c 1cago gu1 tar - digital guitar archive · 3/1/2020 · tivas" by carlos pedrell is, in my...
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C 1cago gu1 tar Published by The Chicago Guitar Society in the interests of the classic guitar
Volume 1 No. 18 22 East Van Buren Street, Chicago, Illinois 60605 November , 1964
SET SCHULZ, ANTHONY FOR CONCERT Blanche Schulz, lyric soprano,
and Ruben Anthony, guitarist, will be featured at the Chicago Guitar Society's Sat., Nov. 7 concert in the Chicago Public Library. The 12: 15 p. m. pro gram will be held in the second floor assembly hall, Randolph and Michigan, as part of the library's Saturday afternoon Concert Hour series. The program is free.
Miss Schulz is studying for her master's degree in voice at the American Conservatory of Mu&i,c. She has had a variety of professional experience including appearances with guitarist James Yoghourtjian at the Skylight Theater, Milwaukee. Miss Schulz also has appeared with
the Milwaukee Symphony, had lead roles with the Florentine Opera and Boston Comic Opera companies, both in Milwaukee, and recently appeared in a Broadway review production in Puerto Rico.
Mr. Anthony has studied guitar with Richard Pick for four years and has appeared before the Chicago Guitar Society and in the Baba' i Chicago center. In addition to his ability as a classic guitarist, Mr. Anthony is an accomplished jazz guitarist.
blanche schulz
WILKINS TO APPEAR WITH DU PAGE SYMPHONY
1rving wilkins
Irving Wilkins will perform Vivaldi's Concerto for guitar and string orchestra with the Du Page Symphony at two December concerts.
The first program will be held at 3:30 p.m. Sunday, Dec. 6 at Willowbrook High school, Villa Park. The second concert will be given at 8 p.m. Thursday, Dec. 10 at North Central college, Naperville.
The North Central college choir also will be featured on both programs, performing the Christmas portion of Handel's "Messiah." Other works on the program will be Adoremus te and Sanctus by Pale -strina; Fugue in G Minor by Bach; and Overture-Suite ("Theodora") by Handel.
Wilkms, a member of the Chicago Guitar Society, is studying gui -tar with Richard Pick, and is pur-
suing other studies at the American Conservatory of Music.
The Du Page Symphony is conducted by Russell Harvey who also is conductor of the American Conservatory Orchestra, and teaches conducting at the conservatory. In addition he is director of The Chicago Sinfonia, a chamber orchestra, and he arranged the Palestrina se -lections on the Du Page Symphony's December program.
Ferdinand Pirnat will perform works by Handel, Pick, Villa-Lobos, Lauro, and Aguirre in his Sun., Dec. 6 recital at 3:15 p. m. in the Chicago Stage Guild, 640 N. State st., sponsored by the Chicago Guitar Society.
CHICAGO GUITAR • NOVEMBER, 1964 1
mattanya ophee
We have struck up a lively exchange with Mattanya Ophee of Tel Aviv, Israel who several years ago studied with Richard Pick during his stay in America. Mattanya is now back in his native country and has been instrumental in forming the Israel Guitar Society. In addition he is teaching classic guitar using the Richard Pick method, and has opened a guitar store, "Maison de la Guitare," where he sells guitars and strings imported from Spain and the United States.
Reporting on the Israel Guitar Society, Mr. Ophee writes, "The first meeting was held in my flat on Saturday afternoon, Aug. 29. About 25 people were present, including most of the serious guitar players in this country. "
Officers elected at the meeting are: Mr. Victor Navan, bank manager, president; Menashe Baquiche, guitarist and teacher, vice president; Mattanya Ophee, guitarist and teacher, executive secretary; and Ary Axelrod, optometrist, treasurer. Plans are to hold monthly meetings and annual student concerts and guitar workshops, among other activities.
*** A communication has arrived from Dr. Sameh Jabal of Aleppo, Syria, who also studied with Richard Pick while he pursued medical studies in Chicago. Writes Dr. Jabal, "Well here in Aleppo the classic guitar is practically unknown. 'How
Perspecti1Tes '" a guitar can be played with the fingers? A small pick does not cost that much l l' Such are the comments. In Syria the plectrum guitar, and especially the electric one, are the most common."
An interesting report comes from Oei Djin Lie of Medan, Indonesia, who also indicates that, while the guitar is popular in his country, it is not the classic model that is the favorite. He writes, "Despite wry comments from the skeptical ones, I have started teaching the classical style. My students played exclusively plectrum style before and I'm glad to know that they have come to appreciate the flowing beauty of classic guitar music."
Mr. Lie writes further, "I am thinking of making serious efforts to enlarge the circle of firm supporters for the classic guitar and the first step in this direction, I think, will be the binding together of all those interested under the roof of a guitar society . I wish that prominent American guitarists could undertake a concert tour here under some form of cultural exchange program which I believe would surely contribute towards a growing interest in this field."
Continued on page 5
CHICAGO GUITAR SOCIETY AT THE CHICAGO PUBLIC LIBRARY SATURDAY, NOVEMBER 7, 1964 12:15 O'CLOCK
I
Greta Bresler Winifred Martin Irving Wilkins
Air ..... . ....................... ..... ......... .............. Handel Ode ..... .. ................................ ................... Grafe La Xenophone ...................... . ................. . .... P. E. Bach La Gaillarde . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Nichelmann
II
Ruben Anthony
Chorale ............................................... ........ Handel Minuet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Haydn Capricchio Arabe ............................................. Tarrega Tarantella . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Castelnuovo-Tedesco
III
Blanche Schulz - soprano Richard Pick - guitar
Early One Morning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . English I Attempt from Love's Sickness to Fly . . . . . . . . . . . . . . . . . . . . . . . . . . Purcell Go Way from My Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . American Beau Soir . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Debussy
IV
Irving Wilkins Richard Pick
Prelude ) Fugue ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . J. S. Bach Two Inventions)
2 CHICAGO GUITAR · NOVEMBER, 1964
MUSIC REVIEWS By Patrick Ferreri
Danzas de las tres Princesas Cautivas by Carlos Pedrell, published by Recordi Americana, Buenos Aires.
The performing guitarist, be he professional or amateur, cannot help but view each piece that comes before him in the special light of its possible potential as a recital piece, and where it would best appear on any such program.
Altho he has a large repertoire from which to choose, he soon realizes that not all of the music is suitable or desirable for stage performance.
Because the guitar is not a very loud sounding instrument and tends toward subtleties of expression not easily heard in the back row, some pieces are automatically eliminated.
Also, there is not an overabundance of sonatas and suites that are needed to form an impressive program. A great deal of the guitar repertoire consists of short pieces that are similar in style, altho, granted, there are a number of gems among them.
So when one comes upon a composition that will fit the requirements of a recital and in addition is a true work of art, that is double cause for celebration.
A group of three pieces called "Danzas de las tres Princesas Cautivas" by Carlos Pedrell is, in my estimation, one of these gems. Each of the three pieces is a complete composition in itself and can be performed singly or as a suite.
The pieces, dedicated to Segovia, are in their order, Zoraida, Dona Mencia, and Betsabe. All three are written in a Spanish idiom wedded with French elements such as softly veiled, harmonically non-tonal fragments which at times are interspersed and at other times are ingrained in the fabric of the composition.
In · a past article I described another Spanish-French blending of idioms as found in Manuel de Falla' s "Hommage pour le Tombeau de Debussy." However, such a hl end is not an integral part of de Falla' s style, while it is more deeply ingrained in Pedrell' s.
Zoraida begins "allegretto grazioso" with a simple melody and . harmony cast in a definitely Spanish style. This flavor is retained until measures 13 to 16 where a contrasting French treatment occurs in the chromatically ascending dimin -ished triads. A similar departure occurs in measures 20 and 21 where major triads ascend in whole tone skips to an F major triad in the first inversion.
Most of the remainder of the piece utilizes Spanish (more precisely Andalusian) ingredients such as the typical harmonic progression of descending parallel triads on IV, III, II, I (A minor, G major, F major, E major). Most of the French treatments are quickly dispelled for more Spanish, falsettalike melodic figuration, or the Andalusian type harmony. While none of these devices are extraordinary, they take on a sense of newness in the hands of Carlos Pedrell. The piece is delightful to listen to and especially satisfying to perform.
Dona Mencia begins with a twomeasure theme constructed on the Phrygian (also, Andalusian or natural) scale, beginning on the tonic "A." The piece has a mysterious quality due to the scale and the repetitious melodic theme which can be performed in a rather hypnotizing manner.
This is also noticeable in the section marked "misterioso" which produces an odd effect with softly played parallel open 5ths, and the glissando major 3rd. The whole effect of the piece is heightened by judicious use of contrasting timbres.
The "phi mosso" section begins a beautifully accompanied Spanish melody in a contrapuntal style employing contrary motion between the bass and melodic lines. This section seemingly evolves from the piece like a fresh breeze in contrast to the repetitive effect of the opening theme.
This lasts for 17 measures until the principal theme reappears, transposed, in a slightly modified harmonic setting. After that the principal theme appears as the inner voice accompanied above by a modified version of the second theme.
Later, an almost literal recapitulation occurs with a series of short codettas made up of thematic material.
Betsabe begins in quick meter with a very exciting rhythmical effect achieved by alternating the same tone on two different strings ; one open and the other stopped. This results in a syncopated effect even tho on paper the figure appears to be even 8th notes.
Pedrell utilizes some rather interesting harmonic effects such as pitting parallel open 5ths or perfect 4ths against a melodic figure of two oscillating tones. As in the other two pieces, the Spanish flavor is predominant.
Carlos Pedrell (b. Minas, Uruguay, 1878 - d. Paris 1941) studied in Madrid with his uncle, Felipe Pedrell, inspirer of the 19th century Spanish national movement in com -position, and in Paris at the Schola Cantorum under Pierre de Breville and Vincent d' Indy. Other noted pupils of his uncle are Albeniz, Granados, de Falla, and Gehard. In 1906 Carlos Pedrell went to Buenos Aires where he became inspector of music in the schools and lecturer at the University of Tucuman. In 1921 he went to Paris where he remained for the rest of his life. His use of simple folklike melodies probably is due to the influence of his studies under his uncle. And his rich harmonies and subtle, delicate accompaniments can be directly attributed to his studies with Vincent d'Indy in Paris. Other of his pieces for the guitar are "Impromtu," "Al Atardecer en los Jardines de Arlaja," and "Trois Pieces."
CHICAGO GUITAR · NOVEMBER, 1964 3
RECORD REVIEWS By Richard Pick
GEORGE SMITH, classic guitar. Guitarist Publications Record Division, No. 195. Available for $5 from Guitarist Publications, 1311 N. Highland av. , Los Angeles 28, Calif.
I suppose that most everyone can recall encountering, tho on rare occasions, a work of art o'r a person whose quality or personality awakens an immediate and responsive feeling of accord. There seems to be a certain transeunt quality which reaches over and beyond the results that have been consciously produced, whether a handshake or a musical passage.
Being thus impressed makes the task even more difficult of viewing a person or reviewing artistic endeavor objectively. However, one can only evaluate from personal experience; hence a review or a friendship often becomes a revelation of personal bias.
I venture to say that in this record by George Smith there is an apparent and overall salutory intent and motivating purpose. And as a result the primary impression is that of a pleasant surprise upon hearing an unusual and fresh point of view on an old and familiar subject.
In the words of Mr. Smith, "It was my intention to lighten the seriousness of the classic guitar without destroying its dignity. "
Perhaps this record is not a great one, if we are to use that word in its usual sense, but it makes no such pretensions. It is also evident that this record adds a happy rather than a serious dimension to the guitar.
To single out such a quality may seem incomprehensible to the student who is seriously striving to master this difficult instrument, and even more so to the guitarist who is struggling to gain his professional niche in the world of music.
However, to take the guitar seriously is to place it in its proper perspective. And this Mr. Smith has done by effectively dispelling for a moment the ominous and desparate seriousness that is sometimes exhibited toward the guitar.
The record attests to Mr. Smith's background as a guitar teacher and composer, and a Hollywood studio
musician, now retired, whose professional reputation is a highly respected one.
Not only is his versatility evident in this collection of original pieces and arrangements, but also his attitude toward the guitar: that of the professional who uses his instrument as a skilled craftsman uses his tools---to accomplish what he sets out to do.
In addition to these aspects, the record can be viewed as a teaching aid in that it demonstrates various styles and techniques in playing. Therefore it should be of interest and practical value to student and teacher alike.
On the side of the record labeled "Around the World with One Guitar," Mr. Smith takes a musical excursion into various typical styles of music generally associated with certain National groups. The series of original sketches begins with an impression of an Italian Serenade, then journeys over into France for a Village Dance, followed then by a "Mexican Fiesta" and a most interesting piece called "Echoes of Japan." This latter sketch demonstrates the acuteness of Mr. Smith's musical ear in capturing the timbre of the Japanese Koto with remarkable fidelity.
Other sections worthy of note are the "Scotch Dance" wherein some of the "other instrument" effects of the guitar are employed, and "An American in Spain" in which interesting results are produced by blending Flamenco effects with the old and newinSpanishmusic. "Brazil in Blue" is perhaps the most attractive of the set and one in which Smith is at his best. If I am to pick my favorites they are the Brazil number and the "French Village Dance."
"A Program of American Folk Music" is the label carried on the other side of the record which lists the most familiar and strong American melodies. Here the artist shows his skill in weaving authentic folk styles of guitar and banjo playing. This is demonstrated in "Streets of Laredo," "Mountain Wind," and "Sweet Betsy from Pike." Versatility of both guitar and performer is again demonstrated in "Dusty
4 CHICAGO GUITAR · NOVEMBER, 1964
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Guitar Blues." "Yankee Doodling" is the rollicking and comical finale in which some percussion effects are used.
The record is a wholesome adventure into original music both entertaining and delightful. It is the kind of program one could play for old friends at some informal gathering in relaxed company. If one is in the mood for such and is seeking a fresh perspective, he could do well to reach for this record which should have its own special place on the library shelf.
Before his recent retirement, George M. Smith spent more than 25 years in Hollywood's film industry. He was a staff guitarist, banjoist, and mandolinist for the Fox and Paramount studios. Among films in which he has performed are "Grapes of Wrath," "Swamp Water," "Young Mr. Lincoln," "Tobacco Road, " "Stage Struck, " and "The Red Nichols Story. " He has held a number of teaching posts including one at the Idyll wild Arts Foundation, under the auspices of the University of Southern California, where he taught advanced guitar. The record reviewed in this issue was recorded for the foundation. He has written a "Modern Guitar Method" and also is the composer of teaching material issued under the title "My Teacher and I." Mr. Smith has performed the guitar on a number of occasions with the Los Angeles Philharmonic as a solo and accompaniment instrument, and he has worked with such conductors as Dmitri Tiomkin, Victor Young, Max Steiner, and Alfred Newman. Two of Mr. Smith's guitar solos have been recorded by Laurindo Almeida in his Capital album "Contemporary Composers." Under the Guitarists' Records label he recorded three 78 r.p.m. discs in 1946 which included a number of his own compositions. In 1959 he recorded a Spanish guitar L. P. for the Barbary Coast label.
PERSPECTIVES Continued from page 2
From Robert J. Vidal of Radiodiffusion-Television Francaise we learn that he went to Italy to make four programs for French television, including one with the Venezualian guitarist Alirio Diaz, and another with the Spanish guitarist Alberto Ponce who plays the vihuela for half the program.
*** Sila Godoy of Asuncion, Paraguay sent us a communication including his program for a Sept. 30 recital of works by Corelli, A. Scarlatti, Rameau, Bach, Sor, Villa-Lobos, Jupanqui, Oyanguren, Tarrega, Albeniz, Barrios, Flores, Granados, and Sinopoli. We were privileged to lunch with Mr. Godoy last year during his tour of the United States under a cultural exchange program.
We also had the pleasure of a communication from Arsene V. Popov in Tomsk, Russia, who inquired about Chicago Guitar, and we look forward to correspondence with him.
Guitar News has reported the death of Philip J. Bone in his 92nd year. Mr. Bone died from heart failure on June 17, 1964 in Luton, England. He was the author of the book, "Guitar and Mandolin, " which is one of the few reference works in the guitar field, containing much valuable biographical data. Mr. Bone was a true friend of the guitar and we regret his passing.
Continued on page 6
george m. smith
(Synopsis: After a mad whirl in outer space with his star pupil, Richard Pick is disconcerted to discover he has left his guitar on Mr. Meda's space ship. ---Ed.)
**** Some days had passed and I began
to despair of ever hearing from Mr. Meda again. I had that vague feeling of having forgotten something as indeed I had. My guitar was still aboard that silly space ship and who could even guess where it was.
Finally one evening after the last pupil had gone it occurred to me to try the telephone number Mr. Meda had given me. For some reason, I had never tried to call the number before this. Probably because I tended to put this strange situation out of my mind -- as much as possible under the circumstances.
However, this time was different -- my favorite guitar was at stake and I decided I had no other choice in the matter.
I flipped the pages of my record book, found the number, reached for the phone and settled back. Well, --you might know that someone had forgotten to give me an open line. So back to the cradle went the receiver. I got up from my comfortable seat and started out the door intent on getting at that switchboard.
A few steps out the door and the phone rang imperatively on my desk. "Oh, no!" I muttered halfaloud, "not again I" . . . Of course, I was remembering the time before when Mr. Meda had talked to me over a disconnected phone. So, I backtracked toward the phone as if approaching some kind of live creature.
"Hello, Mr. Meda," I said, not even bothering to identify the caller.
"Good evening sir, this is Andro Meda, but how could you be so certain it would be me calling?" Mr. Meda asked with a contrived surprised tone which I just knew was no surprise at all.
"Well, who in blue blazes else would, or could call on a disconnected phone?" was my exasperated reply. "I was just about to try phoning you. "
"I'm so relieved to have saved you the trouble, sir," purred Meda, "You see, I had just discovered your guitar which ·you seem to have forgotten on board my spacer the other night."
"Seem to have forgotten , ___ I did forget, " I growled peevishly. "In my big hurry to get off your ship without being seen --- I just plain forgot --- that's all. Luckily, I have another guitar to use meanwhile."
I still felt somewhat apprehensive of getting my instrument back and, as usual, Mr. Meda must have sensed my concern.
"Your guitar will be absolutely safe," said Mr. Meda assuringly, "and I shall return it whenever you desire - - - or at our regular appointment I shall appear --- guitar and all," he said with mock dra matics.
"That's fine with me," I said, "just don't forget my guitar."
"Oh, I won't forget," chuckled Mr. Meda, "altho I would like to discuss this business of memorizing music, if agreeable to you."
"Oh, sure, sure," I said, suddenly feeling like an authority on memory. "I' 11 see you in a couple of days and we'll discuss the matter. Thank you for calling." And so our conversation ended and I stood there looking at the phone and feeling again like the proverbial mouse with whom the cat was toying.
I had two days in which to gather some conclusions and generalizations on memory and music. It was sometimes aggravating the way Mr. Meda made me work at giving him a lesson. But as usual, I found that his provocative queries made me crystalize my thinking on seemingly insignificant aspects of learning that I often "took for granted" as the saying goes.
Continued on page 6
CHICAGO GUITAR · NOVEMBER, 1964 5
Ca,1e:n..d.a:r Following is a calendar of events that will be of interest to the classic
guitarist:
NOVEMBER 7 Chicago Guitar Society at the Chicago Public Library, 12:15 p. m.
DECEMBER 6 Recital by Ferdinand Pirnat at Chicago Stage Guild, 3:15 p.m.
JANUARY 10 Segovia at Orchestra Hall, 3:30 p. m.
FEBRUARY
MARCH
7
7 19
Chicago Guitar Society at the Chicago Stage Guild, 4 p.m.
Recital by Patrick Ferreri at Chicago Stage Guild, 4 p.m. Carlos Montoya at Orchestra Hall, 8:30 p. m.
APRIL 2 Presti & Lagoya at McCormick Place Little Theater, 8:15 p. m.
MAY 2 Irving Wilkins recital at Chicago Stage Guild, 4 p. m.
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MEDA Continued from page 5
At any rate, with Mr. Meda I could not drift into that automatic complacency which is so apt to creep into any activity done over and over again. And that reminded me of something Emerson once wrote.
"Our chief want in life is somebody who shall make us do what we can. This is the service of a friend."
So I pulled out a notebook and decided to jot down some ideas on memory and music.
1. Memory is a faculty and like any other improves with use and exercise.
2. At first we deal in fragments -our learning and memory is fragmentary -- out of bits and pieces we must weave an entire picture.
3. Important elements in memorization are frequency and recency, or in a word - - review.
4. It is possible to memorize music without knowing the music, i.e., "rote learning."
5. It is preferable to know or understand the music so well that it is consequently memorized.
6. Generally in the average individual, one of the five senses may have a tendency to predominate so that one person is more visually oriented toward music; another may receive his strongest impressions through the auditory sense; still another through
tactile or kinesthetic impressions, etc.
7. In the learning or memory process there seems a tendency for one of the senses to obliterate or, at least interfere with the efficiency of another as, when once memorized, music is difficult to read visually. The list began to swell and grow
like a snowball rolling down a hill. But I knew I had enough to satisfy Mr. Meda' s insatiable appetite for discussion, at least for the next lesson.
Funny tho how I keep forgetting to ask Mr. Meda how he manages those phone calls!
6 CHICAGO GUITAR · NOVEMBER, 1964
PERSPECTIVES The summer issue of the quarter
ly Guitar Newsletter published by the Louisville Society of the Classic Guitar announces that its next issue will contain a report on the Segovia master class. Basil Gural, chairman of the society, was to attend the class. The next issue also will include a page ofnews and comment on the flamenco guitar. To be placed on the mailing list for the newsletter, write the society at2143Baringer av., Louisville 4, Ky.
Another publication of interest is Guitar Notes, issued by the Classic Guitar Society of Michigan. For copies write to the society, c/o Joe Fava, BF-6 Northland center, Southfield, Mich. Recently elected president of the society is Ronald Schwartz. Other officers are Carl Bernstein and Harold Silber, vice presidents; Sharon Osborn, corresponding secretary; Bob Anderson, treasurer; and Mr. Fava and Ben Creech, members at large.
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CHICAGO GUITAR is the official publication of the Chicago Guitar Society, 22 E. Van Buren st., Chicago 60605, a non-profit organization devoted to the classic guitar. Suzanne Avery is editor. Regina Martinez is soci .. -ety president; Richard Pick, board chairman. Society memberships at $8 for 12 months cover an eight-issue subscription to CHICAGO GUITAB, and free attendance at regular society programs. Memberships are open to anyone interested in the classic guitar. Non-members pay a $1 donation for attendance at each of the society's regular programs, and may subscribe to eight issues of CHICAGO GUITAR for $2.