the same key, and is for five gui-
The overall standard is surprisingly modest – tars and a contra (the latter could be replaced with
perhaps Grade 5-6. However, keeping a tight an ordinary guitar).

This arrangement is one of those works that experience might gabble a bit. But there is a reg-
M usic R eviews
raises questions and this is one of those editions ular arpeggio underneath that defines the beat
that doesn’t answer them. The tune, for example, exactly, so no real harm would come. Some of the
is in guitar three, not guitar one, and I wanted to arpeggios are really rather lovely – minor sevenths
know why. The harp arpeggios are split into four and ninths, and the accompaniment is a stylish
pieces – ascending in guitar five, descending in blend of clever writing and well-thought-out pro-
guitar four, ascending in guitar two, and then gressions that are easily played to wonderful
descending in guitar one, and these lines are effect.
mostly sounding one at a time. It really looks like Partytime, in E, has almost a Tamla Motown feel
it would fit for the most part on two guitars. My to it and the tune has a cheeky call-and-response
curiosity is piqued. style, still sitting on what is ostensibly a 12-bar
Faithfulness to the original means that each blues structure. Once more only the top part
unidirectional arpeggio has seven notes, so noth- needs to venture up the neck, but care will need
ing fits nicely under the fingers. Talking of fingers, to be taken to get the positions sorted out so that
there is no fingering, only dynamics, and there are the notes are under the fingers. The large number
some really unpleasant jumps – from top string of sharps and naturals can be very off-putting to
fret 6 to bottom string fret 1, for example – where someone who is still learning, but with careful fin-
the notes are semiquavers (sixteenth notes), so gering, the music is very playable.
creating a smooth arpeggio is not going to be easy. The upper line is definitely marginally more dif-
Looking at the full score, these quick jumps are ficult, and is probably suited to a Grade 5 player
to a long note that another part plays as a short who will have the musical maturity as well as the
note at the same time, so this might be a trick to raw technique to carry off this atmospheric suite.
add sustain. But one of the silent guitars could do The lower parts would probably suit Grade 3 play-
that job so much more easily. And besides, the ers.
contra tends to have that long note too. I’m left Derek Hasted
with the conviction that it could have been
arranged in a way that would be much easier to CUMBIÓN for guitar orchestra and percussion
play. And is it hard? Well yes, it wanders through by Jaime Córdoba
countless flats and naturals and sometimes the Les Productions d’OZ.
arpeggios contain repeated notes of the same pitch 15pp plus parts
in succession – all tricky stuff to make smooth, This work is for four guitars and double bass; the
especially when the arpeggio is shared amongst score indicates that a contra guitar can be used,
four players; imagine having a mix of spruce and but there is no treble clef version; the line is vital
cedar guitars and hearing the arpeggio change in to the ensemble. In addition, there are parts for
tone colour as it rolled along. claves, guiro and bongos.
I have the uneasy feeling that this is a challeng- This is a nice length – about three and a half
ing way to make a faithful rendition of the original, minutes, and it’s strikingly rhythmic, beginning
where a few cosmetic changes and a different with guitar 4 and some smoochy minor jazzy
method of sharing the workload might have made chords with a South American feel to their
something quite a bit easier and therefore more rhythm. The bass comes in an instantly there’s an
smooth and effective. accompaniment. The percussion enters in turn
Derek Hasted and the repetitive sequence has taken shape. A
light and airy motif appears with little decorations
BLUES SUITE for five guitars from guitars 2 and 3 – not quite ‘stab brass’, but
by Miroslav Loncar a not dissimilar effect. Some big percussive chords
Les Productions d’OZ. follow, in a rather spiteful rhythm that requires
15pp plus parts everyone to be in step. I’m guessing the percus-
The performance notes, whilst a little minimalist, sion players will get it right first time and most
are very welcome and helpful, and fully briefed I guitarists won’t! The opening theme is repeated
slid comfortably into this three-piece suite. with a thicker accompaniment before the compos-
The three pieces are each orchestrated with tune er plays some joyful tricks – some catchy rhythms,
on top, bass underneath and some arpeggios or a waterfall of entries, fugue-style and chord to
counter-melodies to provide the filling to this stop us in our tracks.
musical sandwich. The bass line would be delight- The smoochy chords give way to some
ful an octave lower, a point not lost on the com- strummed chords of A9 over which the opening
poser. them is reasserted in its new brighter setting. The
Early Morning Blues has a pulsating bass over development is not over and gradually the musi-
which sit some very playable boogie-woogie lines, cal forces realign themselves, evolving from a
entering one at a time in a very effective fanfare. bubbly fun accompaniment into something more
With five lines of music, the tune is necessarily up purposeful and determined to herald a return to
high, although the other parts fit nicely in the first the original key and some chromatic sequences
and second positions. Even the tune is nice and that sounded rather bizarre as the lines were
comfortable to play, and a working knowledge of played one at a time, but which stack up into
only the top two strings up the neck will be fine. large and stylish chords when all the parts play at
This is a nicely crafted piece that is a real foot-tap- once.
per. Set in the key of A with 6=D it’s bright and full And the standard? Well, the percussion is easy
of energy with some lovely deep bass and a couple apart from that oft-repeated couple of bars. The
of little bass runs that add a lovely stylistic guitar parts are not too irksome but there is a
embellishment to the music. need for parts to be very tightly synchronised at
Melancholy Blues is in 6/8 with that slow triplet some points, and capable of complete indepen-
feeling and mournful D minor chords that conjure dence at others, so I suspect Grade 7 is a little on
up a gloomy nightclub late at night… Here the the low side of what is needed.
relaxed pace is punctuated with some bending of Here is an orchestration that will work effective-
the long notes, but also some semiquavers (six- ly and delightfully!
teenth notes) that I suspect a player of limited Derek Hasted

CD R eviews HOMENAJE A Franz Halasz (guitar) Debora Halasz (piano)
MIGUEL LLOBET Naxos 8.570587 CD
LLOBET: Scherzo-Vals; Romanza; Respuesta; As Graham Wade observes in the notes to this 2009
Variaciones sobre un tema de Sor; Five Preludes. release, the ubiquitous figure of Ferdinando Carulli
TRAD. (ARR. LLOBET): Ten Canciones Populares (1770-1841) has long been regarded as ‘primarily a
Catalanas; El Noi de la Mare. R. VILLAR (ARR. LLO- pedagogue rather than as a composer of concert
BET): Cancion Leonesa. works’. A fair comment, of course.
Ryuji Kunimatsu Carulli’s success at grass roots level may be
Fiori Musicali WHCM 337 CD explained by one simple fact, namely that his teach-
It’s a glorious spring morning. The only sounds from ing miniatures almost invariably turn out to be eas-
the open window are distant birdsong and a gentle ier than they sound. There’s no secret formula
breeze through the trees. On the desk stands a pile behind this, the result being obtained simply by
of half a dozen CDs awaiting review. Several are by intelligent use of open strings and guitar-friendly
performers I already know and admire, and all con- intervals. In this respect, Carulli was the exact oppo-
tain repertoire of which I’m fond. What possible tri- site of Fernando Sor, whose études, leçons and exer-
als and tribulations could shatter this rare and per- cises are usually ten times harder than the student
fect suburban idyll? expects. Such hidden challenges may have their ben-
But then came the crushing moment when it was efits at an advanced level but have no place whatso-
discovered that the track listing for this 2007 record- ever when it comes to teaching beginners. Has any-
ing, despite being issued on what appears to be an one ever succeeded in nurturing a novice on an
Italian label, is in Japanese only. So the inventory exclusive diet of Sor’s Introduction à l’Etude de la
shown above was put together amid much cursing Guitare Op.60? But when it comes to concert reper-
from a combination of printed scores, earlier record- toire, Sor is rightly seen as the boss, although this
ings and maybe just a little existing knowledge. And doesn’t necessarily disqualify Carulli from taking
it seems our oriental brethren don’t get much more part in the game.
information than we do, the booklet devoting an The Beethoven/Mozart reworking that opens the
astonishing seven pages out of ten to what can only present agenda is nothing if not audacious, with
be described as a portfolio of publicity shots showing Carulli himself providing the whole of one variation
the handsome and photogenic Kunimatsu in a vari- and the first half of another. The results are pleasing
ety of surroundings. and provide ample evidence of the individual and col-
So it’s just as well the performance is of a high lective excellence of this highly-regarded husband
order, for the heavy artillery was most certainly and wife team. This said, there are times throughout
ready to roll in the face of the above hindrances. the proceedings when I’d have appreciated a little
Starting with the once neglected but now fashion- more level on the guitar and a bit less on the piano.
able Scherzo-Vals, Kunimatsu soon emerges as a I type this comment fully aware that it’s the second
player who, despite showing a considerable turn of time I’ve said something on these lines within one
speed when the need arises, is essentially a modern day, so maybe the old lugholes are just getting lazy.
exponent of what might be termed the molto espres- Elsewhere, it’s all pretty much as we might have
sivo school of guitar playing. Although such levels of expected. It seems the input of Carulli’s son Gustavo
lyricism may not be flavour of the month, they cer- was acknowledged on the original editions of Op.65
tainly deliver some persuasive accounts of repertoire and 233, although no radical modernising force can
from this era. Particularly convincing are the items be detected from the present revivals. But it’s all
from Canciones Populares Catalanas that are tradi- decent early 19th century fare of the type that raises
tionally served up at a quicker pace than is strictly many a smile while placing only minimal demands
necessary and tend to sound somewhat slapstick as on the listener’s attention. Particularly engaging is
a result. I’m thinking especially of La Nit de Nadal the boisterous dialogue between instruments that
and La Filadora, both of which might enjoy more fre- develops in the Rondo from Op.134. Great music it
quent future outings if Kunimatsu’s lead is followed. isn’t, but great fun it most certainly is, especially for
Yes, I know they’re marked Allegro and Allegro two players who clearly have the ample technical
Scherzando respectively, but in no dictionary on my reserves required to enjoy it.
shelf are either of these terms translated as ‘annoy- So let’s just appreciate Carulli for the prolific and
ingly daft’. resourceful professional he was. Making music, not
Finally, a bonus mark to Kunimatsu for spotting making history, was his thing.
the potential of Llobet’s setting of the obscure but Paul Fowles
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. GIULIANI - GUITAR CONCERTO NO.3
So to isolate it as a de facto encore that closes the GIULIANI: Concerto for Guitar “terzina” and Orchestra
present agenda was indeed a masterstroke of subtle No.3 in F, Op.70; Gran Quintetto for Guitar and Strings
and imaginative programming. in C, Op.65; Variazioni su “Deh calma oh ciel” from
A quality international release that needs an Rossini’s “Otello”, Op.101; Variazioni su “Nume per-
urgent rethink on the packaging front. donami in tale istante” from Generali’s “Baccanali di
Paul Fowles Roma”, Op.102; Variazioni sur un Valse favori,
Op.103.
CARULLI - MUSIC FOR Edoardo Catemario (19th century guitars) with the
GUITAR AND PIANO VOL.1 Wiener Akademie conducted by Martin Haselböck
BEETHOVEN (ARR. CARULLI): Variations in F on Arts Music 47689 (Hybrid SACD)
“Ein Mädchen oder Weibchen” from Mozart’s “Die Of the three surviving Giuliani guitar concertos, No.3
Zauberflöte”. FERDINANDO AND GUSTAVO CARUL- in F tends to enjoy the least attention. This presum-
LI: Duo in A on themes of Rossini, Op.233; Grand Duo ably is a direct result of its requiring a soloist who
Concertant in A, Op.65. FERDINANDO CARULLI: has access to a terzina guitar and the ability to play
Nocturne in G, Op.127; Duo in D, Op.134. ROSSINI it. Otherwise, you’re limited to a conventional mod-
(ARR. CARULLI): Overture to “La Gazza Ladra”; ern guitar with a capo on the third fret, a fiddly con-
Overture to “Armida”; Overture to “Il Barbiere di figuration that often spawns tuning problems and
Siviglia”. doesn’t usually sound that marvellous despite all the

time and toil. One thing No.3 certainly doesn’t lack is be that of a later generation, but the result is dis-
CD R eviews
thematic content and orchestral colour, this latter armingly persuasive. And, like Parodi before him,
point being argued with conviction in Gian Andrea Norge doesn’t half rattle through that triumphant
Lodovici’s notes to the present release. Particularly ascending scale.
powerful is the opening Allegro Moderato, in which a Although I doubt if the three innocuous miniatures
grand descending initial figure calls us to attention performed here represent Carl Nielsen’s first appear-
with a splendid surge in volume from the brass a ance on a guitar recording, no precedent springs
minute or so after kick-off. But how is Catemario’s immediately to mind. They’re pleasant enough in an
undated terzina guitar by Enrico Rocca going to cope unobtrusive way and Norge delivers them with
against a backdrop of such intensity? understated sensitivity. But I honestly can’t see this
The answer is that it struggles. Or, to be more pre- leading to a glut of further Nielsen transcriptions and
cise, it’s the listener that struggles to take on board arrangements.
the stark contrast between the exuberant start to The erstwhile ubiquity of the Villa-Lobos makes it
proceedings and the distant fragility of the soloist’s something of an odd man out on the present agenda.
first entry. You get used to it in the end, in much the But its presence did cause me to muse on the notion
same way as we always somehow adjusted to the that many of us who witnessed the V-L mania of the
octogenarian Segovia performing unamplified amid 70s started out by thinking of No.3 as the least inter-
the barren acoustic of the Free Trade Hall, but it’s esting of the preludes, but later came to regard it as
hard going for all. I should emphasise at this point arguably the most enduring of all. Just a thought.
that Haselböck clearly makes every possible effort to And so to Norge’s original works or, to be more pre-
be a guitar-friendly conductor, but there’s no escap- cise, the six encore lollipops with which he concludes
ing the fact that we’re dealing with fundamentally this 43 minute innings. OK, that perhaps wasn’t the
unequal forces. The whole situation is highly regret- most generous evaluation of Norge the composer, but
table because Catemario undoubtedly knows the ter- there’s no escaping the fact that we’re dealing with
rain well and has all the technical skill to make him the lightest of the light. Only in the suave late night
the ideal man for the job. But there are times when jazz of the title track do we find something that can
adhering to a strictly ‘authentic’ sound balance just stand a second hearing, and even the reflective mood
isn’t the answer. created here is soon dispelled in the wet-as-a-puddle
For the remaining items, Catemario is joined by Tango Tore, a formula didactic pastiche of the type
two different string quartet line-ups, both of which Vincent Lindsey-Clark does a zillion times better and
are led by Agnes Stradner. Almost immediately, the would presumably never dream of using on a profes-
listening experience becomes a happier one. sional recording.
Admittedly, the Gran Quintetto enjoys the further Impressive Chopin with some highly acceptable
advantage of being scored for a conventionally- Nielsen and Villa-Lobos, but those downmarket orig-
pitched guitar, the hardware used on this occasion inals really don’t belong.
being a ‘Pons l’Ainé’ from 1825. But even when the Paul Fowles
terzina makes its return for the three sets of varia-
tions, only a little adjustment has to be made on the STANDING STONES -
part of the listener. This makes things all the more Music from Scotland and
frustrating because, although the quintet items in Ireland Frevo Quartet
general and the Gran Quintetto in particular clearly Natural Studio Records. NSR CD011
have something to offer, it’s Concerto No.3 that’s the With a running time of 28’ 50” this themed EP – CD
real hit. Or at least it would have been if you didn’t is the second in a continuing series from this talent-
have to reach for an ear trumpet every time the ed guartet made up of: guitar (Matthew McAllister),
soloist flexes his muscles. It’s either that or blow a flute (Aisling Agnew), violin (Feargus Hetherington)
hole in the speakers whenever there’s a tutti. and bass (Douglas Whates). Here they turn their
Needless to say, the so-called ‘loudness’ button attention to the music of their heritage, as all mem-
makes so little difference that you wonder, not for the bers hail from Scotland or Ireland.
first time, why it even exists. The arrangements are beautiful throughout and
A first-rate presentation of vintage repertoire rang- quite individual in their sound-world and not always
ing from the decent to the outstanding, but the what you might expect. So the opening Aisling Gheal
sound capture on the concerto is strictly for purists (A Bright Vision) is based on the harpsichord version
only. of Sean O’Riada who had so much influence initially
Paul Fowles on the music of the Chieftains. The music is
restrained and haunting yet aristocratic in style.
VIVA LA MUSICA Perhaps the most surprising arrangement, for me at
CHOPIN: Valse Op.64 No.2; Cantabile; Nocturne Op.9 any rate, was their slightly off-the-wall version of a
No.2. NIELSEN: Mit hjerte altid vanker; Tunge, morke long favourite tune of mine Wild Mountain Thyme. I
natteskyer; Min Jesus lad hjertr fa. VILLA-LOBOS: don’t know what I was expecting, but it was not the
Prelude No.3. NORGE: Danza la Primavera; Viva la version I heard! The chords in particular are unusu-
Musica; Tango Tore; Flamenco Falso; Brasiliaño; El al and yet entirely in keeping with the music’s style.
Danza Humorístico. This is one I had to get used to a bit before I learned
Kaare Norge to like it. Arisaig is hauntingly beautiful and quite
Universal UNI 179-211-5 CD different from the solo version I heard Matthew play
Chopin on the guitar is by no means a new concept a little while ago, but every bit as good, with the flute
and yes, I’m going to mention Mario Parodi again. taking most of the melody lines, occasionally aided
The excuse this time is that, although recent Chopin and abetted by the violin with the bass and guitar
offerings by guitarists have tended to be somewhat doing the accompanying. Another Irish air that for
restrained affairs that seem primarily concerned me was the highlight of the CD was the next track,
with not causing offence, Norge’s accounts at least An Chuilfhionn (The Fair Haired One) with one of
partially regain some of the wonderful joie de vivre those tunes that stays with you long after the CD is
that Parodi so effortlessly generated more than four over. I am often amazed at how the quantity of stun-
decades ago. This is particularly evident in the Valse ning traditional tunes that come from Ireland and
at the start of the present disc, which also happened Scotland. This one certainly goes to into my favourite
to be a Parodi favourite. Norge’s approach may well top five. Up to this point most of the music has been

CD R eviews reflective and generally slow in pace. This is now rec- uplifting fashion. I challenge anyone listening to any
tified with Guards Bridge at Anzio a rollicking up- of the first four of these beautiful compositions to not
tempo Scottish pipe march with a lovely pedal sec- be moved emotionally. In these pieces one is remind-
tion utilising the bass at its very best. Hamnataing is ed here and there of the best of Ennio Morricone but
a traditional tune arranged by Shetlander with the hallmark of Jose Luis Merlin infused
Christopher Stout. It lilts along beautifully and again throughout.
has a melody to die for. Inisheer completes the album All the pieces have been written and arranged by
and is named after Inis Oirr, one of the three Aran Merlin for the Cuarteto Hispanoamericano which
Islands of Galway Bay. The guitar takes the tune comprises Debora Lewin (traverse flute), Ezequiel
with pizzicato string accompaniment. The section Lezama (oboe), Edith Saldana (violoncello) and of
with the artificial harmonics is particularly striking course Jose Luis Merlin (guitar). The instrumental-
in its simply beauty. ists give a good account of themselves and work
This is a stunningly recorded album from quality extremely well as an ensemble group.
musicians playing fabulous arrangements of some of This is a well recorded disc, full of clarity and oozes
our homeland’s most evocative music. No more to be charm and musicianship through every pore.
said. Recommended.
Chris Dumigan Steve Marsh
AL PEREGRINO MI ALMA LLANERA

J. L. MERLIN: Pregresiones para Pauline; Galopa el PEDRO GUTIERREZ: Alma Llanera. ANTONIO
Jinete; Al Cristo de la Quebrada; Cinco Canciones de LAURO: Cuatro Valses Venezolanos; Seis Por
Amor. A. RAMIREZ: Alfonsina y el Mar. Derecho; El Negrita; Carora; El Marabino; Maria
Cuarteto Hispanoamericano Carolina. VINCENTE EMILIO SOJO: Que No Te
Dos Almos Quiera Mas; Estrella Del Mar; Quisiera Ser. RODRIGO
With the exception of just the Ariel Ramirez classic RIERA: Serenata Ingenua; Melancolia; Nostalgia.
composition, this is a pro-
gramme made up entirely of
the music of the Argentine gui-
tarist and composer, Jose Luis
Merlin. Readers who are famil-
iar with Merlin’s output will
know what to expect: exciting
and exceptionally rhythmical
works sitting alongside evoca-
tive 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 writ-
ten in memory of human rights
activist Pauline Lasse. The pro-
gramme 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 six-
movement Al Cristo de la
Quebrada and very natural
and fitting in this setting they
are too.
The five songs of love (instru-
mentals 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 concern-
ing a father grieving over the
loss of his son on the battle-
field 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

PEDRO LOPEZ: Las Perdices. ANTONIO CARILLO: mode with many segments of varying moods and
CD R eviews
Como Llora Una Estrella. BENITO CANONICO: El tempos and a wonderful opening work to whet the
Totumo De Guarenas. I. ‘INDIO’ FIGUEREDO: Los appetite.
Caujaritos. ALFONSO MONTES: Preludio De Adios. A set of seven solo guitar compositions make up
SIMON DIAZ: Caballo Viejo. Piris’ Livre d’Images, a group of diverse pieces of
Flavio Sala probably only medium difficulty but are nevertheless
Felmay FY3015 highly effective. Writing high quality works at this
First prize winner at several international guitar fes- standard of technical level is always the mark of a
tivals including the Concorso Internazionale di good composer. As well as the composer’s own com-
Gargnano (2001) and the Concorso Internazionale positional style one can hear the influence of such
‘Michele Pittaluga’ (2003), this disc of music from luminaries as Brouwer and Satie.
Venezuela finds Italian guitarist Flavio Sala in excel- The stylish three-movement duet Sharan has hints
lent form; in these performances he seems thor- of minimalism with jazzy/ African characteristics
oughly at home from every angle. Technically and for this work Repiton is joined by Piris himself
assured, Sala oozes confidence in his playing and who also plays in partnership with her on the
displays an innate knowledge of these, often complex delightfully lyrical Waltz for Bill, a work dedicated to
musical styles, a knowledge which enables him to the jazz pianist Bill Evans.
present authentic-sounding interpretations of this Adeus and Amanha were published originally
most entertaining and delightful music. together so presumably they are intended to be per-
The emphasis/focal point on this disc seems built formed as a pairing. They make nice contrasting
around the master-craftsman of Venezuelan guitar compositions Adeus being very introspective, moody
music, Antonio Lauro; his music being sprinkled and improvisatory-sounding and Amanha being
around the 22-item programme in strategic places more up-tempo with a Latin beat.
rather than in groupings, as the rest of the com- The disc concludes in grand style with the only
posers’ music are. This constant returning to Lauro’s quintet on the programme, the title track Trois Ciels,
compositions inevitably invites comparisons to the for which Brigitte Repiton is joined by Le Quatuor
other works and reveals just what a musical genius Cordoba in a set of wonderfully exciting, atmospher-
he was when writing for the guitar - not that the rest ic and moody pieces.
of the programme is below par, far from it, it is just Throughout the playing from all concerned is of
that Lauro’s music really has the ‘X factor’. top class and the whole product is well presented.
Of the ‘non-Lauro’ tracks, for sheer excitement and Steve Marsh
invigoration, Sala pulls out all the stops on the high-
ly rhythmic Los Caujaritos and Alma Llanera and JOTA - FRANCISCO TÁRREGA
shows his great sensitivity in his thoughtful presen- F. TÁRREGA: Jota; Tango Maria; Gran Vals; Sueno;
tation of the three gorgeous Sojo compositions. This Capricho Arabe; Lagrima; Studio Sobre la Sonatina
is a player who has the skill to infuse deep emotive d’Alard; Adelita; Las Dos Hermanitas; Vals; Maria;
interpretative control in the slower works and pro- Alborado; Recuerdos de la Alhambra; Mazurka en Sol.
duces exceptional rhythmic articulation where J. MALATS: Serenata Espanola. S. de YRADIER: La
required in the more complex, quicker pieces. Paloma. I. ALBÉNIZ: Sevilla. J. MASSENET: Notti de
Mi Alma Llanera comes half a dozen years after the Spagna. J. S. BACH/C. GOUNOD: Ave Maria.
release of John Williams’s disc El Diablo Suelto, a Michael Erni
recording devoted to the same thematic undertaking. Guild GMCD7332
Was the JW CD of 2003 influential in Sala’s choice of From a personal viewpoint I have always had a fond-
material here? … I don’t know, but approximately ness for the music of Francisco Tárrega, probably
half the programme of El Diablo Suelto is mirrored on stemming from the fact that his music was some of
this new release. Listening to both players perform- the first ‘proper’ classical guitar music I remember-
ing the same pieces side-by-side as it were, the ing hearing. I also like the idea of compilation or
immediate judgment is that the Williams production ‘themed’ discs. Consequently I was looking forward
has a slightly more refined tonal quality to it where- to the enjoyment of listening to this CD dedicated to
as Sala’s recording has more of a hard edge - more the some of Tárrega’s original compositions plus a
‘bite’, particularly noticeable in the faster tracks. handful of his arrangements.
This is not to say that one is more preferable to the Given Michael Erni’s exceptional technical virtuos-
other, both are exceptional discs in their own right ity and the clear recording sound, this new release is
and lovers of music from Venezuela should definite- particularly disappointing. Having listened to this
ly have both CDs in their collection. disc several times now I have to report rather a lack
Steve Marsh of enthusiasm with the performances which are, on
the whole, taken far too fast making for uneasy lis-
TROIS CIELS tening. For the main part, this is supposedly poetic,
BERNARD PIRIS: Rhun; Livre d’Images; Sharan; expressive music but it seems that Erni’s penchant
Adeus; Amanha; Waltz for Bill; Trois Ciels. for technical pyrotechnics has supplanted all that.
Brigitte Repiton Where is the lyricism and tenderness in the phras-
Les Productions d’OZ. DZ1230. ing? The pace at which the two tremolo pieces are
As my role as reviewer I have written a number of taken at is uncomfortable; the appreciation of the
reviews regarding the published music of the French romanticism in Recuerdos is lost.
guitarist/composer Bernard Piris and if memory It is not all bad news however, as there are some
serves me correctly these have been positive reviews moments of musical quality and sensitivity here and
and have each and every one of them commended there, Erni proving that he has it in his soul to dis-
the publications. Therefore it was with anticipation play this aspect in his performances, but the overall
that I sat down to listen to a disc devoted entirely to impression at the end of the day is one of a high
his works and it is nice to report that it was as good, velocity programme leaving the listener with that
if not better, I’d been expecting. impression.
On this CD the excellent French guitarist Brigitte If ‘serious’ Tárrega is what you are looking for there
Repiton joins forces with the Duo de Guitares de are better recordings out there; David Russell’s name
Lyon in the opening track, the 10-minutes long springs to mind.
Rhun, an exquisite composition in contemporary Steve Marsh

P ersonal CD R eviews NEW MUSIC FOR A. BARRIOS: El Sueno de la Munequita. R. DYENS:
2 GUITARS Tango en Skaï. I. SAVIO: Cajita de Musica.
TILMAN HUBNER: Cantus Latvius; Cantus Firmus; Zsofia Boros
Lang Wird der Weg; Cantus Campi. SEBASTIAN www.zsofia-boros.com
SPRENGER: Tu Iridem Aspicies; Chant Spirituel; This new disc features the Hungarian guitarist
On My Way. ULLI GOTTE: Four Colours. FRANCIS Zsofia Boros (given as Boros Zsofia in the sleeve
KLEYNJANS: Homage a Stanley Myers. notes) performing established works alongside ones
Tatjana Kukoc & Tilman Hübner less familiar in the guitar repertoire.
www.newmusicfor2guitars.de The more famous compositions in this pro-
Tatjana Kukoc & Tilman Hübner first collaborat- gramme, the ones by Brouwer, Tárrega, Lauro,
ed together on a CD titled ‘Jovka’, where on that Dyens and Barrios, are dispatched with a fine sense
occasion Kukoc was the performer with Hübner of musicianship, the player taking several of these
contributing several compositions to the pro- pieces at a slightly less hurried, more deliberate
gramme. Shortly afterwards they formed a duo tempo than one is accustomed to hearing, the
and began performing together with the emphasis music not suffering in the slightest, in fact at times
on contemporary music. this pace is quite advantageous.
Hübner’s contribution as composer on this par- The works which were not known to me came as
ticular disc comes with four works all leaning a very pleasant surprise. The three pieces by the
towards minimalism. His writing is inventive and Austrian jazz guitarist and composer Wolfgang
interesting enough to hold the attention and Muthspiel are, maybe due to their unfamiliarity,
never become tedious or outstays its welcome as one of the high points of this recording. The first
much music written in this style can, and often, movement is a relentless, frantic composition where
does. Unfortunately the four pieces are scattered brief periods of gentleness break in now and again.
through the programme as single items but work The second part is a beautiful slow, lament-styled
very well and in my opinion, much better, when composition evoking late-night moody jazz sensa-
listened to as a ‘set’ of four, one after the other. tions. The set concludes with a darkly resonant and
The German composer Sebastian Sprenger has slightly menacing work which picks up the pace
a penchant for experimental music as witnessed mid-way through in a flurry of tense agitation
in the first two of three of pieces written by him before the piece finishes in similar mode to the
featured on this programme. These two are quite opening section.
energetic and forceful in nature with, stylistical- The early-20th century Spanish guitarist Angel
ly, more than a passing hint at the spiritual Iglesias, whose name is almost unknown nowa-
aspects of Indian raga music. His third contribu- days, is represented by an Arabesque which has
tion could not really be much more of a contrast flamenco/Moorish overtones. In this piece Zsofia
with On My Way (full title being On My Way to the demonstrates a commendable command of techni-
Bus Stop), a short composition which could easi- cal control and puts in a performance of a work
ly have been an easy-listening pop ‘standard’ which, being perfectly honest, could have sounded
from the 1960s. quite garish and cheap in lesser performers.
The longest single item at just over ten min- I found this a really likeable disc presented by a
utes’ duration, comes with Four Colours written guitarist of skill and discernment. The recording
by the influential minimalist composer Ulli Götte. quality is good and although there is not much
Written for the two performers on this disc, this information given in the sleeve notes the packaging
piece comes the nearest to ‘true’ minimalism as is excellent.
anything else on the programme and is a work Steve Marsh
which develops out of, as the composer puts it,
‘four sound colours, or four scales’. The work ebbs FOUNTAIN
and flows with varying multi-rhythms created D. O’NEILL: The Juggler; Manggha; Clouds; Samba
between the two instruments with several Ali; Fountain; A Remark You Made. J. S. BACH:
dynamic and rhythmic peaks and troughs before Cello Suite No. 1; Prelude from Lute Suite No. 4. D.
concluding in a calm, quiet ending. SCARLATTI: Sonata in A k209; Sonata in F minor
French composer Francis Kleynjans’ one contri- k32. T. O’CAROLAN: Carolan’s Receipt. G. SANZ:
bution to this disc comes in the form of a pastiche Canarios.
of Stanley Myers’ classic miniature masterpiece, Darragh O’Neill
Cavatina, but this Homage a Stanley Myers is too www.darraghoneill.com
sugary-sweet for my liking, is not in the same This recording was the final one to review from a
league as the piece which was the inspiration for batch of several other ‘Privately Released’ CDs; a
it and really is the odd-one-out in this pro- bunch which was of a particularly high standard
gramme. throughout and, pleasing to say that this too, does
A large majority of this disc contains some not let the side down.
fine writing for two guitars and allows the lis- Darragh O’Neill, who studied with Carlos Bonell
tener to discover compositions and indeed, com- at the Royal College of Music, is technically
posers who may not yet be familiar. Of particu- equipped to ably handle all the music presented in
lar interest are the four pieces by Tilman his programme. His own pieces which, begin the
Hübner which, collectively at over 20 minutes, programme, are very entertaining, and highly lis-
makes the CD worth having in its own right. tenable; being a mixture of contemporary evocative
Although initially some of the music contained compositions in a blend of Latin/Jazz style.
on this disc may not have immediate attraction, He gives clean, sensitive and authoritative perfor-
familiarity could ensure a fuller appreciation of mances of the rest of the programme from the
the music. Baroque era, playing with what Carlos Bonell
Steve Marsh describes as a ‘deceptive simplicity’, which is
absolutely accurate, O’Neill conveys the impression
MUSICBOX that this is all so easy - which we all know is far
L. BROUWER: Un Dia de Noviembre. W. MUTH- from the truth.
SPIEL: Drei Tonspiele. F. TÁRREGA: Capricho A very enjoyable and desirable debut recording.
Arabe. A. IGLESIAS: Arabesca. A. LAURO: Triptico. Steve Marsh

ANYWAY We used to see a lot of Julian Bream’s hands on TV a
DVD R eviews
Roland Dyens generation ago; today’s camera techniques make even
À bátons rompus... (interview); DYENS: Improvisation; more detailed close-ups possible, and this is true
Sols d’Ièze; Anyway; Djembé. GILLESPIE: A Night in progress.
Tunisia (arr. Dyens); RAMIREZ: Alfonsina y el mar (arr. Dylla took up the guitar at the age of seven. In itself
Dyens for guitar ensemble); BADEN POWELL: this is not particularly important - he tends to believe
Berimbau (arr. Dyens); JOBIM: Felicidade (arr. Dyens); that the teenage years are better - but the fact that his
RODGERS & HART: My Funny Valentine (arr. Dyens). first teacher was also an engineer ensured that he
GHA 126.470 grew up with an intimate knowledge of how the fingers
Roland Dyens explains his actually worked. This was a formative experience.
work very clearly and in musi- His attitude to competitions (he has won 19 at
cal French. The accompanying international level, culminating in the GFA) is
family photographs are refreshing. He does not join in the general condem-
charming; an intensely beauti- nation of those who see competitions as unseemly
ful young woman in a boat (his races more suited to athletes than musicians, but
mother?); the young Roland, says they can be ‘beautiful events’. His attitude helps
wearing a bow ties and holding to explain this unusual view: he does not think in
a large book He admits that terms of winning or losing, but of doing his best, of
every time he starts compos- showing audiences and judges what his present state
ing, he feels that creativity will of development is. Viewed like this, it makes sense -
stop. Fortunately for us, it but how many competitors are capable of it?
doesn’t, and the fountain con- It can hardly be said that the knack of winning com-
tinues to flow. Creativity, he thinks, comes during the petitions is the mark of a true musician, but this one
process of writing. All of us who have created anything certainly found them a challenge, a goal, something to
at all, a story, a painting, a musical composition, will work towards. He did not
recognise the truth of that. It leads to a certain impa- enjoy them, but they provided
tience with those who say ‘I stopped composing (paint- useful checkpoints in the long
ing, writing) because I had nothing more to say’. They, journey of learning and dis-
of course, must be the best judge of that. covery he had set for himself,
He mentions the historic occasion when he per- working with a determination
formed his Concerto for two guitars in Tychy, Poland, and a precision of approach
with Jérémy Jouve, and pays tribute to the orchestra that are seemingly the
and its ‘absolutely extraordinary conductor’, Marek antithesis of the ‘spontaneous’
Mos. This was a performance to treasure, as I vividly school. Spontaneity, if you are
remember. going to play the classics, can
One of the great originals though he is, Dyens is only be an illusion at best.
proud to be a member of the classical guitar tradition; The interview, in which the
he feels he owes a debt to the huge personalities of questions are not heard and
the past, people like Tárrega and, particularly, Sor. the interviewer not seen, makes you concentrate on
We are treated to a close-up of his hands as he the answers to an unusual extent.
plays Gran Solo, so simple, so elegant, so absolutely Dylla’s guitar, by the Polish luthier Boguslaw
right. We get, too, his arrangement of Nuages, or Teryks, satisfies any difficulty in choosing
much of it. The rubato of jazz, he points out, is not a between spruce and cedar. This guitar has a dou-
slowing down, but is a ‘slaloming with the beat’: ble top, spruce above, cedar below, and it is
something that jazz musicians understand intuitive- claimed that you can hear both types in the
ly. Take the A Train is used as an illustration. I could sound. In fact the various characteristics blend so
have done with more of it. well that a perfect cohesion is achieved, with the
‘Everyone knows that the French chanson is a clarity of one and the warmth of the other. Has
major art.’ Not in Britain, unfortunately. Dyens’s Teryks found the answer? His guitar certainly
arrangements were inspired by Llobet’s of Catalan suits Marcin Dylla very well.
songs, and surely deserve equal consideration. As you would expect, the three works are out-
I hope I have said enough to demonstrate what a good standing in the performance Dylla gives them.
DVD this is. Roland Dyens is unique in the enormous Colin Cooper
contribution he has made to contemporary guitar.
Colin Cooper FOR SALE
MARCIN DYLLA RARE COLLECTION
Interview; GIULIANI: Rossiniana No.1. TANSMAN: OF
Variations on a Theme by Scriabin. RODRIGO: Tres CLASSICAL GUITAR VINYL LP RECORDINGS
piezas españolas.
Mel Bay Publications, Inc. MB21932DVD A unique opportunity to purchase one of the world’s best
classical guitar vinyl record collections.
A spectral figure emerges from the blackness. This
is Marcin Dylla, hailed as a guitar sensation from Over 1200 Classical Guitar, including a good selection of
Poland. He is more than a sensation, of course; he Flamenco South American records.
has the technical skills of a virtuoso coupled with Many very rare items. Most in very good to as new condition.
the mind of a thinking musician - a rare enough Plus over 200 general classical music orchestral, chamber and instrumental recordings.
combination, but one that cannot guarantee suc-
cess unless backed by the kind of publicity that Collected 1955 - 1995 by Maurice J. Summerfield, author of the best selling book -
only a large production can give him. Mel Bay are The Classical Guitar - Its Evolution, Players and Personalities since 1800
going a long way in that process with the issue of £5000 including free delivery in the UK.
this remarkable DVD, in which Dylla not only plays To other countries at buyer’s expense.
three substantial works but also talks at length
about his training, his methods and his beliefs. Send offers only in writing to:
Ashley Mark Publishing Company,
The playing tracks show Dylla’s hands in generous 1 & 2 Vance Court, Trans Britannia, Blaydon on Tyne, NE21 5NH, UK.
detail. This is a great help to students of the guitar.

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 (1893-
1944) follows, offering a panorama of Barrios le
through the decades, a section which might well ilab
w ava Hard
have constituted a book in its own right. This is com- No ctors ion
le it
plemented by a display of documents ranging from Col er Ed 0
his baptismal certificate to copies of letters and Cov 40.0
£1
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). Barrios are well covered, again in full colour pic-
Next comes a pictorial discography not only of tures. The final chapters depict copies of
Barrios’s own recordings but also a number pro- Paraguayan stamps commemorating Barrios, and
duced by subsequent generations of players. After a discuss the various Medals of Honour awarded to
useful selection of recital programmes (1925-1939), those who have helped propagate his music, with a
editions of the musical scores and books about fine photo of John Williams being presented with his
medal in Asunción, Paraguay on 17 November,
1994.
the TOTNES SCHOOL The tongue-twisting title of the book, El
Inalcanzable, is explained by Rico Stover in his
of GUITARMAKING Barrios biography:
E S TA B L I S H E D I N 1 9 8 5
It has been claimed that when asked for his opinion
- 12 week comprehensive courses
- Beginner to working professional of Barrios, Villa-Lobos reputedly declared
- Full details, including photos, in our prospectus / on our website “Inalcanzable” (“Unreachable”). The exact source of
C o l l i n s R o a d , To t n e s , D e vo n , T Q 9 5 P J . E n g l a n d . this quote is unsubstantiated and I doubt its authen-
Tel:+44 (0)1803 865255 www.totnesschoolofguitarmaking.co.uk ticity. (Richard D. Stover, Six Silver Moonbeams: The
Life and Times of Agustín Barrios Mangoré, Clovis,
California: Querico Publications, 1992, p. 201).
SPANISH GUITAR CENTRE In Lisa M. Peppercorn’s The World of Villa-Lobos in
36 CRANBOURN STREET LONDON WC2H 7AD Pictures and Documents (Aldershot: Scolar Press,
1996, p. 38). there is a photograph of Barrios in Rio
Tel and Fax 0207 240 0754 de Janeiro with the Brazilian composers, Quincas
Larenjeiras and João Pernambuco. This was taken
www.spanishguitarcentre.com on 5 July 1919 at the Cavaquinho de Ouro in the
Rua Carioca, which (according to Peppercorn’s cap-
tion) was ‘a place often frequented by Villa-Lobos
ONLINE and popular musicians’. However, on this evidence,
Browse the website - Pay by card using our Secure Server it cannot be affirmed (or denied) that Barrios actual-
ly 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 pro-
nounceable (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 imag-
ination. 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

LOS ANGELES GUITAR QUARTET Albéniz, and concluded with The Legend of
C oncert R eviews
St Paul’s Church, Chichester Hagoromo by Keigo Fujii.
15 August 2009 The last of these is based on an ancient legend of
Paying one of their rare visits to Britain, the LAGQ a celestial dancer who somehow loses her nightie (or
performed to a well-filled St Paul’s Church, ‘night-mantle’, as the formal version has it). The
Chichester, on the opening night of the 18th human and somewhat ungallant fisherman who
International Guitar Festival of Great Britain (West finds it will not return it unless she dances for him.
Dean). The Irish poet W.B. Yeats drew on the legend in his
As well as being a feast of good and interesting At the Hawk’s Well. Fujii’s version is a kind of neo-
music, it was an object lesson in presentation: no Romantic tone poem, with harp-like arpeggios, har-
fuss, no showing off, no unnecessary activity. They monics, a discernible melody, all rather folky in
are old hands, of course, and it shows. There have manner. With a certain amount of repetition, it
been few changes in their long history, the latest reaches a climax of some intensity. Fiona Harrison
being the departure of Andrew York, a highly talent- brought to it the same virtues she brought to the
ed composer and solo guitarist who was seeking other pieces in this short recital, principally a clear
fresh woods and pastures new, and moreover an melodic line that made sense of the story. Her point-
admirable ensemble player: his loss must have been ful and well-received recital made an excellent start
difficult to replace. Matthew Greif (pronounced Grife) to the musical proceedings of the 18th festival at
has all that is required, which is a lot: ensemble West Dean.
playing is never, ever, an easy ride. He joins the vet- Andrew Gough, also a tutor on the West Dean
erans Scott Tennant and William Kanengeiser and, course, offered a novelty for this classical audience,
more recently, John Dearman, to make up a quartet a recital in 7.1 Surround Sound. A certain feeling of
of brilliance, in which the qualities demanded of helplessness comes over one when surrounded, but
members of an ensemble are always paramount. this music was not at all threatening. On the con-
It is regrettable, though hardly surprising, that the trary, it turned out to be an engaging display of mod-
repertory of original music for guitar quartet is still ern technology, in which the sound, especially its
a long way from that of a classical string quartet. direction, was manipulated by the designer and mix-
The LAGQ make up for this lack with the quality of ing engineer, Matthew O’Malley who was an accom-
their arrangements and a high degree of enterprise, plished guitarist before going on to study music pro-
imagination and adventurousness: a potent blend duction techniques.
that has brought them a success that is both popu- The performance of Steve Reich’s Electric
lar and critical. Counterpoint was announced as being the first in
After an expertly executed performance of surround sound. To these ears, it improved the min-
Rossini’s Barber of Seville Overture, the LAGQ devot- imalist message, though whether hearing it disap-
ed the remainder of the first half to William pear into one corner of the Sussex Barn, only to
Kanengeiser’s arrangements of Spanish Renaissance return in a corner opposite, is a true musical effect
music, with pieces by the vihuelistas Narváez, or merely a clever dodge, is perhaps debatable.
Mudarra, Valderrábano and Milán inserted at inter- When you read the movement titles of the Suite Le
vals to beef up the structure. The work, titled Music Grazie (‘Thanks’) - Homage to Fats Waller, Homage to
from the Time of Cervantes, originally formed part of Vivaldi Homage to Michael Tippett - you know at
a project in which John Cleese, who has a place in once that the composer can only be Gerald Garcia.
history as the actor who brought the theatrical craft An enthusiastic supporter of the collaboration
of farce to British TV in the impossible-to-follow between O’Malley and Gough, he no doubt enjoyed
Fawlty Towers, read extracts from Cervantes’ monu- Homage to Fats Waller in surround sound as much
mental Don Quixote. William Kanengeiser, who as I did. Le Grazie was a premiere in this form, as
arranged the music, says that he felt obliged to look was Electric Counterpoint.
at the words first, but became addicted and had to David Carroll’s Pastoral was a world premiere,
read more. The music makes a fine collection; aided which by definition seems to give the other two
by a wealth of percussion effects and the extending works an extra-terrestial quality. Pastoral was pleas-
of the guitar’s lower compass offered by John ant enough, but I thought the clever pastiche played
Dearman’s 7-string instrument, it makes a substan- by the composer in a Brouwer masterclass a day or
tial addition to the repertory. later was better. Dave Carroll is clearly a composer
The second part of the concert juxtaposed Images of talent and originality, with a good track record
of Brazil (in which Leo Brouwer’s Cuban Landscape that includes working with The Royal Shakespeare
With Rain oddly found a place) with four ‘American Company. Make a note of the name.
Classics’ consisting of Sousa’s march The Black Paul Gregory, an international prizewinner, pro-
Horse Troop, Count Basie‘s Jumpin’ at the Woodside, duced a full, round tone in Giuliani (Grande
Andrew York’s arrangement of the traditional Ouverture op.61), Villa-Lobos (Valsa Concierto No.2,
Shenandoah, and Hoedown from Aaron Copland’s written in 1904, when the composer was only 17,
Rodeo, arranged by Gregg Nestor. This was an excel- and completed by Paul Gregory), Tárrega (Capricho
lent concert, enjoyable and satisfying in about equal Arabe) and Malats (Serenata Español). There was to
proportions. have been a piece by Teresa De Rogatis (Quasi una
Colin Cooper Fantasia, from 1940), but there was some reason
why it was not performed. Instead we heard Fortea’s
FIONA HARRISON Nocturne, which I might have appreciated more if
PAUL GREGORY had not been disappointed by the absence of the De
ANDREW GOUGH Rogatis piece. It was a satisfying 40 minutes never-
St Andrews Church, West Dean theless, with all Paul Gregory’s youthful skill intact,
16 August 2009 as far as I could judge.
Fiona Harrison, a graduate of the Royal College of These three mini-concerts got the festival off to a
Music who gained her Masters degree at Yale flying start; they formed the substance of a busy
University, is musical, sensitive and poetic in her afternoon, and were much enjoyed by a capacity
approach to her music, which is always well shaped audience, which of course included many of those
and with plenty of point. She played Danza Española who had come for the Open Day.
No.5 by Granados, Oblivion by Piazzolla, Mallorca by Colin Cooper

C oncert R eviews GRAHAM DEVINE ensemble: Espanoleta & Canarios - Gaspar Sanz (arr.
Rosie Reed, flute Kircher); and excerpts from El amor brujo - Falla (arr.
Charlotte Stock, viola Montes-Kircher). These pieces also provided a chrono-
The Sussex Barn, West Dean, 18 August 2009 logical basis from which the remaining programme
Leo Brouwer was in the audience to hear Graham could unfold. Separating these works was Montes’
Devine, with Rosie Reed and Charlotte Stock, give the Tonada & Joropo, a melodic and sensitive composition
first UK performance of his Paisajes, Retratos y Mujeres well placed within the overall scheme.
(Landscape, Portraits and Women). The three move- Ulrich Uhland Warnecke, as the composer apparent-
ments are headed Retrato de Wagner con Mathilde, ly likes to be known, from Stuttgart was the next fea-
Mujer bailando un Minuetto, and La pasión según tured composer. His Jubilee Suite, dedicated to Montes-
Dowland (Portrait of Wagner with Mathilde, Woman Kircher, was receiving its British premiere on this occa-
Dancing a Minuet, The Passion According to Dowland). sion. Pluralistic in nature, this work employs Metheny-
The references to Wagner and Dowland are clear like melodies and harmonies in the first movement; a
enough in the music, but there was some argument tricky 7/8 metre in the second almost minimalist in
about whether the minuet quoted was referring to construction; a late romantic collage mixed with mys-
Haydn or Mozart. To me, it sounded like the 1st theme terious Arab sonorities in the third; and a funky dis-
of the 2nd movement (the Minuet) of Haydn’s ‘Military’ play of rhythm and colour in the last. This truly was a
Symphony. The pattern of Brouwer’s piece reflects to multi movement work with something for everyone.
some extent that of his Sonata, with which Devine ‘The Beatles Suite’ comprising Till There Was You,
ended the concert in as satisfying a performance as I Here There and Everywhere, All My Loving , The Fool
have heard. In the ensemble piece, the composer gave on the Hill and Penny Lane, introduced part two. With
the three players plenty of opportunities to achieve that the exception of the final two items borrowing from
unique simultaneous blending and contrast that is Leo Brouwer, all songs were arranged by Montes him-
characteristic of the best chamber music. I wasn’t sure self. Although the presence of Lennon and McCartney
how well the themes from three older periods were inte- on the page stood out at first glance, the vast majori-
grated into the structure, as the Mendelssohn snippet ty of composers represented in this concert belonged
is in Maw’s Music of Memory, and will have to hear it to the latter two thirds of the twentieth century: a tes-
again before I can decide. Meanwhile, it passed my per- tament to the diversity of that period perhaps.
sonal test by being entertaining and even provocative. Mirroring the first half of the concert was music by
And the parts were well written, always a good sign. another German composer to dedicate a piece to the
Brouwer writes well for the violin family, as his third ensemble. Ulrich Wedlich studied guitar and composi-
Guitar Concerto amply demonstrates. tion at both the Music Academy of Stuttgart and
The whole of the second half was devoted to Vienna, in addition to philosophy at the Academy of
Brouwer’s music, and included two other first UK per- Performing Arts. El Cielo Que Esta was written for Duo
formances: Cantilena de los Bosques and Paisaje Montes-Kircher for their 10th Anniversary, and they
Cubano con Fiesta, the first requiring a seamless lega- offered a sample of this work by presenting two move-
to, duly provided. Some echoes of El Decameron Negro ments: El Horizonte & El Sol. With influences encom-
might be heard, too. passing Greek, Spanish, impressionist and rock
Froberger’s Suite No.20 began the concert, arranged music, this was attractive music not least because of
and compiled by Graham Devine from original pieces underlying widespread appeal.
for harpsichord. Original is the word: here is no tame Subsumed under the heading ‘Popular and Latin
Baroque composer happy enough to follow the con- American’, the duo turned firstly to Hugo Blanco’s
ventions of his time. Froberger was his own man. Few Moliendo Cafe. The infectious syncopated accents
composers have written their own tombeau, as were carried off with rhythmical precision, and the
Froberger does in his Meditation on my Future Death. straight unison runs further demonstrated this tight
The 1st fret capo used for this suite meant that, in weld. To conclude, Alfonsina y el Mar - Ariel Ramirez -
conjunction with a warm summer’s evening, tuning provided a plateau before a particularly vibrant pre-
difficulties lasted some way into Ponce’s Sonata sentation of Antonio Lauro’s Seis por Derecho, in
Romantica. By the time the second movement came which Montes exchanges his guitar for the cuatro.
along, all was well, and Devine made much of its Adopting a profile stance in order to aid acoustic bal-
Schubertian overtones. ance with this instrument, and in doing so placing
Contemporary pieces by Juan Antonio Sanchez and greater visual emphasis on Kircher’s leading role, the
Javier Contreras brought the first half to an end, and duo produced a gypsy-like virtuosic display. The audi-
led naturally to the Brouwer group that formed the ence then engaged the ensemble in a way that result-
entire second half. ed in three encores. Reinforcing this as an event to
The single encore was more Brouwer, his elegant speak of, Duo Montes-Kircher was to surprise com-
Homage to Szymanowski. It brought to an end a con- poser Peter Stuart who was in attendance with a piece
cert full of interest and achievement. The performance he had once written for a special friend (An uchd a
of the trio in the presence of its distinguished com- mhathair (In your mother’s eyes). Stepping up to this
poser (now a lively septuagenarian) made it landmark new level of performer-audience interaction, the duo
in the 18 years’ history of the International Classical finally departed the platform.
Guitar Festival at West Dean. Guy Traviss
Colin Cooper
XUEFEI YANG
DUO MONTES-KIRCHER West Sussex Guitar Club, Recital Hall,
Sussex Barn, West Dean, August 19, 2009. Bognor Regis, September 4 2009.
Adding another voice to 2009 as a year reflecting on West Sussex Guitar Club has once again staged a
music anniversaries, if measured from their debut world class performer within the intimate surrounds
performance in 1984, Duo Montes-Kircher now cele- of the Recital Hall in Bognor Regis. This venue was
brates a 25-year partnership. More than a mere time particularly cosy on the occasion, since Xuefei Yang
marker however, the real draw of this ensemble is the carries a name that is now synonymous with the gui-
intrinsic musical understanding and experience that tar. So with extra seating in place and barely allowing
goes with this period. for the audience’s physical presence, Yang settled in
Two early items on the programme could be loose- with the Prelude from BWV 999, and Fugue from BWV
ly viewed as the most canonised works for guitar 1000 (a daunting task by any standard). The next item

introduced music by Albéniz, a composer for which was asked to perform music derived from popular
C oncert R eviews
Yang has a natural affinity, in the form of Suite culture, Yang decided to incorporate some of these
Espana, Op. 165, Seis Hojas de Album. It is gratifying same pieces into her programme for the West
to hear this set in its entirety, considering the atten- Sussex Guitar Club patrons. Adding to Michelle -
tion it receives and the fact that the Tango has forged Beatles (arr. Takemitsu) - which featured of her first
a place for itself in the repertoire. All six movements disc, Yesterday from the same collection of arrange-
demonstrated Yang’s innate understanding of the ments was performed exceptionally well. The colour
romantic style, particularly within more sonorous and and rubato essential to this piece’s character was
bold moments. The first half was rounded off with two controlled with a precise yet seemingly effortless
pieces by Tárrega (Fantasy on Themes from Verdi’s La touch. Also in this section was Dyens’ arrange-
Traviata & Carnival of Venice), and with him came the ments of All of Me (Seymour Simons) and two pieces
end of pre-war compositions and any theme and vari- form Black Orpheus: Manha de Carnival (Louis
ation-type framework. Bonfá) & Felicidade (Antonio Carlos Jobim). In
Following the interval, and demonstrating her keeping with this theme, and returning to an
ambition to bring Chinese music to a western instru- instrument-intended composition for only the sec-
ment, Yang presented her arrangement of the 1st ond time thus far, Yang performed Andrew York’s
movement from The Butterfly Lovers, Violin Concerto Sunburst. Despite approaching this piece without a
- Zhanhao He & Gang Chen. Although not readily consistent inner pulse, she employed her great
recognised for addressing her listeners at length, technical facility to produce a vivacious interpreta-
Yang informed her audience as to the origin and pur- tion nonetheless.
pose of the piece. This understanding most definite- Yang finalised her programme with her iconic
ly contributed to an enhanced experience, particu- arrangement of La Cumparsita, before returning to the
larly in regard to the sonic depiction of both the male platform and offering two works, each representing
and female butterfly by dividing the guitar’s range in one of her two discs to date. Firstly, Antonio Lauro’s
two accordingly. Often regarded as the Chinese ever popular Seis por Derecho (Romance de Amor); and
equivalent of Romeo & Juliet, this work provides a then, departing from Latin-American, Gerald Garcia’s
platform for western audiences to identify with traditional Chinese folk song arrangement of Plum
Chinese music. It is also a feature of her most recent Blossoms in the Snow, which left listener’s with
disc, 40 Degrees North. enough melodic fragments to accompany themselves
Based on the merits of a recent recital where, at homeward.
the request of concert organisers in Belgium, she Guy Traviss
L etters to the E ditor

Letters for publication should be kept short and to the point. We reserve the right to edit
or abbreviate as we consider necessary. Please enclose a prepaid envelope if you want a reply.
MAY I use the letters page of this magazine to express A frequent (more comprehensible) ambiguity occurs,
my thanks to John Williams for publishing his music mainly in recital programmes, with Tárrega’s extended
scores on his website free of charge? There is a huge transcription of Arcas’s Fantasy on ‘La Jota Aragonesa’.
amount of free guitar music on the internet but little of Here Tárrega’s edition, complete with introduction, runs
it is of the quality and originality of the work found here. to some 325 bars of music, while Arcas gives us less
This is indeed a generous gift to all the classical gui- than 200 bars. Tárrega borrows some episodes directly
tarists in the world and I look forward to other scores from Arcas but elsewhere the younger master’s imagi-
appearing there soon. nation is let loose around traditional (and composed)
GEOFFREY NEEDHAM themes. Thus Tárrega has a claim to being the compos-
Stocksfield. er 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)’, mak-
Colin Cooper in his review (CG, October) of Jérémy ing the process of ascertaining the true source of the
Jouve’s recording of Arcas’s Fantasy on Themes from ‘La arrangement even more complicated!)
Traviata’ (Naxos 8.557597, notes by Mark Delpriora), is Another perennial mislabelling is Tárrega’s version of
correct in stating that a paragraph about Tárrega in the Étude No. 2 written by the great French violinist and
annotation is misplaced ‘as there is not a note of composer, Delphin Alard (1815-1888), a study often
[Tárrega’s] music to be heard’. But one could go further found masquerading under the title of Estudio brillante.
down the rocky path of Tárrega ‘confusions’. The original violin score, significantly marked to be
Mark Delpriora comments in his notes that the played Andante con espressione, poco marcato la melo-
Fantasy on Themes from ‘La Traviata’ by Julián Arcas is dia, includes a statement of the purpose of the exercise:
often attributed to Tárrega’. The accuracy of often should Absolute equality in the value of the notes; place the bow
perhaps be challenged. I can only find one such false broadly on the string and endeavour to obtain perfect
attribution and that comes, surprisingly, in David smoothness in going from one string to the other. That a
Russell’s Francisco Tárrega: Integral de Guitarra (Opera work so far from Tárrega’s characteristic style was ever
tres, CDS 1003/4, 1991), where it should not actually considered as one of his original compositions was due
have been included at all. to a certain casual attitude about such matters in past
In the sleeve note for Alice Artzt’s long-playing record, decades.
Guitar Music by Francisco Tárrega (Meridian E77026, Such confusions are now part and parcel of guitar
1978), John W. Duarte assumed that the arrangement of mythology. But in this age of greater factual awareness
Paganini’s Variations on ‘The Carnival of Venice’ was one it is essential for both players and writers of notes to be
of Tárrega’s original compositions, claiming that the work scrupulous and vigilant in how they present classics of
represents ‘a rare lapse from Tárrega’s state of musical the repertoire to the public.
grace’. The item was thus placed on Side 1 of the record- GRAHAM WADE
ing among Tárrega’s original compositions (when it Withernsea,
should have been on Side 2 among ‘Transcriptions’), and East Yorkshire,
also omitted from the list of arrangements. Northumberland.

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2690. A.L.C.M., A.Mus. L.S.M, “Sentosa” 7, Carmelo Bugeja USA. (Tel) 770-972-7178
e-mail: [email protected] Street, Dingli DGL 1152, MALTA. Tel: Emai: [email protected]
BULGARIA (0356)21450496 Mobile: (0356)79450496. William Buonocore, Guitar Dept. Co-ordinator, The
Ekaterina Vasseva-Ikonomova, BA in classical guitar, 14 email: [email protected] Boston Conservatory, 8 The Fenway, Boston, MA
years of teaching experience P.O.box 5 / 27 Skobelev MEXICO 02215. Tel: (617) 536 6340. Fax: (617) 536 3176.
Blvd. BG-1463 Sofia, Bulgaria +359 88 6441994. Juan Gaspar, Classical Guitar performer, composer [email protected]
[email protected] and maestro at the Puebla Conservatory of Music, 5 Maud Laforest, Plano, TX.
CANADA Norte 201-6, Puebla, Mexico. Telephone: (222) 232- e-mail: [email protected]
Mariette Stephenson, BA (Mus )ARCT, Cambridge, 4202. web site: www.maudlaforest.com
Ontario, Canada. e-mail: [email protected] Ronald Louis Fernandez, Flamenco and Portuguese
[email protected] www.juangaspar.com guitar., P. O. Box 5153, Irvine, California, 92616. Tel:
CHINA NORWAY 949-856-1537.
Morgan S.S. Velautham, PO Box 38 Taipa, Macau, Trond Davidsen, Klarinetten 12, 3033 Drammen, website: www.fernandezmusic.com.
S.A.R. of China. Tel: 853-557223. Norway. Tel: 0047 32 886 286. e-mail: [email protected]
e-mail: <[email protected]> POLAND David Grimes, 8701 Bellmead Drive, Huntington
DENMARK Krzysztof Pelech, Bzowa 35/13, 53-224 Wroclaw, Beach, California 92646, USA.
Arnie Brown, Møllevej 8, Møgeltønder, 6270 Tønder, Poland. Craig Yarbrough, 26 East Oak Ave, Flagstaff,
Denmark. Tel: 74 738343. e-mail: [email protected] Arizona 86001. Tel: 928 213 0752.
Karen Dusgaard Nielsen, Infanterivej, 42D, 8900, www.pelech.art.pl Email: [email protected]
Randers, Denmark. Tel: 86 40 31 24. PORTUGAL
FRANCE Jorge Pires, Tel: +351965109150
Claudette Coinel, 25 Traverse Pitance, Mourepiane, E-mail: [email protected]
13016, Marseille. SERBIA (SR Yugoslavia)
Lorraine Eastwood, 26 Rue St. Jacques, Grenoble Uros Dojcinovic, Guitar Studio Solunska 12, 11000 ● Our Teacher’s Column is updated Bi-
38000, France. Telephone: (0033) 476 508025. Beograd. Tel/Fax (011) 180-587. monthly starting February, April, June
Email: [email protected] SINGAPORE issue etc.
James Wilson, 6 Rue Marguerin, 75014 Paris. Tel: Thomas Liauw, M.A., B.A (Hons), LTCL, ALSD, PO Box When sending alterations or additions
(1) 43 35 14 03. 0596, Marine Parade, Singapore 914404. Tel (65) 6344 please state: country, county, full name,
GERMANY 3671 Tel (65) 6344 3615. qualifications, address and telephone
Charles De Burgh, ALCM, LLCM, LTCL, e-mail: [email protected] number in this order. If changing areas,
Ruedigerstrasse 30 70469 Stuttgart, Germany. website: www.tomas-music.com state old county address so this can
Jörg Gauchel, Diplom-Musiklehrer, Annettenstraße SOUTH AFRICA easily be deleted.
13, D-53175 Bonn Tel: +49 228 384736. A.M. Ludwig, P.O. Box 2340, Halfway House 1685,
Classical Guitar Societies Directory

Berkshire Guitar Society, Richard Butters, 10 The Chester Deaf Centre, Southview Road, Chester. Sec: guitars and mandobass. New members welcome. Ian
Dell, Woodlands Park, Maidenhead, Berks, SL6 3NS. Steve Smith, 16 Daleside Chester, CH2 1EP. 07939368874.
Website: http://www.berkshireguitarsociety.org.uk e-mail: [email protected] Grand Canyon Guitar Society, LTD, Flagstaff,
Birmingham - Classical Guitar - See web page on Web site: http://www.members.aol.com/chestguitarcirc Arizona 928.213.0752. Craig Yarbrough, Executive
Yahoo Groups or contact Paul Grant 07760 175 626. Chesterfield Guitar Circle. Contact Peter Swaby Director.
Small informal meetings on a monthly basis. (Secretary), Yellow Grove House, Moor Lane, www.CanyonGuitar.org <http://
Blackburn Classical Guitar Society. Jack Youlgrave, Bakewell, Derbyshire DE45 1US Tel: www.canyonguitar.org/>
Wilkinson, 82 Queen Street, Great Harwood, Lanc's (01629) 636 165. Greenwood Classical Guitar Club. An informal group.
BB6 7AL. Tel (01254) 889555 Derby Classical Guitar Society. Meets every Friday 7.30-8.30pm at the Greenwood
E mail: [email protected] Contact: Nigel Harris, 9 Glamis Close, Oakwood, Centre, School Road, Hampton Hill, Middlesex. Contact
<mailto:[email protected]> Derby, DE21 2QJ. Tel: (01332) 664 425. Martin Shaw (0208 891 6889) or turn up at the Centre.
Brighton Classical Guitar. Small informal group e-mail: [email protected] Hastings & Rother Classical Guitar Society, we
meets every 4th Thursday. Details: Jim Westbrook website: www.derbycgs.org.uk meet at 8pm on the 3rd Wednesday of every month at
01273 746192. Dorset Guitar Society. Meetings on 3rd Sunday in The Beacon below St Mary’s Terrace, West Hill,
Bridge Guitar Circle. Meets Central Library, Albion month at Kinson Community Centre, Pelhams Park, Hastings. Contact Richard Butler 01424 465 414 or
Street, Hull. Full details from Secretary Sue Jones, Milham Lane, Kinson. Sec: Margaret Tredwell. Tel: via the website http://www.hrcgs.org.uk
34 Rockford Avenue, Hull. Tel: (01482) 75684. (01425) 613 739. Hampshire Area Guitar Orchestra. Meets fortnight-
Bristol Guitar Society, meets 2nd Thursday of the Durham University Guitar Society. C/o Dunelm ly and has vacancies for intermediate and advanced
month 8pm at The Pierian Centre,Portland House, New Elvet, Durham. Sec: Elaine Young, Van ensemble players. Ring Derek Hasted 023 9247 9200
Square,Bristol. Contact David Evans Tel.(0117) Mildert College, Durham. Visiting tutor: Peter or email: [email protected]
9567251 or Tony Lewis(0117) 9734070. Batchelar. Hertfordshire BA(Hons), Castle End Farm, Lea, Ross
www.bristolguitarsociety.org Ealing Guitar Society. Meets 1st Sunday each on Wye, Herefordshire HR9 7JY Herefordshire /
British BMG Federation. Secretary: Sandra month at St Matthew’s Church Hall, North Common Gloucestershire border. Telephone: 01989 750342
Woodruff, 104 Tower Road North, Warmley, Bristol Road, Ealing W5 at 7.30p.m. Correspondence: Steve e-mail: [email protected]
BS30 8XN. Dell, Flat J, 10 Sutherland Road, West Ealing, Haverhill Classical Guitar Society. Details: Colin
E mail: [email protected] London W13 0DT Tel: 0208 621 1394. Shulman (01440) 705 371.
Website: www.banjomandolinguitar.org/> www.ealing-guitar-society.co.uk Hertfordshire Guitar Orchestra. Meets twice
Bromley Guitar Society Denis Stockton- Enfield Classical Guitar Society. Sec: Mrs J monthly and is always looking for good ensemble
02087774887 Kent. Warwick, 43 Morley Hill, Enfield, Middlesex EN2 players. Details from Tom Parsons on Tel: (01923)
www.bromleyguitarsociety.org.uk 0BL. 245 559 or
Cambridge Classical Guitar Society. Meets first e-mail: [email protected][email protected] www.hertfordshireguitarorchestra.com
Thursday in the month. For information please tele- Website: http://members.lycos.co.uk/enfield_guitar/ Highland Classical Guitar Society. C/o Roger Niven,
phone Tim Christmas (01223) 565552. Farnham, Surrey. Mozart Guitar Players. Meet every ‘Iona’, High Street, Avoch, Rosshire. Tel: Fortrose
Canterbury Guitar Society. For further information Tuesday during term time. Musical Director Myer 21012.
ring John Kemp on (01227) 265 503. Rosen, Knowsley, 7 Ash Grove, Guildford GU2 5UT. Hounslow Guitar Society. Hounslow Music Service, De
e-mail: [email protected] Tel: (01483) 35852. Brome Building, Boundaries Road, Feltham TW13 5DT.
Cambridge Guitar Orchestra, Contact Tony Federation of Guitar Societies UK, A group of Societies Lauderdale Guitar Society. Meets at Lauderdale
Ainsworth (Chairman) via www.cgo.org.uk or mainly in the South of England that co-ordinate House, Highgate Hill. Details from 63 Marlborough
[email protected]. We are a per- together through a Mansions, Cannon Hill, London NW6 1JS. Tel:
forming ensemble and rehearse every two weeks or Website. www.FederationofGuitarSocieties.org.uk (0171) 794 9108.
so on Sundays during term time on the outskirts of Annual meeting and Concert in June Leeds Guitar Society. Sec: Matthew Hill, 1 Grosvenor
Cambridge. We will always welcome intermediate or E-mail [email protected] Terrace, Leeds LS6 2DY. Tel: (0113) 785 341.
advanced players. Fretful Federation Plucked Orchestra; Brighton. Classical Guitar Society of East London. Informal
Chester Guitar Circle. Meets 1st Wed/Month at Orchestra of mandolins, mandolas, mandocellos, meetings last saturday each month at 3pm. Contact

Maria Sentivani on Tel: 020 507 8299 for details. the 2nd Wednesday of each month...nice hall, great in Japan since 1966, for the aim of contribution to
The Lute Society. Sec: Chris Goodwin, Southside accoustics,supportive members.Contact Marcia the culture by the study and spread of guitar music.
Cottage, Brook Hill, Albury, Guildford, Surrey, GU5 Burton on 01892 534631 or Richard Frenkel on Akira Ugajin, Secretary General, Japan Federation
9DJ. Tel: (01483) 202 159 Fax: (01483) 203088. 0207 233 9076’. of Guitarists. Wada Bldg. 5F 6-14-4 Shimbashi,
Manchester Acoustic Guitar meets on the 3rd West Sussex Guitar Club. The Regis School of Minano-ku, Tokyo, Japan. Tel. 81-3-3438-1819 Fax.
Tuesday of every month at the Urmston Cricket Music, 46 Sudley Road, Bognor Regis, West Sussex, 81-3-3438-1899.
and Lawn Tennis Club, Moorside Rd, Urmston. All PO21 1ER. (01243) 866 462. e-mailto:[email protected]
acoustic and classical guitar styles welcomed. www.westsussexguitar.com website: www.guitarists.or.jp
Open mike, workshops, special recitals. All you Windsor Classical Guitar Society. An informal MALAYSIA
need is an interest in the guitar, not necessarily to group who enjoy playing together at 7.30pm first Alor Setar Classical Guitar Club. Chairman: Chan
be able to play. For details contact: Chris, tel. 0161 and third Wednesday of each month at the Windsor Kok Peng, 29 Taman Sultan Abdul Halim 05300 Alor
747 3851. Arts Centre. Tel: (01753) 859 421. Setar, Kedah, Maylasia.
www.manchesteracousticguitar.com The Wirksworth Classical Guitar Group. Contact: Kota Kinabalu Guitar Society. Sec: Lawrence
Manchester Guitar Circle, (Est. 1946). Jonathan Priestley, 5 Cooks Yard, West End, Chong. HSE. No. D47, Lorong Raja Udang 2A,
Informal evenings on the first Thursday of Wirksworth, Derbyshire. Tel: (01629) 825 129. Taman Kingfisher, 88400, Kota Kingbalu, Saba,
every month at Flixton House, Flixton Road Worcester Classical Guitar Society: A per- Malaysia.
(opposite Rothiemay Road), Manchester M41 forming society of Junior and Senior orches- PERU
5GJ. Visitors always welcome. Contact: Paul tras and ensembles. We meet regularly dur- Centro de la Guitarra / Intermusica, Jr. Carabaya
Fowles. ing term time. Contact: Andrew Filer. Tel. 421, Lima 01, Peru, telfs. 461-4670, 933-1599, Fax
Email: [email protected] 0121 445 3345. 336-6442,
Voicemail: 07831-416358 email: [email protected] Email:[email protected]
Website: www.guitarcircle.co.uk www.worcesterguitar.co.uk POLAND
Midlands Fretted Orchestra meets fortnightly on ARGENTINA ‘Gitariada’, ul Gdynska 5/g/16, 80-340 Gdansk,
Thursdays 7.30pm, at St. Mary’s Hall, St. Mary’s Musical Centre ‘Franz Liszt’. Directresses: Ana M. Poland. Tel: (058) 57-80-83.
Road, Bearwood Smethwick, B67 5Dh. Contact: Polinori and Mariana Vlaho, Montevideo 967 (1019), Wroclaw Guitar Society, BOX 1063, 50-131
Danielle Saxon Reeves 01384 893 987 Buenos Aires. Wroclaw, Poland
e-mail: [email protected] AUSTRALIA e-mail: [email protected]
www.m-f-o.co.uk Classical Guitar Society of South Australia. www.gitara.wroclaw.pl
Newent Guitar Society. Sec: Keith Sandall, Holts Lincoln Brady, 19 Emerson Drive, Morphett-Vale, SERBIA (SR Yugoslavia)
House, Holts Road, Newent, Gloucestershire GL18 Adelaide, SA 5162, Australia. Tel: (08) 832 51052. Yugoslav Association of Classical Guitarists
1BT. Tel: (01531) 820 436. The Classical Guitar Society Sydney. P.O. Box (Guitar Art Festival) Bosko Radojkovic, director;
North Bucks Guitar Club. Meets 3rd Sunday of the 829, Bondi Junction. N.S.W. 1355 Australia. Tel: address: Bul.Kralja Aleksandra 530, 11000
month. Information from Kevin Cook. Tel: (01296) (02) 9453 3113. Belgrade, Serbia and Montenegro; tel: +381 64
427 836. BULGARIA 1407583, fax: +381 11 2623853.
www.northbucksguitarclub.org.uk Classical Guitar Association (CGA). PO Box 879, e-maill: [email protected] <mailto:[email protected]
Classical Guitar Society for Northern Ireland . 40900 Plovdiv, Bulgaria. www.gaf.co.yu <http://www.gaf.co.yu
Meets on the first Sunday of the month at the Ulster BRAZIL Yugoslav Guitar Society. Uros Dojcinovic,
College of Music, Belfast. Contact Keith Thompson BRAVIO - Associacao Brasiliense de Violao - Foundation Solunska 12, 11000 Beograd. Tel/Fax
(028) 90703311. QI 25 bl. L apt. 501 - Cond. Sgto Wolff - (011) 180-587.
Email: [email protected] Guara 2 - Brasilia - DF - 71060-250 Tel +55 SINGAPORE
Website:www.cgsni.org (61) 3567 6589 / 9968 5528 - Tomas Music Consultants Pte Ltd. 01-97 Roxy
The Northumbria Guitar Society. Correspondence www.bravio.blogspot.com - Square II, 50 East Coast Road, Singapore 428769.
to: Pete Boothby, Engine Cottage, Accomb, Hexham [email protected] Tel (65) 6344 3671 Tel (65) 6344 3615.
NE46 4RL. Tel: (01434) 600 340. Géris Lopes Consalter (Fernando Sor Guitar e-mail: [email protected]
North Devon Guitar Society. Meets third Tuesday Association). Rodovia BR 116 No. 12500, b. São website: www.tomas-music.com
of month in Barnstaple. Contact Terry Bourne at Ciro ‘brasdiesel’, CAXIAS DO SUL-RS 95055-180. SWEDEN
North Lodge, Filleigh, Near Barnstaple, North Devon CANADA The Swedish Guitar and Lute Society. Established
EX32 ORE. Tel: (01271) 74529. The Halifax Guitar Society. 6199 Chebucto Road, in 1968. Sec: Erik Möllerström, Postbox 24038, S-
North East Scotland Classical Guitar Society Halifax, Nova Scotia, Canada B3L 1KY (902) 423- 104 50, Stockholm, Sweden. Tel: +46 8 660 13 74
meets the third Wednesday of every month at 6995. and +46 8 1059 82. Summer courses each year at
Queen’s Cross Church, Aberdeen. Contact Peter [email protected] Ingesund, Arvika end July. Four reviews published
Stock (chairman) on 01467 642729, Vancouver Guitar Concert Association. 1807 annually (Gitarr och Luta).
e-mail: [email protected] Collingwood St, Vancouver, B.C., V6R 3KA. TURKEY
www.nescgs.co.uk www.nescgs.co.uk COSTA RICA Izmir Guitar Club. Kibris Sehitleri CAD. No. 138/1,
North Wales Guitar Circle, Meets the 2nd Tuesday Asociacion Guitarristica Costaricense. Apartado D.301 Alsancak, Izmir. Tel: (90 232) 464 5287.
of every month at 7.45pm at The Anglesey Arms, 373-1009, San José, Costa Rica. Tel: 21-44-53. USA
Menai Bridge, Anglesey. Contact Jane or Dave CZECH REPUBLIC Austin Classical Guitar Society. PO Box 49704,
Sinnett 01407 831480. Classical Guitar Society. The Czech Music Society, Austin, TX 78765, USA.
e-mail: [email protected] Vladislav Blaha, Renneska 25 639 00 Brno. Czech The Columbus Guitar Society. 120 E. Northwood
website: www.northwalesguitarcircle.co.uk Republic. Tel. – Fax: 00420 – 543 242 407. Ave, Columbus, OH 43201, USA.
Nottingham Classical Guitar Society. Contact: DENMARK The Connecticut Classical Guitar Society. P.O.
Ian Jones. Tel: 0115 923 1038 The Danish Guitar Society. c/o Jeff Duckett, Box 1528, Hartford, CT. 06144-1528.
Email: [email protected] Karlemosevej 7, 4.tv., 4600 Koege, Denmark. Classical Guitar Society of Western Carolinas.
Pena Flamenca de Hull. Sec: Ron Burbela, 40 Web: www.danskguitarselskab.dk Roger A. Cope, President, 300 North Main St,
Warton Avenue, Beverley, E. Yorks, HU17 0JB. Tel: E-mail: [email protected] Hendersonville, NC 28792-4900, USA. Tel: 704 693
(01482) 863 553. Meetings 1st Sunday of month, EGYPT 7666. Fax: 704 692 2630.
8.00pm, Blue Bell, Hull. Cairo Classical Guitar Society. President: Sherif S. Denver Classical Guitar Society. Patrick M. ‘Rick’
Pena Flamenca de Londres. Sec: Ron le Voi, Flat 6, El-Salhy, 7 Abdel-Hamid Said St, Apt. 22, Maarouf, Keller, Director. 1601 Ivanhoe, Denver, Co. 80220.
45/53 Myddelton Square, London EC1R 1YD. Cairo 11111, Egypt. Tel: +202 5758097. Fax: +202 303-321-5690.
Pendon Guitar Society. Peter Li, 15 King Henry Mews, 3414168 (BISC). Guitar Houston. 4149 Bellaire Blvd., 229 Houston,
Harrow-on-the-Hill, HA2 0JS (020) 8423 3202. FINLAND TX 77025 USA (713) 665-2712
Putney Guitar Society. Sec. Chris Blade, 18 Helsinki Guitar Society. President: Jussi-Pekka www.neosoft.com/~guitar/index.htm
Gwendwr Road, West Kensington, London W14 Rannanmäki. Vanha Sotilastie 3, 00850 Helsinki, Long Island Classical Guitar Society LICGS c/o
9BG. Tel: (0171) 603 1820. Finland. Dennis Rief, 182 Parkside Ave, Miller Place, NY
Richmond Guitar Society meets every 4th Sunday GERMANY 11764, Phone: 631-821-5270
of each month 7-9 pm @ Richmond Parish Rooms, Kultur u. Gitarre. Dietmar Kunzler, MittelstraBe [email protected] <mailto:[email protected]>
Church Walk, Richmond upon Thames,Surrey 69a, 66126 Saarbrücken, Germany. Meetings held www.licgs.us <http://www.licgs.us/>
Details 0208 891 6889 first Sunday of each month at Bistro Stadthalle Miami Classical Guitar Society. PO Box 0725,
Saddleworth Classical Guitar Society. Ring Hazel Dillingen/Saar, 10.30 am. Miami, Florida 33265-0725 (305) 386-3103. Carlos
and Colin Davies. Tel: (01457) 875 378. HONG KONG Molina, President.
Southampton Classical Guitar Society. Meets last Hong Kong Guitar Information Alliance. G/F 14 The Milwaukee Classical Guitar Society, Ltd.
Wednesday of every month at 7:45pm. Contact Nanking Street, Yaumatei, Kowloon, Hong Kong. Tel: 1522 East Kane Place, Milwaukee, Wiscousin 53202
Wayne Lines. Tel: 01329 310792. (852) 2780 4864. Fax: (852) 2770 5520. (414) 765 9398.
wwv.scgs-guitar.org.uk IRELAND New Jersey Classical Guitar Society. President:
South Lincolnshire Guitar Society and Orchestra. Cork Classical Guitar Circle. Established in 1960. George Schindler, 267 South Street, N. Providence
Meetings are fortnightly on Tuesdays at Central Meets last Wednesday of month at Cork Arts Society N. J., 07974.
School, Grantham. Contact Peter Constable, The Rooms. Sec and Treasurer: Laurence Egar, Herbert New York City Classical Guitar Society, John
Elms, 3 Sleaford Road, Ruskington, Lincs, NG34 Park, Cork. Tel: (021) 504832. Olson, President, P. O. Box 1691, New York, NY
9BP. Tel: (01526) 834 120. Dublin Classical Guitar Society meets last 10101.
South Wales Guitar Society. Chairperson: Kate Thursday of each month at Booterstown Parish www.nyccgs.com
Williams, 18 Westbourne Crescent, Whitchurch, Centre, Booterstown Ave., Blackrock. [email protected]
Cardiff. Tel: (01222) 626 826. email: [email protected] Philadelphia Classical Guitar Society, 2038
Surrey Guitar Society, 2nd Wednesday monthly at ISRAEL Sansom St. Philadelphia, PA 19103 215.567.2972
Tanyard Hall Gomshall 8pm. Contact: George The Guitar Society of Israel. The Rubin Museum, http://www.PhillyGuitar.org.
Swallow (01306) 886 196. Bialik St. 14. Tel-Aviv 65241, Israel. The Utah Classical Guitar Society. Roy Johnson,
Swansea CG Circle. Keith Morris, 3 Dulais Grove, ITALY Director, 1121 E. 200 So. Salt Lake City, Utah
Derwin Fawr, Sketty, Swansea, Glamorgan. Tel: Florence Guitar Association. Via del Bargellino 15, 84102, USA. Tel: 801-364-7431.
(01792) 202576 50014 Fiesole, Firenze, Italy. Phone 055/597012. Washington Guitar Society. C/o President: John
Warwickshire Spanish Guitar Society. Peter JAPAN Rodgers, 4500 Connecticut Ave., NW a605
Pettifor, 73 Lodge Road, Sratford-upon-Avon CV37 International Guitar Orchestra Association. 143-14 Washington, DC 20008 USA.
9DN Tel: (01789) 263 697 Fujisawa, Fujisawa-shi Kanagawa-ken, 251-0052 WEST INDIES
e-mail: [email protected] Japan. Tel: +81-466-23-8338. Fax: +81-466-23-9337. Classical Guitar Society of Trinidad and Tobago.
Wealden Guitar Society. Meets at the Friends Japan Federation of Guitarists is the only official PO Box 1312. Port of Spain, Trinidad and Tobago.
Meeting House, Grosvenor Park,Tunbridge Wells on corporation authorized by the Ministry of Education Sec: Stephen Cockburn.

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