Stand Feria Fruit Attraction

Closing date

30

October

1983.

Winner (first correct solu­ tion opened) will receive five sets D' Addario Pro-Arte Str­ ings.

All the answers can be found in the first volume of

Classical Guitar.

Add issue number and page number to each answer. E.g. the answer to the question 'Who learnt how to improvize by copying Jack Bruce?' would be 'John Holmquist, No.

6,

p

25'.

1.

Chopin wrote a Revolutionary Study, but who wrote a 'pleasantly dissident Sonata'?

2.

Who put forward the hypothesis that all modulations in compositions of the 'classical' period are prolongations of the Tonic chord?

3.

_{Who stayed at home and watched Starksy and Hutch}

on TV instead of going to a Julian Bream concert?

4.

Who has 'ten strong fingers, a musical sense, and a delight in the sound a guitar makes', but is 'just not a string man'?

5.

_{Who used to hate carrots and was given a chill by}

Schonberg?

6.

Napoleon Coste's career was brought to a sudden and unfortunate end when he fell downstairs and broke his right arm. Who described this tragic event as 'a bit of bad luck'?

7. Who produced machine-gun-like flourishes?

8.

On whose forehead was a pattern 'attractive in a certain light'?

9.

What was produced from a breast pocket with a natural and appropriate dignity and applied to the bass strings so as to produce a series of delicate sounds?

10.

_{Who took to wearing black clothes and letting his hair}

grow long?

11.

Whose first guitar experience was a beer advertise­

ment?

12.

What were Duke Ellington and Ravel doing while Gershwin entertained on the keyboard?

13.

Who forgot his evening dress in Cheltenham?

14.

Who, when light music was mentioned, wondered what

'dark' music sounded like? 15. Where is 'the real teacher'?

16. For what did Alice Artzt and Carlos Bonell win a non­ existent first prize?

1 7. Who was tone-deaf but 'had a fine sense of smell when it came ,to profits'?

18.

Why are first hearings of Martin Best's recordings 'The Last of the Troubadours' and 'The Dante Troubadours' likely to seem a little strange?

19.

_{What is it better to know than to know nothing?}

20.

What arrangement contains the following devices: 'A

variety of contrapuntal styles, block chordal movement in both classical, choral and jazz styles, various kinds of voice leading, arpeggio backgrounds for the melody in the bass or treble, tremolo, pedals, harmonics, melody transferred to various voices, references to a variety of historical periods, rhythmic variation - and more'?

CINQ NOUVELLES ESTUDINES for solo guitar by Francis Kleynjans

Alphonse Leduc/Paris. £3.10 (62p per page)

REV E R I E PO U R DEUX AMERTUMES; three pieces for solo

guitar by Francis Kleynjans

Editions Henry Lemoine/Paris. £3.20 (80p per page)

TROIS CLIMATS for two guitars by

Francis K leynjans

Alphonse Leduc/Paris. £5.30 (76p per page)

I have never previously heard of Francis Kleynjans and becoming acquainted with his work through the above publications I am left with the impression of a very mediocre ability with rather shallow musical ideas.

The five Estudines are prefaced by the following somewhat superfluous remark from the composer: 'these pieces will be seen in their true light by means of a close collaboration between the perfor­ mer and his instrument'. The first two pieces, Lent and Pas trop vite, are fully representative of Mr Kleynjans' work in that they are restricted to first, and occasionally second position, are"covered in detailed markings by the composer and seem, to me at least, harmonically very cliched. Mr Kleynjans is obviously obsessed with major 7th and minor 6th chords since they occur in every one of his pieces; Estudine 1 and 2 both end with C major 7th. Number 3, 'with a mixture of gaiety and nostalgia', has bar-loads of E minor 6th and E9; number 4 has some rhythmic and contrapuntal interest though at crochet = 88 it is much harder than the others despite its positional limitation. There is an accidental missing in bar 28. By the fifth piece the harmonic obsession begins to pall; this time it is D major 7th and E minor 6th. These Estudines are grade 5 to 6 and for the above reasons I would not find them useful as teaching pieces.

The three pieces in Reverie pour Deux Amertumes are titled Reverie and

Amertumes in D major and E minor. All the above chords appear in large doses, des pite the relief of the first piece being in Bb major. The final piece has a printing error in bar 5 and conspicuously· bad fingering at the opening of the second half. Marked 'tranquille' this seems to do what all these pieces have been threaten­ ing to do - turn into background music for a third-rate film. With directions such as 'with h u m o u r a n d derision', 'confidentially' and with 'force and passion' one can but wonder about the plot. (Grade 5 to 6 again.)

Trois Climats comes with a second copy for the second guitar but there are still two page-turn problems; surely avoidable. At risk of labouring my point, out of a total 85 bars in the first Climat

the second guitar part has no less than 25 bars of E minor 6th and 9 of E9. The

other two pieces are similarly void of new ideas and as with the first Estudine the third Climat begins and ends with C major 7th. These duos do use higher posi­ tions but at grade 6 to 7 they require a higher standard of player than their musical level demands. Mr Kleynjans is once again lavish with his directions: 'ask carefully', 'a little helpless' and over the final bars of the 5th Estudine 'open and lift up to the sky, then scatter. . .'. It may s e e m c h u r l i s h o f m e t o b e s o unsympathetic, and no doubt my transla­ tions are rather prosaic, but perhaps Mr Kleynjans should restrict his creativity to the written word for this is where he seems to succeed best. Certainly at such high prices I doubt these pieces will interest many guitarists of grade 5 to 6 ability.

Peter Batchelar

DUETTINO, CANTABILE AND VALTZ for violin and guitar; DUETTO AMOROSO for violin and guitar by

Nicolo Paganini, ed. Paul BulatofJ

Zimmerman/Novello. £2.88 each TRE SON ATE for violin and guitar (Nos. 1, 2, 4) by Nicolo Paganini, arr.

John Duarte

Zanibon. n.p.

It is all too easy for guitarists today to claim Paganini for their own, especially when nurtured on A. P. Sharpe's views on the subject. But a quick glance at the new

Grove entry for Paganini shows that the guitar gets short shift in the commentary, while Grunfeld cites descriptions of Ferranti and Regondi: 'What Paganini is on the violin ... Ferranti is on the guitar'; 'Regondi is the very Paganini of the guitar'. However the checklist of com­ positions reveals that the guitar figured large as an accompanying instrument to either a solo violin or as a harmony in­ strument with two or three other stringed instruments, with a certain number of guitar solos. Grunfeld goes so far as to say that in duos the 'guitar makes off with the lion's share of the music'. This is not borne out however in the editions under review, for in the Bulatoff editions the violin has the melody and the guitar a discreet accompaniment. The violin parts are not too difficult, and the Duetto Amoroso could be managed equally well by a flute.

In the introduction to his reworking of Paganini, Duarte claims that the guitar parts of these sonatas are 'notoriously simple (Paganini wrote virtuosic parts only when he intended to play them himself)'. He adds modestly that it was Segovia who first suggested he should 're­ create' the guitar parts; and in crediting Gregg Nestor with the fingering, men­ tions in passing that Nestor is 'an out­ standing young American whose teachers have included Alirio Diaz and myseW. One wonders why a composer of the stature of Duarte should feel the need to

build himself up in this way. I cannot judge his reworking as at present I have no access to the originals, but if it has rescued these works from oblivion, then the venture has been worthwhile, for here is certain recital repertoire. The violin still sparkles as before, but the guitar, while still retaining its role as accompanist, is less demure and more nearly an equal

partner.

Mary Criswick

CIRCLE'S END by Steve Marsh

Hampton/Belwin. £2.95

The six solos by Steve Marsh were a pleasant surprise, ranging from first to third year material (depending on the age and ability of pupils) rather in the style of Pieter van der Staak with 'appealing modern sounds' as stated on the title page. If this is typical of Hampton publications, then their future is assured.

Mary Criswick

SONATA IN E by Mateo Albimiz, arr. Hans Michael Koch

Schott GA 472. £2.40 (80p per page) FUGATTO by Padre Ra/ael Angles, arr. for two guitars by Oscar Caceres Max Esching ME 8327. £1.95 (39p per page)

SONATA IN E MINOR by Padre Jose Galles, arr. for two guiars by Oscar Caceres

Max Eschig ME 8328. £1.95 (39p per page)

Mateo Albeniz, Galles, Soler, Serrano, Ferrer, Angles - we know these names, if we know them at all, as followers of Domenico Scarlatti. They are widely believed to have ignored the great developmental thrusts of Haydn and Mozart in order to carry on producing work as much like that of their master as possible. It is undeniable that if you listen to their work, in particular that of Albeniz, the similarity to Scarlatti is strik­ ing. If imitation is the sincerest form of flattery, then Mateo Albeniz flatters D. Scarlatti with almost incredible sincerity.

It is not the whole story, however, and in fact Albeniz went out of his way to extol the virtues of Haydn and Mozart, even going to the extent of issuing printed examples to his students. It is all the more remarkable that he appears to have been content to model his own compositions along the lines of an earlier master. But Albeniz, like his son, was an organist on Logroiio and San Sebastian, and therefore presumably more at home with the eyboard works of the Spanish domiciled Scarlatti than with the newer works of the Austrian masters. Whatever his reasons for n o t being m o r e adventurous, h e could knock out pleasing and lively sonatas or 'exercises', which is what Scarlatti modestly called his own sonatas, and they lie well under a guitarist's fingers. This example is in 6/8,

marked Presto, with a conventional major-minor-major layout, a jolly piece to be rattled off at a cracking pace if you can play the passages in thirds incisively enough. But perhaps you should work through Scarlatti himself first.

Much the same may be said of the works by Rafael Angles and Galles, well laid out for two guitars by Oscar Caceres, and only 39p a page. Both these trans­ criptions make an excellent addition to the repertoire of a guitar duo. If such a duo is considering playing a group of works from this period, they might also take a look at the arrangement of another E minor Sonata by Galles, transcribed by Castellani and Andriaccio and published by Oxford University Press, New York. This, like the other two works mentioned above, is presumably taken from Joaquin Nin's collection, though it doesn't say so. Colin Cooper THE CLASSICAL GUITAR: Solos, duets and songs by Sor, Giuliani, Aguado and other guitar masters of the early 19th century. Selected/t r a n s c r i b e d b y Frederick Noad

Ariel Publications. n.p.

This is a rather rambling, ill-assorted collection featuring, principally, works by Giuliani and Sor; Aguado is accorded a mere eight of the 144 pages, the same number as Carulli who nevertheless does not make the front cover. Regondi, Diabelli, Legnani and Meissonier each scrape in with one item apiece while Carcassi manages to double this. 'About the Composers' informs us that 'Schubert and von Weber were players'; but guitar masters? A five stave song by Paisello, from his opera La Bella Molinara is also included. Neither Coste nor Mertz is represented, unusually perhaps when the editor confesses that the anthology is the result of four years of labour, 'much of the time having been spent in locating and studying original editions and manu­ scripts'. In his preoccupation with Sor and Giuliani, which he admits in his introduction, Noad appears to have com­ pletely overlooked the possibility of incorporating certain other interesting composers into his book. The pieces are set in an order of progressive difficulty ­ more or less - and culminate with Sor's Grand Solo Op. 14, Fantasy Op. 7, and Minuet and Rondo ex. Op. 22, coupled with Giuliani's Variations on a theme of HandelOp. 107 and the Grand Overture Op. 61. Some firm favourites, then, but Noad is hardly breaking new ground here. My feeling is that he would have done better to have concentrated on his two main composers entirely; there is an air of half-l1eartedness about the whole thing as it stands. Retail price will be around £5.00; it would be interesting to know its market intention - its 'general' nature, coupled with far too wide a range of technical requirement, would prevent me from recommending it to any particular level of student. Those not dismayed by such comments will be pleased to know that the print is clear and

that the volume opens easily; in terms of quantity it's not bad value at all - just feel the width.

Chris Kilvington

FIVE PIECES _{by S. L. Weiss, trans. for} guitar solo Martin Grayson

Hampton. £3.50

The name of Sylvius Leopold Weiss has become familiar to guitarists through transcriptions of his lute music taken in the main from manuscript collections in London and Dresden.

As well as being the most prolific composer in the history of the instrument, he was thought by many to be its most esteemed exponent. A contemporary, E. _{G. Baron, writes in 1727: 'He has} brought the lute to the highest peak of perfection'.

The style of his music is immediately identifiable with that 'of his friend J. S. Bach, but distinguishes itself by falling gracefully on its home instrument, thereby bringing into question the sense of arranging this C 18 tablature for a medium so far removed as the modern classical guitar.

Martin Grayson, in his introduction to the above edition, muses on the problems of transcription and provides here a useful sample of a great man's music arranged for the guitarist. Some of the editor's fingerings do, however, seem rather inapporpriate to the style .of playing this music encourages, and I find Hampton's cost of £3.50 rather high con­ sidering the poor print quality offered.

David Parsons

INTRODUCTION A ND V A RIA­ nONS ON A THEME BY MOZART, Op. 9 by Fernando Sor, ed. by Narciso Yepes

Mainz/Schott GA 612. £2.55 (36.4p per page)

Of the five editions of Op. 9 published during the composer's lifetime, Narcisco Yepes draws on three for the present publication, Meissonier (Paris c.1820 and c.1827) and the Royal Harmonic Institu­ tion (London c.1821).

There is little point is analysing the music in detail as the work is already very well known - some might say too well known!

The first page of music appears on page 9, following the Preface, facsimile title pages (Meissonier 1820), the Mozart original, Das klinget so herrlich, das klinget so schon, and two pages of editorial symbols. Whilst conventional signs for harmonics, barre, etc. are retained, less familiar symbols for apoyando and tirando, placing the right hand fingers prior to the moment of playing (amongst many others) are also employed.

Those not aware of Yepes' editorial practices might well be balled or even shocked by the eccentricities imposed on such basic music.

Whilst this edition corrects many of the errors that have achieved authenticity through continual printing and reprinting,

the nonsensical editing goes a long way to obscuring Sor's original musical inten­ tions.

If you happen to be a Yepes freak, this edition will provide an insight into this player's solutions to the technical problems of the work. If, however, you are looking for a clean edition of the piece, it might well be more beneficial to purchase one of the facsimile copies currently on the market; if you are capable of playing the work, editing should not be a problem.

Raymond Burley

SONATA FOR LUTE IN E MINOR by Silvius Leopold Weiss, trans. by Michael Lorimer

Pacific/MeI Bay ML 103. £3.00 (37.5p per page)

This Sonata, composed about 1720, is taken from the Dresden Landesbibliotek manuscript Musica 2841, V.l, and represents one of the few complete Weiss Sonatas to transfer readily to the classic guitar. I am aware of two other published versions of this Sonata (there may be more), by Frederick Noad in his Baroque Guitar anthology (Ariel), and by Karl Scheit (Universal 14426). Both Lorimer and Noad have elected to transpose the work from D minor into E minor, whilst Scheit's edition remains in the original key.

The Sonata (or suite) in E minor is made up of eight movements; an u n m e a s u r e d Prelude, All e m a n de, Courante, Bour e, Minuet 1, Sarabande, Minuet 2, and Gigue.

Whilst the Sonata never reaches the musical heights of the composer's two magnificent Tombeaux, it nevertheless provides us with an excellent example of the 13-course Baroque lute Suite.

The consistently high quality of the music, together with Michael Lorimer's informative Preface, makes the Sonata a good all-round purchase.

Guitarists of around Grade 8 standard, not technically equipped to manage a complete Bach lute Suite, might well be able to do justice to this challeng­ ing music; on the other hand, the better Weiss Sonatas might make an alternative to the rather predictable, almost com­ pulsory, programming of the Bach lute works.

Raymond Burley THE CLASSIC GUITAR COLLEC­ TION. VOLUME ONE _{for solo guitar} ed. Harvey Vinson

Ariel Publications. n.p.

This volume claims to contain music from six centuries. Seventy per cent of this is from the 19th century and a further 25 per cent from the 16th and 17th centuries. This does not leave a great deal in _{the remaining three. Although the} collection is aimed at the 'fairly accomplished guitarist', the contents of the present volume would only interest a beginner.

A careful search through the book will reveal many of the perennials of the

teaching repertoire; pleasant and easy studies by Sor and Giuliani, the usual Timega and enevitable Romanza and Saltarello. However, they are hidden among a large quantity of dross and quite a few oddities. The former is of the 'repetitious, roly-poly alberti' variety, to borrow Duarte's delightful phrase. As for the oddities, there is a 14th century Estampe that is totally unguitaristic, a fragment from a Bach gavotte, solos by Kuffner which a little research reveals are really the first guitar parts of duets, pieces ascribed to Sor when they are in fact by Coste and sound like it; and finally, thrown in, as if an after-thought, a couple of Bartok transcriptions.

The editorial policy is appalling. It is almost as if the easier works of guitar composers have been rifled at random. Only in one case is an opus number or source given. The fingering is thoughtless. The fourth finger is repeatedly used unnecessarily at the third fret despite the fact that there are few hands that cannot make this stretch with the third finger and

In document En todo caso, las normas legales y reglamentarias citadas anteriormente serán de aplicación en todo lo que no se oponga a la LCSP. (página 29-35)