• •

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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: ,- ~ {.~1-/ .• ·~1.t\,. ·:,,\~

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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.

*************************************

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.

•

Name misspelled? Changed your address? Please notify us so we may correct our mailing list.

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.