docufree document smart sheet

11111111111111111111 11111111111111111111 111111111111111 Document: 10184-1-6

Client: Guitar Foundation Job: 10184 Box: 1 Document: 6

Operations Comments

Manifest Type: Box Only

Place exception sticker here

Questions? Comments? Contact us at (877) 362-3569

or visit us online at www.docufree.com

the quItAl2 FounOation

of AMERICA 1973

41Pn 40n .OPP 4011P 411P 404040 41P n 4101n 4P.On 40, .0n 41. 401n .40- 'AP' AP 4P

In This Issue

A Segovia Visit 18-19

Tax Exemption Statement 19-20

Works In Progress/Completed 21-22

Secretary/Treasurer Report 22

Newsworthy 23-25

Return With Us Now 26-28

Recent Developments in Spanish Discography 29

Publications Received/Reviewed 30

Introducing - Paul Cox 31

Abstracts from Abroad 32-33

GFA Archivist's Report 33-34

Yellow Pages 35-36

1 1 1

1 1 1 1 1 1

1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

QUARTERLY NEWSLETTER

MAY 1975

VOL. II, NO.2 COPYRIGHT 1975 BY The Guitar Foundation of America, Inc.

BOARD OF DIRECTORS PAUL W. COX, 400 Briar Lane #7, Champaign, Ill. 61820 PETER DANNER, 604 Tennyson Ave., Palo Alto, CA. 94301 THOMAS F. HECK (Chairman), 3393 E. Scarborough Rd., Cleveland Heights,

Ohio 44118 ABEL NAGYTOTHY-TOTH, P.O. Box 851. Stn. B, Montreal, H3B-3K5, Canada FREDERICK MAD, 3160 Mountain View Dr., Laguna Beach, CA. 92651 SOPHOOLES PAPAS, 3222 Wynford Drive, Fairfax, VA. 22030 JOHN C. TANNO, 808 W. Rancho Drive, Phoenix, Arizona 85013

EXECUTIVE COMMITTEE PRESIDENT

RONALD C. PURCELL, 15035 Greenleaf St., Sherman Oaks, CA. 91403 VICE-PRESIDENT

MARTEEN LEE POORT, 11021 Meads, Orange, CA.92669 SECRETARY/ TREASURER

J. GEORGE GREGORY, P.O. Box 4323, Santa Barbara, CA. 93103 GFA ARCHIVIST

THOMAS F. HECK, 3393 E. Scarborough Rd., Cleveland Heights, OH. 44118 SOUNDBOARD EDITOR

MARTEEN LEE POORT, 11021 Meads, Orange, CA. 92669

The Guitar Foundation of America (GFA) was established in 1973 as a non-profit organization incorporated in California. Our specific and primary purposes are set forth in the GFA Charter: "To cultivate, promote, foster, sponsor, and develop understanding, taste, and love of the musical arts and especially to promote interest in the classic guitar and similar string instruments; to foster the study or the classic guitar In private studios and at the elementary, secondary and college levels, and to encourage the development of innovative curricula in support of these ends; to promote the guitar as an ensemble instrument particularly with other string instruments; to encourage composition, arrangements, and publications of ensemble music involving the guitar; and to support scholarly research into the guitar's history and literature; all of the foregoing purposes being limited to non-profit educational, cultural, scientific and charitable ends."

Variations sur .Folia de Espatia. et Fugue

c,f c4oie The world's foremost concert guitarist, Andr-es Segovia, visited the Music Department at California State University, Northridge on March 6, demonstrating his boundless energy and dedication to the young aspiring guitarists of the future. The grand Maestro's presence was electrifying and profoundly inspiring to the serious musicians of CSUN. The charisma which emanates from this gentleman of the music world was hypnotic. The students were spell-bound by the Maestro's wit and sensitive direction. He was as successfully captivating in the classroom as during his sold-out concert at the Dorothy Chandler Pavilion the evening before, where he curtain calls and three encores.

Maestro Andres Segovia and GFA President Ronald Purcell '

THE MAESTRO

as his presence is forever in his masterful performances.

Segovia's own words describe his entire musical career in his book, THE GUITAR AND I, soon to be pub-lished in an English Translation by the MacMillan Company. Ronald, Purcell's second edition of ANDRES SEGOVIA: CONTRIBUTIONS TO THE WORLD OF GUITAR; a complete bibliography and discography is in press with Belwin-Mills Publishing Corporation.

J. B. Purcell Department of Spanish and Portuguese, University of Southern California

**1**************************** APPLICATION FOR RECOGNITION OF EXEMPTION UNDER SECTION 501 (c) (3) of the INTERNAL REVENUE CODE. PART III, 3, - ACTIVITIES AND OPERATIONS

The following has been filed with the Internal Revenue Service .

The Guitar Foundation of America, Inc. (hereafter referred to as GFA) engages exclusively in activities which fall under the following headings:

A. Charitable Despite the small size of our budget, we made grants to two scholars

in March 1974 to further their work related to the guitar. Mr. Paul Cox, doctoral student at Indiana University, received $50 toward the purchase of microfilms for his dissertation, in progress, on "The Development of Classic Guitar Technique..." Mr. Lowell Thornton, Denver, Colorado, received $50 to aid his compiling of biographical information on 20th-century guitarists. His research is being used to improve the quality of educational radio broadcasts featuring the guitar on KVOD-FM in Denver.

We intend to make further grants this year to deserving persons in the guitar field, as finances permit.

B. Scientific and Educational If one takes "scientific" to mean "scholarly," our organization contri-

butes materially to the furtherance of scientific humanistic knowledge by supporting an archive of rare guitar music (manuscripts, first editions, microfilms, photostatic copies) and reference books (dictionaries, periodicals, catalogues, and histories of the guitar and related instru-ments in all languages) open to the general public. Our archival operation is publicized in our quarterly newsletter, the Soundboard (copy attached), where information on recent acquisitions can be found. During our first year of operation, the GFA Archive received about 80 requests for copies of rare music, literature, and information about music, all of which were responded to. (Continued on next page)

19

Dr. Thomas F. Heck, professor of musicology and presently GFA Archivist, edits a "Works in Progress/Completed" column in the Soundboard every quarter which is proving to be extremely valuable to those engaged in scholarly research into the guitar's history and literature. It provides current information on all kinds of scholarly and educational undertakings related to the guitar, and promotes communication by providing names and addresses of persons involved. Nowhere else can such information be found.

The GFA plans soon to publish information on model guitar curricula for the benefit of schools and colleges offering or planning to offer guitar instruction.

C. Literary (music literature) At present the GFA, in cooperation with the Guitar Workshop of New

York (a similar 501 (c) (3) educational organization chartered in New York), is publishing a facsimile series of "Classic Music for Classic Guitar" and a chamber music series involving guitar with other instru-ments. Proceeds from the sale of these music editions will be used by the GFA in furtherance of our specific and primary goals. These editions are examples of how the GFA is achieving one of its chief literary objectives.

The term "cultural" appears in our Articles of Incorporation as one of our areas of activity (along with educational, scientific, and charitable). In the context of the passage, this is understood to mean activities related to find music (as in "cultural" events), not to any specific racial or ethnic cultures. We will certinally become involved in sponsoring public concerts ("cultural" events), as any arts organization would do, when our 501 (c) (3) status is approved.

In summary, then, the GFA is a broadly-based, democratically controlled, and growing coalition of individuals (professional musicians, scholars, teachers, students, amateurs, and the general public) who are united by the sincere desire to promote the guitar as an artistic vehicle for fine music, and thereby to improve the quality of life in the United States. The organization is committed to aiding researchers and aspiring students, and to preserving and disseminating the guitar's rich musical and literary heritage. In the future the GFA will, as funds become available, sponsor guitar recitals and establish its archive in a permanent location. We may also organize and operate a musical instrument museum. Plans call also for our sponsoring seminars and workshops to develop and publicize innovative guitar curricula, as well as organizing guitar competitions in the United States to encourage and reward serious artistic study of the instrument.

20

WORKS in PROGRESS/COMPLETED Compiled and edited by Thomas F. Heck

Scholars and researchers seeking rare books or music, or otherwise seriously embarked on a project, are welcome to insert a notice of their current research in this column. Please write to T. F. Heck, c/o GFA, Box 4323, Santa Barbara, CA. 93103. Deadlines are January, April, July and October 15. Some repetitions will occur in this section of the Soundboard from issue to issue in order to keep new readers abreast of continuing projects. Reinsertions are identified with their first listing in parentheses (Vol./No.).

In Progress

1. Prof. Jcizef Powroiniak (40-953 Katowice - 2, Skrytka pocztowa 296, Poland), Rector of the Music Conservatory in Katowice, recently contributed articles on Felix Horetzky (1796-1870) to Guitar Review and to il 'Fronimo'. His sketch entitled "The Guitar in Poland" appeared in German in Gitarre, 717 -7-(1975), and his anthology of guitar works by Horetzky (Feliks Horecki, utwory wybrane) was published by PWM Editions, Cracow, within the past year. Prof. Powroiniak writes that he is working hard on a Guitar Lexicon and hopes to complete it in two years. It apparently will be brought out in English, German, and possibly Polish, and should supplant Zuth's Handbuch der Laute und Gitarre (1926) and similar compendia as a standard reference tool.

2. The Guitar Foundation of America has entered negotiations with the non-profit Guitar Workshop of New York to publish facsimiles of the first editions of Mauro Giuliani's Rossiniane, Op. 119, 120, 121, sources which Julian Bream used in his recent reco77177(R67 Red Seal, ARL 1-0711). Plans call for the publication also of a chamber music series with guitar, the first number of which will be an edition by Peter Danner of a Nocturne by Carulli (V1. & G.). Please send the Archivist your proposals for other works to be included in these series.

3. (1/4) John W. Tanno, Music Librarian, University of California, Box 5900, Riverside, CA. 92507, is compiling two reference works related to the guitar: (a) Bibliography and Discography of the Classical Guitar, and (b) Bibliography and Discography of Flamenco. These will not include music, but rather books and articles on the classic and flamenco guitars in all languages.

4. (I/1) "The Development of Classic Guitar Technique as Reflected in Methods and Tutors of c.1780-1850" is a doctoral dissertation in progress at Indiana University. Persons having rare material of relevance to this study should communicate with Paul Cox (permanent mailing address: Box 809, Paintsville, KY. 41240).

5. (1/4) John Howarth, 413 12th Ave. SE, Minneapolis, MN. 55414, is compiling a catalogue of 20th-c. American music for guitar (solo and ensemble) "so that performers may have better access to this literature." This is an ongoing project; Mr. Howarth would like to hear from anyone who composes contemporary guitar music or has some knowledge of its sources. Completed 6. Thomas F. Heck completed a biographical study of Giuliani's activity in his home-land, "Giuliani in Italia," published in il 'Fronimo', Nos. 8-10 (1974/75). His article

21

entitled "Stalking the Oldest Six-String Guitar," illustrated with 7 plates, appears in the Japanese magazine Gendai

Guitar, Vol. 9, No. 3 (Tokyo, 1975), 64-71.

7. Elena Machado Lowenfeld, 5776 Palisade Ave., Riverdale, N.Y. 10471, completed an M.A. thesis entitled "Santiago de Murcia's Thoroughbass Treatise for the Baroque Guitar (1714)" at the City College of the City University of New York (Dec., 1974). The thesis contains an introduction, translation and transcription of Murcia's Resumen de acompanar la parte con guitarra.

8. (I/4) The Guitar Review, Nos. 1-6, has been announced as available in a commemorative reprint volume with supplements for $25. Kindly send orders to G.R. Reprint Project, 409 E. 50th Street, New York, N.Y. 10022.

SECRETARY/TREASURER REPORT (1/15/75-4/15/75)

1. Membership: Voting (115) - Associates (66) - Total 181

2. Finances: Account balance - $416.15

3. On February 10, 1975, GFA received formal notification of their non-profit, tax exempt status as an Educational corporation by the State of California. Board Chairman T. Heck is in the process of filing for a similar exemption at the federal level.

4. Ron Purcell plans to attend Guitar '75 in Toronto, Canada in June as GFA representative. A report will be filed.

5. Executive Committee meetings were held on 1/24 and 4/11/75.

6. Volume I of Guitar Review has been received by the secretary.

7. Bulk rate mailing privileges are being requested and will be used until we qualify for non-profit mailing rates.

George Gregory Secretary/Treasurer

22

MBWalvielitir DR. KARL GEIRINGER, Professor Emeritus of Music at the University of California, Santa Barbara, gave an invited lecture at the American Musicological Society Midwest Chapter meeting, Ann Arbor, Michigan, on April 4, 1975, on the topic "Lute and Guitar in Historical Perspective." His lecture marked the opening of the new facilities to house the Roland Stearns collection of musical instruments at the University of Michigan - a collection rich in fretted chordophones.

Professor Geiringer has been a student of the history of the lute and guitar since he became active in the field of musicology, in Vienna around 1920, where his doctoral dissertation was on "Flankenwirbel- instrumente" (instruments with laterally-mounted tuning pegs (like lutes, viols) in the iconography of the middle ages and renaissance. It is noteworthy that he still is active as a scholar in this area, some fifty-five years later, notwithstanding his diverse studies on Bach and other great musicians.

His slide lecture concentrated on depictions of lutes and guitars in graphic art and sculpture from about 1200 B.C. to the present. He developed the thesis that the vielle (or vihuela) and the dotar inter-married, as it were, in Spain to produce plucked and bowed instruments there with waisted bodies. He ably traced prototypes of the guitar and lute forward to around 1650, but did not address himself to the baroque guitar in any detail, nor to the classic guitar. His lecture was well received by the audience of musicologists and music students. -TFH

NOTICE: The classic guitar has now been added to the list of auditioning instruments of the Music Teachers National Association. For further information on both MTNA's "Collegiate Artists Competition Handbook" and "1976 Repertoire Requirements for High School Division and National Auditions" write to: Ms. Gertrude Brown, Vice President, MTNA, 5126 Bradley Blvd., Chevy Chase, Maryland 20015.

-RCP

DR. BRIAN JEFFERY made a lecture tour of Mexico and the United States in January 1975, speaking either on the renaissance chanson or on "Fernando Sor, Concert Performer." His lecture on Sor was heard, among other places, at the University of California at Santa Cruz (Jan. 17), at Baldwin-Wallace College in Cleveland on the 22nd, and several days later before the Society of the Classic Guitar in New York.

His lecture traced the life of Sor in Spain, France, and England, and was interspersed with live performances by local voice and guitar students in the sponsoring cities. Selected songs of Sor were revealed for the first time to the audiences, and provoked considerable interest for their local color, their political overtones, and their commentary on the musical tastes of the time. Dr. Jeffery is completing a book on Sor and a catalogue of his works this year, and will publish it himself. Watch for publication notices in the Sounaboard. -TFH

THE SECOND EDITION of Andres Segovia: Contributions to the World of Guitar, is now in press with Belwin Mills Publishing Corp.., New York. The author, Ronald C. Purcell has advised that this edition is now more complete and up-to-date and that it also includes recent unpublished photographs.

Purcell also advises that his Guitar, Lute and Vihuela Discography goes to press at the end of May (Belwin-Mills). This work includes indexes for approximately 400 records, more than 100 performing artists and 400 composers and their works. The discography concentrates only on recordings of classic guitar, lute and vihuela which are presently on the world market and will be up-dated ever 2-3 years.

-MLP

2 3

THE JOURNAL OF THE LUTE SOCIETY OF AMERICA, Vol. VII (1974), contains several articles of interest to guitar students: (1) Peter Danner, "Giovanni Paolo Foscarini and his 'Nuova Inventione'," (2) Thomas Heck's discussion of all current schools of thought on transcribing intabulated music, "Lute music: tablatures, textures and transcriptions," (3) Robert Strizich, "A Spanish Guitar Tutor: Ruiz de Ribayaz's Luz y Norte Musical," and (4) Joscelyn Godwin, "Eccentric Forms of the Guitar, 1770-1850." Readers wishing to subscribe to this journal may send $8.50 to Membership Chairman, L.S.A., Box 194, Topanga, CA. 90290

-NIP

COMING EVENTS, SYMPOSIA, MASTER CLASSES May 20-31

GUILD OF AMERICAN LUTHIERS convention at Northwestern University, Evanston, IL. Features free concerts and exhibits. Contact Richard Brune, President, Guild of American Luthiers, 800 Greenwood, Evanston, IL. 60201. June 2-6

ROBERT GUTHRIE will conduct a classic guitar workshop open to intermediate and advanced players as well as to auditors at Southern Methodist University, Dallas, Texas. Tuition is $100 for performers, 625 foralditors. One hour of credit (undergraduate or graduate) is available to performers with an additional $15 University admission fee. For further information write to Division of Music, Meadows School of the Arts, SMU, Dallas, Texas 75275. June 15-28

SUMMER INSTITUTE IN MEDIEVAL PERFORMANCE at the University of Pennsylvania, Philadelphia. Tuition is $170 and includes performance and study of 12th-13th-c. music under Mary Anne Ballard (musicology, vielle, rebec), Derwood Crocker (plucked instruments), Konrad Ruhland and others. Contact Mary Anne Ballard, Department of Music D-8, 201 South 34th St., University of Pennsylvania, Philadelphia, PA. 19174. June 23-28

GUITAR 75 "International Guitar Festival," Toronto, co-sponsored by the Guitar Society of Toronto and the Faculty of Music of the Univ-ersity of Toronto. Five days and nights of workshops, seminars, concerts and fraternizing with Oscar Ghiglia, Alirio Diaz, Leo Brouwer, Carlos Barbosa-Lima, Ako Ito, Henri Dorigny, John Duarte, David Rubio, etc. $70 covers the week's activities. For information and application contact Guitar 75, 139 St. Leonard's Ave., Toronto, Ontario, Canada M4N 1K6. The GFA representative to this festival will be our President Prof. Ronald C. Purcell. July

FESTIVAL DE GUITARRA INDOAMERICANA, Mexico City. For more information contact Richard Stover, Merrill College, University of California, Santa Cruz, CA. 95060. July 1-11

MANUEL LOPEZ RAMOS will conduct a class for classic guitarists from beginning to advanced levels in Mexico City. Tuition is $150 U.S. for performers, $100 for auditors. Information and application forms may be received by writing to Maricarmen Costero, Estudio de Arte Guitarr-istico, Insurgentes Sur 421 B-601, Mexico 11, D.F. July 7-18

MIGUEL ABLONIZ: Seventy Annual Guitar class will be held at Ithaca College School of Music in New York. For brochure, write to Henry Dunn, School of Music, Ithaca College, Ithaca, N.Y. 14850. July 13-27

RONALD PURCELL will conduct a workshop in technique, repertoire and enjoyment of the classic guitar at Idyllwild School of Music and the Arts in Idyllwild, California. For further information and application write to ISOMATA, University of Southern California, School of Performing Arts, Idyllwild, California 92349. July 15 - Aug. 1

NARCISIO YEPES will direct an "International Guitar Course" in Paris. Tuition will be 350 F (about $90) for students, 200 F (about $60 U.S.) for auditors. Information and application forms from Festival Estival, 5 Place des Ternes, Paris 17, France.

24

July 21 - Aug. 24 OSCAR GHIGLIA will conduct a classic guitar master class in Aspen,

Colorado. For application forms and brochure write to Aspen Music School, 1860 Broadway, New York, N.Y. 10023. From June 23-August 24, Associate Faculty members Philip DeFremery and Eliot Fisk will conduct classes at the ASPEN MUSIC SCHOOL. July 25- Aug. 3

SANTIAGO NAVASCUES will direct a "7th International Guitar Seminar" in Reisbach, Germany. Tuition will be DM 160 (about $45) active, and DM 120 (about $35) for auditors. Information and application forms from Herman Hauser, 8386 Reisbach, Postfach 10, Germany.

Aug. 4 - 15 SAN DIEGO CLASSICAL GUITAR WORKSHOP - 2nd year - Directed by Lee Ryan, Instructor of Guitar at San Diego State University. Beginners and advanced players welcome. Special lecture series on guitar, lute, vihuela history and literature. For brochure write to:Workshop, 1229 Park Row, La Jolla, California 92037. Aug. 8 - 25

SIEGFRIED BEHREND will hold an "International Master Class in Guitar Interpretation" at Rosenburg, a resort near Riedenburg, Germany, limited to a maximum of 15 active participants. Tuition will be DM 300 (about $90 U.S.) active, DM 200 (about $60 U.S.) passive participation. Prof. Behrend speaks English. Information and application forms: Leitung des Bundes Deutscher Zupfmusiker (BDZ), Herrn Adolf Moessner, Rissweg 22, 7501 Sollingen, Germany. Aug. 11-15 CHRISTOPHER PARKENING will conduct a master class at Montana State University for advanced performers and observers. Advanced performers who desire to receive individual instruction ($250) should contact Mr. Parkening personally, c/o the School of Performing Arts, University of Southern California, Los Angeles, CA. 90007 (213/746-2521). For more information write to the Department of Music, Montana State University, Bozeman, Montana 59715.

Aug. 15 - 9 FREDERICK NOAD will conduct a classic guitar workshop in Seattle,

Washington, spondored by the Seattle Classic Guitar Society. Mr. Noad will give a recital in Seattle on August 24. For further information and application write to Wynn Smith, 2519 Montavista Pl. W., Seattle, Washington 98199. September 13-27 INTERNATIONAL COMPETITION FOR MUSICAL PERFORBERS is to be held at the Conservatoire of Music, Geneva, Switzerland. The competition is open to guitarists born between October 1, 1943 and October 1, 1953 and includes a public recital from a specified repertoire, with a first prize of 6,000 francs and second prize of 2,500 francs. Applications must be received no later than July 1. For further information and application write to the Secretariat of the Competition, Palais Eynard, CH-1204 Geneva, Switzerland. October 23-28

ABTA NATIONAL GUITAR SYMPOSIUM, Cleveland, Ohio. The agenda of this teachers' symposium calls for round tables to share information on: (1) the guitar curriculum at the college level, (2) class guitar teach-ing, (3) methods of tuning the guitar correctly and efficiently, (4) playing positions and technique, (5) guitar methods and exercises currently available, (6) approaches to teaching beginners, (7) master class techniques: the participants will be the "teacher" in actual coaching sessions, (8) the studio teacher: problems of standards, available resources, (9) various approaches to selecting good guitars, and (10) grading guitar repertory according to difficulty. The establishment of a placement service for guitar teachers under the auspices of ASTA will also be discussed. More information will appear in the next issue of Soundboard. Reserve the date and plan to attend. November 20-22 THE CLASSIC GUITAR FESTIVAL will be presented at the Sunset Theater in Monterey, California. Performers will include Byron Paul Tomingas, Peter Evans, and Richard Stover, and among other featured events will be an antique guitar exhibit and lectures on guitar construction. To learn more, write to Classic Guitar Festival, Box 977, Carmel, CA. 93921.

25

The Soundboard's Featured Facsimile

Contributed by Paul Cox

This piece is curious from at least a couple of standpoints. The scordatura tuning D-d', while not unheard of, is not often found in classic guitar music. Furthermore, the symbols for the ascending and descending rasqueados are unique, at least to me. But the most interesting aspect involves the notation. The composer, Henry Worrall, has obviously assumed that any performer would have so much with the scordatura tuning that something had to be done to make the piece easier to play. He reasoned that normal tuning, E-e', would be so ingrained in most guitarists that it would be easier for them to read the piece as if they were playing in that tuning rather than the scordatura. That is why the music looks so strange. The first two measures are clearly not in the given key of D major if the notes are played in normal tuning. In the traditional sense this music is not in any key at all. But if the guitar is retuned to D-d', and the notes are played as if one were playing in normal tuning, everything is resolved. The difficulty is the lack of coordination between eye and ear. What you see is not what you get. We are not used to that. However, once you read through it a couple of times, it is not as bad as it seems.

The only information I have on Henry Worrall is that he wrote this piece and is also the author of a guitar method: The Eclectic Guitar Instructor. Boston: 0. Ditson & Co., 1884. (University of Illinois-Urbana library catalogue no. M026577) Sebastapol is a description of the siege of Sebastapol fought in 1854-1855 during the Crimean War. A copy of this piece is in the same library, but uncatalogued.

* * * * * * * * * *

HAVE YOU AN INTERESTING FACSIMILE OR ORIGINAL? A free year's subscription to the Soundboard will be offered to anyone submitting a non-copyright facsimile of music, text, or graphic art relating to the history of the guitar, with commentary, selected for publication. Please submit proposals to the Editor (ATTN: Facsimiles), GFA, Box 44239 Santa Barbara, CA. 93103.

26

AIAar Ur THE VIOLET WALTZ _ THE ORIGINAL SPANISH FANDANGO &a

AN/5'M/ by A.C.&J.L.PETERS. IY/1/711/bik: SvarrAgara k H.7 IliPr.v him.r 494 //Ail 4#37.

/*my/A. Me Pm( /arr.

3242

27

17tPFI a r : . .

5712 * tb not!. ti, string to b struck, and the tigures, th: fret upon which the Harmonic hi produced .

3242. 4 Entered according to A t of Coni4 MIR In the year 1240,by A.C.& J.L .Peteta, in the Clerk's Office of the Southetn Okts lc( I .

1.71 1 13ar :

*Harmonies Distant 13 ncl

. 1.;sar: . .

1 IIIIMLnM-1111ff Magri MIIII=all

IMPIIIMIP =WIWI 110 11111M

Ilii.111 , 4 1 I ,

7 7 7 7-

7 ---.

V 7 7 7 *

7 . - 5 - - 7. 12

SEBASTO PO L. Remarks. Chords milked thus A should be strueit with thumb, horn the Base to the Treble strings. Chords mark ii thus V

should be struck with the 1st

or :0 finger, from the Troble to the Bast strings.

Tune the Guitar thus:

r fi an.i fil,eer as it tune,' in tile orttinary manner.

7 3

541;ttat re .

10 10

mi .. Now

I 0 sill ....I 111 , adPII/Mr-1611n 11n11 =I= MI ../N .=1 r7.1n=111111.911MMIIIMINIr f M11111111111n 11.11nU16n111=11=111111/ a/NIIIMM i MN INI1611111111n1111.111n MI IIIP 11P 1n 1111111nCLIMIM NW NM .1' 4n nnn11 INIIIMMINK8 .

i 11nMINI

IMINIo-111111M/111111 =I 10..MNIMMIMINCI n n Wili/MI NM OM MINN ,

28

RECENT DEVELOPMENTS IN SPANISH DISCOGRAPHY

Pioneers of Spanish musicology Felipe Pedrell and Higinio Angles would be happy to see the present growing discography of Spanish music. The Institut Espariol de Musicologia under the able direction of SeEor Don Miguel Querol is largely responsible for stimulating such an interest. Several Spanish firms have responded by issuing records of only the highest quality. An excellent guide to the background is offered by the firm Hispavox (Torrelaguna - 102/Madrid 27). The collection entitled Antologi'a del Folklore Musical de Espaiia, is an important contribution to the student of Spanish music. Of more direct concern is their three record series of Vihuelistas EspaEoles S. XVI (HHS5, HHS 10, HHS 15). The first record features Luys de Milan's El Maestro and Enrique de . Valderr6bano's Silva de Sirenes. The second record boasts Alonso Mudarra's Tres libros de mUsica en cifras para vihuela and Miguel de Fuenllana's 0rph6nica Lyra. Jorge Fresno, the performer in both of these records, displays an accurate knowledge of style and is a sensitive interpretor. The third record contains,works by Milan, Daza, Narvg.ez, Mudarra, Pisador, Fuenllana, and Valderrabano. Subtitled MUsica Vocal e Instrumental, it features Anne Perret, mezzo-soprano, and Rodrigo de Zayas, vihuela, in an excellent performance.

The Servicio de Publicaciones del Ministerip de EducaciOn y Ciencia in collaboration with the Instituto Musicologia is releasing a series of records. One, dealing with the CanciOnero de Palacio, presents several lovely vihuela compositions. COFASA, Av. America, s/n; Madrid 17, is responsible for production of this record.

The firm Edigsa (Avda. Jose Antonio 654: Barcelona, 10) is currently releasing a series of records presenting the history of ,Catalonian music. A volume entitled La Guitarra features Jose Lopatequi performing works by Fernando Sor, Francisco T6rrega, Miguel Llobet, Emilio Pujol and others. Again, only the highest praise may be given for this contribution.

At the same time, the series Hispaniae Mifsica of Deutsche Grammaphone offers much for the devotee of Spanish vihuela, but it is apparently not available in America.

Alfred E. Lemmon, SJ Spring Hill College Mobile, Alabama

29

PUBLICATIOni RECEIVED,REVIEWED

Help wanted! Academically qualified guitarist with permanent address sought to edit this section of the Soundboard four times a year. Please apply with a letter, in duplicate, stating educational background and ability to read foreign languages, to N. L. Poort, Soundboard Editor, by June 15, 1975.

I - SOLO GUITAR MUSIC

Altpolnische Musik fUr Gitarre (Old Polish music for guitar), arranged and fingered by Jan-Anton van Hoek. Frankfurt: W. Zimmermann, 1975. 8 pp. Consists of 15 short pieces, mostly transcribed from lute and keyboard sources now in Poland which date from c.1300-1803. TFH

Giuliani, Mauro. Variazioni su un tema di Handel, Op. 107. Edited and fingered by Ruggero Chiesa. Milan: Edizioni Suvini-Zerboni, 1974. 9 pp. A quality performing edition in contemporary musical typesetting of one of Giuliani's most famous pieces. (Frederick Noad has published a facsimile of the first edition of this piece, which the serious student may wish to consult regarding notational details.) The Chiesa edition is excellent in terms of authentic notes and interpretation symbols; editorial changes are always accompanied by a footnote giving the original. TFH

Giuliani, Mauro. Variazioni, Op. 112. Edited and fingered by Ruggero Chiesa. Milan: Edizioni Suvini-Zerboni, 1974. 13 pp. A quality performing edition in contemporary musical typesetting of a piece which is technically more demanding than Op. 107. -TFH

Giuliani, Mauro. Giulianate, Op. 148. Edited and fingered by Ruggero Chiesa. Milan: Edizioni Suvini-Zerboni, 1974. 36 pp. A quality performing edition in contemporary musical typesetting of Giuliani's swan song. This collection consists of eight well-wrought character pieces, a selection of which would comprise an excellent section of a guitar recital. TFH

Legnani, Luigi. Introduzione, Tema, Variazioni e Finale, Op. 64. Edited and fingered by Ruggero Chiesa. Milan: Edizioni Suvini-Zerboni, 1974. 15 pp. A quality performing edition in contemporary musical typesetting of one - of Legnani's many sets of solo guitar variations. Could be a real show piece if performed with gusto! TFH

NOTE: The U.S. importer for Edizioni Suvini-Zerboni is MCA Music, 225 Park Avenue South, New York, N.Y. 10003.

II - DUETS

Musik italienischer Meister (Music of Italian masters), four pieces for two guitars,

arranged by Armin Schmidt. Frankfurt a/M: W. Zimmermann, 1975. 8 pp. Easy transcrip-tions of 18th-c. didactic pieces by Tinazoli, Reggio, and Campioni, originally for cembalo or for two cellos. TFH

30

-NO

31

ZPS Paul Cox was recently elected to the GFA Board of Directors and will serve a three year term beginning January 1, 1975. Paul is presently teaching at Eastern- Illinois University and working on his doctoral dissertation "The Development of Classic Guitar Technique as Reflected in Methods and Tutors of c. 1780-1850". Paul has studied classic guitar since 1962 and has performed with the Danville Symphony, and numerous chamber groups at the Indiana University, and as a guitar duo with John Myers. Paul has also studied voice, piano, trumpet, organ, and several historical instruments. He served as musical director for a number of summer stock shows from 1968 through 1970, and has extensive conducting experience. In addition to being an active member and board member of the GFA, Paul belongs to the American String Teachers Associ-ation, the Lute Society of America and the American Musicological 6ociety.

The following is a few thoughts Paul has concerning goals he feels the GFA should undertake, and some problems concerning the classic guitar world. -NIP

As far as pressing problems are concerned, the classic guitar world has plenty of them, but I think it is difficult to pinpoint one as the most important. Before the formation of GFA I would have said a singular lack of communication among guitarists was the most detrimental situtation we faced. For the exchange of ideas on a national, and even global, basis is essential to the development of high quality standards which we absolutely must have. With the birth of the GFA and the Soundboard we have the communication needed to work on current and longstanding problems of performance and teaching standards, college curricula, guitar research and editions of guitar music. I see these as the major issues facing the guitar today and rate them of more or less equal importance. We can best further the development of the classic guitar by working as an organization to solve these problems. The guitar has yet to see a soundly organized, responsible group of selfless people working together to secure the best interests of the instrument. The guitar has too long been a house divided. That is why progress has been neither frequent nor permanent. The GFA has the opportunity to make lasting improvements and to become the type of organization needed to further the interest of the classic guitar. We have had an excellent start. We have a competent, enthusiastic membership, and I am confident that we are equal to the task.

Paul Cox University of Illinois at Urbana-Champaign

%bstracts 'From %broad From time to time, we will summarize and report on the scholarly research

about the lute and guitar appearing in languages other than English. We invite Soundboard readers to contribute their synopses of foreign language materials to this column. There appear below abstracts of the first ten installments of a continuing series by Rugger Chiesa, in Italian, in il 'Fronimo', entitled "History of the literature for lute and guitar."

il 'Fronimo' issue:

No. 1 (Oct. 9 1972), pp. 21-26: The year 1507 marks the appearance of the first printed book of lute tablature. Its author was Francesco Spinacino. The historical and musical factors that account for the appearance of this work include the discovery that the sixcourse lute played with the fingers could imitate and often duplicate polyphonic vocal music, then so much in vogue. An inventory of the 1507 Spinacino Intabulatura de lauto, libro primo, is included.

No. 2 (Jan.2 1973), PP. 11-15: The earliest document concerning intabulation for lute is the preface to Spinacino's Intabulatura de lauto, libro prim, of 1507, in which collection one also finds scordatura tunings for lute. Comprised of both transcriptions of polyphonic pieces and original ricercars, the Spinacino volumes (1507 and 1509) reveal considerable sophistication in style, balance, and suitability to the lute. Numerous musical examples (in text) support this finding.

No. 3 (Apr., 1973), pp. 22-26: Lute intabulations of polyphonic vocal models were not strict always. Sustained vocal notes were sometimes rendered by repeatedly plucking them on the lute to compensate for its decaying sound. Ornamentation was added to intabulations presumably for the same reason. The ornamented intabulations of Spinacino are remarkable examples of artistic liberty.

No. 4 (Jul., 1973), 20-25: The Intabulatura de lauto libro tertio of Petrucci (Venice, 1508), containing works of Giovan Maria Alemanno, once in the Bibl. Colombina of Seville, is now lost. Joan Ambrosio Dalza composed Petrucci's Intabulatura de lauto libro quarto (Venice, 1508), which contains tastar de corde, ricercars, dances and calatas; the author provides an inventory of the Dalza book and discussion of its musical styles.

No. 5 (Oct., 1973), pp. 15-20: Continuing his discussion of the Dalza lutebook of 1508, the author deals with its lute dances: pavanas, saltarellos, pivas and springardi. Thematic incipits are given for each of the 29 dances in the 1508 ed.

No. 6 (Jan., 1974), pp. 14-19: Concluding his discussion of Dalza's Intabolatura de lauto of 1508, the author studies the thirteen calatas and four intabulations of vocal models in the collection. Several incipits are given. In 1509 and 1511 Petrucci publishes the lute books of Franciscus Bossinensis, which together contain 126 songs with lute accompaniment and 46 solo ricercars. Complete inventories of these books are given.

No. 7 (Apr., 1974), pp. 26-32: The Bossinensis lutebooks are the earliest known sources of solo song with solo instrumental accompaniment. The songs are, in fact, quite accurate arrangements of frottole by Tromboncino, Marco Cara, Josquin and others, in which now the voice sings the superius, the lute plays tenor and bass lines. The altus line normally is dropped in these arrangements. The ricercars of Bos- sinensis, while designated as preludes to the songs, are of sufficient musical worth to stand on their own in certain cases.

(Abstracts from Abroad, contld.)

No. 8 (Jul., 1974), pp. 23-28: The first German source to mention the lute and its notation is Sebastian Virdung's dialogue treatise, Musics getutscht (Basel, 1511). A close examination of intabulations in this source reveals them to be unplayable, the work of a blind theorist who was not a lutenist. Hence the work is of interest only as a historical document. Arnold Schlick, in his -Tabulaturen etlicher Lobgesang... (Mainz, 1512), roundly criticized Virdung's incompetent intabulations.

No. 9 (Oct., 1974), PP. 29-33: Arnold Schlick's 1512 treatise (cited above) contains pieces for organ (nos. 1-14), for voice and lute (nos. 15-26) and solo intabulations (nos. 27-29). The pieces for voice and lute are similar to those of Bossinensis (v. No. 7, above): adaptations of polyphonic vocal models (Lieder by Isaac, etc.) for soprano (superius) with a lute playing the tenor and bass lines, the altus being omitted.

No. 10 (Jan., 1975), Pp. 20-24: Vincenzo Capirola's lute music would have disappeared entirely were it not for a MS now in the Newberry Library, Chicago. Otto Gombosi dates the Capirola lutebook at around 1517. An examination of the prefatory remarks and an inventory of the lutebook are provided.

Abstracts by Thomas F. Heck

411.

%.

GFA ARO-11\11/M REPORT Several persons have requested a catalogue of our holdings. At present

the GFA Archive contains the complete works of Giuliani in first editions in various formats: photostats, microfilms, and originals. These works are catalogued in Vol. 2 of the Heck dissertation (v. "Dissertation Reproduction" section else-where in this issue). We also have a number of theses, reference books, and research tools. Until funds become available to properly house and catalogue our rapidly expanding collection, I regrettably must limit my efforts to describing our recent acquisitions. For the current trimester these include:

1. Reproducible xerox copy of all Sor works listed on page 10 of Soundboard, II, no. 1, including Op. 1-23. (If anyone would like to donate copies of Sor's later works, please write to the archivist!)

2. Calvin Elliker, N85-W16506 Mary Ct., Menomonee Falls, WI., gave the GFA Archive positive enlargements made from a GFA microfilm of an extraordinary ensemble piece composed jointly by Viennese classic composers Moscheles (pianist), Giuliani (guitar-ist) and Mayseder (violinist): "Der Abschied der Troubadours, Romance...," for soprano with alternating interplay of piano, violin and guitar (Heck catalogue, WoO, vocal-13). Total length: 33 pages. (Available now in positive copies for $3.30.)

3. Mairants, Ivor. La Guitarra Flamenca. Metodo completo pare tocar mUsica flamenca con guitarra espehola... escrito en notaciOn nnisical y Cifras..., con lo cual puede aprendexse a tocar sabiendo o sin saber mlieica... London: Latin-American Music Publishing Co., Ltd., 1958. Archivist's note: This method comprises three parts and totals about 200 pages. Having tablature and staff notation throughout, it continues a line of guitar methodology that dates from the 18th century.

33

Thomas F. Heck GFA Archivist Mailing address until further notice:

Box 4323 Santa Barbara, CA. 93103

(GFA Archivist's Report, cont'd.)

4. Lithographic reproduction (at a slight reduction) of Mauro Giuliani, Grand Concerto in A major, Op. 30, version for guitar and string quartet. 40page facsimile, 85 postpaid from the GFA Archive.

5. Photostatic reproduction of Mauro Giuliani, Sinfonia nell'opera 'La Cenerentola' del Sig. ROSSINI, arrangement for solo guitar. Milan, Ricordi, plate number 3785. Donated by Ruggero Chiesa, Milan, Italy. Heck catalogue no. WoO, 0-11. 9 pages.

The GFA Archive endeavors to serve the public interest by providing repro-ductions of rare and outofprint music at cost to scholars and performers around the globe. We never furnish copies of copyright material. Some of the works we reproduce may themselves be copies of originals in foreign libraries, which we always acknowledge. Because of the vested interest that the proprietors of such originals have, the GFA shall provide only single copies of such works for study purposes. We ask that these not be further reproduced and that credit be given to the original owner whenever a public performance, recording, or edition results from the use of that material.

34

eau ragaztow ADVERTISING: Commercial concerns wishing to advertise in the Soundboard are welcome to send their prepared copy (exactly as you would want to see it in print) to the Guitar Foundation of America, P.O. Box 4323, Santa Barbara, CA. 93103, in time for the publication deadlines of January 15, April 15, July 15, and October 15. Check or money order must accompany copy and be made payable to the Guitar Foundation of America. Rates are: Full page (81 x 11); $50.00 - page; $30.00 - $1.00 per 70 character line, minimum limit $3.00. All full page or half page ads must be camera-ready copy for offset printing.

* * * * * * * * *

STRINGS - GOOD AND CHEAP: Augustine Black Label, silver 32.90/set, 829.00/doz; gold 83.15/set, 331.50/doz; Red Label 33.70/set, 337.00/doz; Blue Label $4.35/set, 343.50/doz; Aranjuez classic gold, classic or Spanish silver 33.50/set, $35.00/doz; Savarez (any tension, plain trebels) 84.85/set, 855.20/doz; (high tension, wound B & G) 35.25/set, $60.00/doz; Concertiste silver, any tension 35.95/set, 368.00/doz. We pay postage. Write for prices on other brands. Ye Musick Shoppe, Dept. SB, P.O. Box 1201, Lexington, N.C. 27292.

LUTE MUSIC FOR GUITAR - Transcriptions from the CAPIROLA LUTE BOOK Opus 1 Three Lute Pieces (La Villanella, Balletto, Ricercar X).Send 81 for one copy or $5 for six copies to R. Westerberg, 2804 P St., Sacramento, CA. 95816.

ccD THE GUITAR INSTITUTE-P.O. Box 2746, Seal Beach, CA 90740. A complete line of classic and flamenco guitars from such makers as Jose Ramirez,' Antonio Mann Montero, Felix Manzanero, Miguel Rodriguez and Manuel Contreras. Student models from $160. Also, The Classic Guitar Method of Hal Kinnaman, Vol. 1, an innovative approach to basic guitar tech-nique. Price $2.77(13.00 foreign) postpaid. Strings at a reasonable price.

35

eleuutie 94et4t Net/fa-Vat 1-2. _$2.00. _Tat 3 2.50 A thorough Technical Foundation is presented with the works of Sor, Carcassi, Tarrega, Aquado, Bach, and others.

E44# et4442iC 54104 $Z5 Classical Guitar Repertoire arranged for the beginner.

91.e.at sa1.4 $150 Classical Guitar Solos arranged for intermediate difficulty.

2:)elate filezoc 4 eetudie $2,95

A spiral-bound Master Text of Classical Music from The Ba-roque, Classic, and Romantic periods arranged for the advanced guitarist.

gazzvt Sumote1e4

$125 Classical Guitar Quartets.

S MC Pro - Arte Presents

Carmen Aarina

Spain's leading lady Concert Guitarist, playing the music ot Spanish composeri,

in SMC (l_p) and Casette recordings.

Order directly from

SPANISH MUSIC CENTER

*SMC-1121 t RECORDANDO A ESPARA An all-Spanish program of music by Spanish composer-guitarists is played by

CARMEN MARINA: RONDO, in A minor, by Dionisio Aguado; RONDER A & ZAPATEADO, by Regina Sainz de la Maza, LA CATEDRAI, & PRELUDE #I, by Agustin Barrios, and ZORTZICO & JUEGOS by Emilio Pujol. *SMC-1122, 19th CENTURY GUITARISTS:

Music by famous guitarists of the 19th Century is played by CARMEN MARINA on the guitar, in a very exquisite and artistic manner: SONATA, in E Major (Zapateado), by Mateo Albeniz, STUDIES #11, 13 & 16 (From Op. 100), by Mauro Giuliani, STUDIES #2, 8_13 ,& 14, from Dionisiu Aguado's-Sainz de la Maza famous guitar tutor; FANTASIA, in C minor, by Fernando Sor; VENEZUELAN CHILDREN's SONGS (Variations), by Antonio Lauro and arranged by Alirio Diaz; STUDIES #1 & 20 (From Op. 38), by Napoleon Coste. *SMC-1123 ALBENIZ FOR THE GUITAR:

An all-Spanish program of music by one of Spain's greatest musician-composers, is played on the guitar in very inspinng manner, by CARMEN MARINA: CORDOBA, GRANADA, LEYENDA (Asturias), MALAGUENA Op. 165; MALLORCA, PAVANA-CAPRICHO, RUMORES DE LA CALETA (MalagueRa), and ZAMBRA GRANADINA. *SMC-1124, BACH FOR THE GUITAR: An all-BACH recital of concert masterworks is played on the guitar with great

T-iosify -Ey the talented Spanish gVirarist, CARMEN MARINA: PRELUDE, FUGUE & ALLEGRO; PRELUDE & GAVOTTE (From Lute Suite #1), originally for Violin, SUITE #3 (Originally for cello).

When ordering please if Long Playing or Cassiets recording is desired The same number applies bosh for Long Playing or Cassette recording.

319 West 48th Street, New York City, New York 10036

53.95 each in either style

1

: Weel &If PaliCatid4t4 AC:testa

Pip

IJ 107W. Jefferson Kirkwood, Mo. 63122 Pediecateda4,

et441.4e611 9,4464,r "("44

36

1. The GFA, as a non-profit corporation governed by an elected board of directors, is legally able to receive, own and care for donations of rare music, memorabilia, books, sound recordings, and instruments of all kinds. The Foundation is making a concerted effort to acquire in particular gifts and legacies of old or out-of-print guitar music. Please contact the GFA Archivist to inquire about donating, now or in the future, part or all of your collection for preservation. Archival holdings will be carefully catalogued and photocopies made available to GFA members and to the public upon request. 2. NOTICE TO CONTRIBUTORS: The GFA Soundboard is primarily for news of interest to national and international readers. The Editor reserves the right not to print news of strictly local interest. Please send contri-butions of all kinds (concerts, reviews, notices of new publications, master classes, etc.) to the Editor in time for the publication dead-lines of January 15, April 15, July 15, and October 15. 3. Scholars and researchers seeking rare books or music potentially in private hands are welcome to insert a notice of their current research in the Soundboard. The notice will be run only once unless the sender indicates otherwise at the time it is received by the "Works in Progress" Editor. 4. Annual dues in the GFA are applicable to the fiscal year starting July 1 and ending June 30, and are prorated on a six month basis only. 5. The Board of Directors of the GFA urges all serious guitarists seeking an opportunity to engage in mixed ensemble playing, or inter-ested in fostering the guitar in schools and colleges, to join the American String Teachers Association. Annual dues are $12/Professional, $4/Student. Please make application to Robert Marince, Executive Secre-tary, 2455 Princeton Pike, Trenton, N.J. 08638. The American String Teacher features a "Guitar Forum" by and for guitarists.

Dissertation Reproduction The following dissertations dealing with the guitar are available from University Microfilms, Box 1307, Ann Arbor, Michigan 48106. The repro-ductions cost around $4 for a film, $10 for a soft-bound xerox copy at slight reduction, and $12 for the hard-bound version of the same. Do not send money with your order, as they will bill you after shipment. But do specify the author, title, year of the dissertation, and type of reproduction desired. 1. Sasser', William G. - "The Guitar Works of Fernando Sor" - The Univ-

ersity of North Carolina, 1960. Order No. 60-6995. 2. Hudson, Richard A. - "The Development of Italian keyboard variations

on the passacaglio and ciaccona from guitar music in the 17 century." UCLA 1967. Order No. 68-219.

3. Heck, Thomas F. - "The Birth of the Classic Guitar and its Cultivation in Vienna, Reflected in the Career and Compositions of Mauro Giuliani (d. 1829)". Yale University, 1970. Order No. 71-16249.

MEMBERSHIP IN THE GUITAR FOUNDATION OF AMERICA CURRENTLY IS: $8.00 Active (Voting membership) $4.00 Associate (non-voting for students

and institutions) Mail applications to GFA Secretary, P.O. Box 4323, Santa Barbara, California 93103.

The GFA Soundboard is published quarterly and mailed individually to members and in bulk to affiliated guitar societies for local distri-bution. Quantity prices are available to guitar societies And other music groups as follows;

10-25 copies .20 each 26-75 copies CP .15 each

76 or more copies 0 .10 each A yearly non-member subscription is offered to overseas libraries, institutions, and schools at the following rates: $4.00 per year surface mail and $6.00 per year air mail.

THE SOUNDBOARD 11021 MEADS ORANGE, CA.92669

DAVID GRIMES 3011 MT. CURVE AVE. ALTADENA, CA. 91001

Postage