Writings about the guitar by Matanya Ophee
An Annotated Bibliography
Compiled and annotated by Erica M. Lohmann and Matanya Ophee
Books:
- 1981, Luigi Boccheriniâs Guitar Quintets: New Evidence, to which is added, for the first time, a reliable biography of François de Fossa and a checklist of his known compositions.
- Establishes the provenance of the guitar quintets by Luigi Boccherini. Examines the correspondence between de Fossa and Picquot, and editions of the quintets; provides a study of de Fossa and a checklist of his works.
Articles:
- 1965 Jan/Feb, âIsrael: A New Guitar Societyâ, in Guitar News No. 81.
- Discusses the creation of the first guitar society in Israel. Mentions the activities of Israeli guitarists at the time: JosĂ© Pelta, Menasche Baquiche, Anatole Regnier, Ephraim Pollack, Edgard Dana, Eli Magen and Haim Asulin. Includes a gorgeous picture (if I should say so myself…) of the author as a handsome young man with his equally magnificent Fleta. Right smack on the cover!
- 1976 Aug, âGuitar Chamber Music, Why? One Amateurâs Viewpointâ, in Soundboard III/3
- Chamber music as a way to widen the performance field and popular knowledge of guitar music.
- 1976 Nov, âGuitar Chamber Music, Why? Part Twoâ, in Soundboard III/4
- Issues of g.c.m repertoire, publications, performance, teaching, etc.
- 1977 Feb, âGuitar Chamber Music, Why? Part Threeâ in Soundboard IV/1
- Issues of harmony, rhythm, fingering, balance (including electronic amplification), etc.
- 1977 May, âGuitar Chamber Music, Why? Conclusionâ, in Soundboard IV/2
- Issues in teaching/training guitarists, etc. (All four installments of the article were heavily edited by the journal editor, without my consent, sometimes resulting in ideas I did not intend to convey.)
- 1977, âChamber Music for Terz-Guitar: A Look at the Optionsâ, in Guitar Review 42
- Looks at questions of tuning, use of capo, gauge of strings when playing music written for terz guitar.
- 1977 Apr, âMusica da camera per chitarra, perchĂ©?â in Il Fronimo V/19
- Full version, unedited, of article in SB. In Italian.
- 1977 June, âChamber Music for Terz GuitarâA Look at the Optionsâ, in Gendai Guitar XI/127
- (in Japanese)
- 1977, October,âFirst Lessons For Classic Guitarâ in ASTA National Guitar Symposium 1977, edited by Roy Petchauer. A Compendium of the proceedings.
- The text of the handout given at the conference, being an article which describes the pedagogical ideas in Richard Pickâs First Lessons for Classic Guitar, Book I. The text of the lecture itself was not included by the editor of the compendium.
- 1978 Oct, âLa Chitarra Terzinaâ, in Il Fronimo VI/25
- Lengthier discussion of issues raised in GR 42 and later elaborated upon in SB XIV/4.
- 1978 May, âChitarra TerzaâSome Historical and Practical Observationsâ, in Gendai Guitar XII/139
- see SB XIV/4, IF VI/25 and GR 42
- 1978 June, âChitarra TerzaâSome Historical and Practical Observations (pt.2)â, in Gendai Guitar XII/140
- In Japanese. see SB XIV/4, IF VI/25 and GR 42.
- 1979 Sept, âA Chromatic Approach to Beginning Guitar Instruction: To the memory of Bunyan Webbâ, in Gendai Guitar XIII/157
- Discussing Richard Pickâs approach to beginning guitar instruction, Based on the lecture given at the 1977 ASTA Guitar Symposium in New Orleans. (See above.)
- 1980, July-August, âHistorical Research, A Guest Essayâ, in Guitarra Magazine No. 39
- Argues for considering Torresâ innovations as a continuation of earlier Spanish guitar making traditions. Prefaced by a âColumnistâs Noteâ by the âHistorical Researchâ editor Thomas F. Heck.
- 1981 Aug, âThe Promotion of Francisco TĂĄrregaâA Case Historyâ, in Soundboard VIII/3
- Examines the image of TĂĄrrega put forth by Segovia et al while attempting to disclose actual historical fact about the man.
- 1981 Nov, âThe Promotion of Francisco TĂĄrregaâConclusionâ, in Soundboard VIII/4
- Focuses on the existence of the âSchool of TĂĄrrega,â and if indeed one exists.
- 1981 Nov/Dec, âDie Begunstigung von Francisco TĂĄrregaâ, in Gitarre & Laute III/6
- pt. 1; reprint of article in SB VIII/3. In German.
- 1981 May, âWho Wrote âLa Sentinelle?â, in Soundboard VIII/2
- Establishes authorship of âLa Sentinelleâ to be by Frenchman Alexandre Etienne Choron.
- 1981 Dec, âIn Defense of Two Friendsâ, in Gendai Guitar XV/187
- TĂĄrrega, Prat, Aguado. In Japanese.
- 1982 Jan, âIn Defense of Two Friendsâ in Gendai Guitar XVI/188
- part two. In Japanese.
- 1982 Feb, âIn Defense of Two Friends in Gendai Guitar XVI/189
- part three: Sor, Aguado. In Japanese.
- 1982 Mar, âIn Defense of Two Friendsâ in Gendai Guitar XVI/190
- part four: TĂĄrrega, supported stroke (apoyando). In Japanese.
- 1981 July, âIn Difesa dei âDue Amiciâ, in Il Fronimo IX/36
- Discusses the question of a TĂĄrrega school through looking at TĂĄrregaâs connections with Prat and with Pujol. In Italian.
- 1982 Jan/Feb, âWorin besteht eigentlich die TĂĄrrega-Schule?â, in Gitarre & Laute IV/1
- Partial reprint of SB VIII/4. In German.
- 1982 May/June, âWorin besteht eigentlich die TĂĄrrega-Schule?â, in Gitarre & Laute IV/3
- Second half of article in G&L IV/1. In German.
- 1982 July/Aug, âWer schrieb âLa Sentinelle?â, in Gitarre & Laute IV/4
- Revision of article in SB VIII/2 stating that most evidence points to Choron as the author of the piece. In German.
- 1982, âThe History of Apoyandoâ, in Guitar Review 51
- The origin of the ârest strokeâ technique, and whether TĂĄrrega actually did create it.
- 1982 May, âWho wrote âLa Sentinelle?â, in Gendai Guitar XVI/192
- Reprint. In Japanese.
- 1982 Nov/Dec, âDes Geschichte des Apoyandoâ, in Gitarre & Laute IV/6
- Same as article in GR 51. In German.
- 1982 Fall, âThe Memoirs of Makaroffâ, in Soundboard IX/3
- Makaroffâs Confession regarding the competition at which Mertz won first prize. Supplementing the truncated translation by Vladimir Bobri and Nora Ulrich previously published in the Guitar Review.
- 1983 March, âNew Light on the So-called âModernâ Guitar Notationâ in Guitar and Lute magazine No. 27
- Questions Heckâs statement that Giuliani may have developed modern guitar notation, coming out in favor of the Frenchman Jean-Baptiste Phillis
- 1983 June, âCarcassi Was a Leftyâ, in Gendai Guitar 207
- The pitfalls of relying on pictorial evidence or on any evidence just because it has been published, particularly as regards the famous alleged portrait of Matteo Carcassi. Deals extensively with the iconographic issues raised in Thomas F. Heckâs article regarding Giulianiâs ânew Portraitâ as depicted on the cover of the Hummel Serenades. Followed by a detailed rebuttal by Dr. Heck. In Japanese.
- 1983 July/Aug, âDie Entstehung der âmodernenâ Gitarrennotation in neuem Lichtâ, in Gitarre & Laute V/4
- German translation of article in Guitar and Lute, March 1983.
- 1983 Apr, âIl Tocco Appoggiato Precisazioni e Argomenti Storiciâ, in Il Fronimo XI/43
- Same as article in GR 51. In Italian.
- 1984 May/June, âWer macht hier was mit wem? Eine kurze Studie zu gundlegenden Fragen der Geschichte der Gitarreâ, in Gitarre & Laute VI/3
- Same as article in GI XII/11. In German.
- 1984 June, âWho Did What, And With Which, and To Whom?â in Guitar XII/11
- âA short study in basic guitar history;â plagiarism in guitar literature, as exemplified by Mozzaniâs Feste Lariane/Peruvian Air question.
- 1984 May, âWho Did What, and With Which, and To Whom?â, in Gendai Guitar XVIII/218
- Same as above. In Japanese.
- 1984 Nov/Dec, âYamashita hören . . . und staunenâ, in Gitarre & Laute VI/6
- Discusses Yamashitaâs musicianship, especially his transcription/performance of Musorgskyâs âPictures at an Exhibitionâ. In German.
- 1985 March, âThe Complete Giuliani: To Facs. or Not To Facs.?â in Guitar International XIII/8
- Uses publication of Jefferyâs edition of the complete works as springboard for discussion of issue of facsimiles vs. re-engraved editions.
- 1985 Mar/Apr, âFaksimile oder nicht Faksimile? Das war hier die Frageâ, in Gitarre & Laute VII/2
- Same as article in GI XIII/8. In German.
- 1985 May/June, âDas erste Gitarrenkonzert und andere Legendenâ, in Gitarre & Laute VII/3
- Non-playing composers for guitar, esp. one Rafael Adame and his Concierto Primo. Establishes Adameâs work as the first 20th century concerto for guitar. In German.
- 1985 July, âThe First Guitar Concerto. . . and other legendsâ, in Classical Guitar III/11
- Same as article in G&L VII/3.
- 1986 Aug, âSome Considerations of 19th Century Guitar Music and Its Performance Todayâ, In Classical Guitar IV/12
- 1st in a 4-pt series. Discusses various myths about 19th century guitar music (no need for further research, a recession in guitar during this time, decline in spite of many virtuosi, people such as Sor and Mertz are not in the same class as Chopin and Beethoven, etc.)
- 1986 Sept, âSome Considerations of 19th Century Guitar Music . . .â in Classical Guitar V/1
- 2nd in series. Continues debunking various myths from the first article (editions of early 19th c. music serve no useful purpose, little quality music was written, etc).
- 1986 Oct, âSome Considerations of 19th Century Guitar Music . . .â, in Classical Guitar V/2
- 3rd in series. Deals with question of authentic performance when presented with an edition (ex: Segoviaâs edition of Sor studies) that is less than accurate.
- 1986 Dec, âSome Considerations of 19th Century Guitar Music . . .â, in Classical Guitar V/4
- Last in series. Issues of arpeggiation, ornamentation, or just modification of music by performers.
- 1985 Sept/Oct, âRomantische Gitarrenmusik: Kritische Anmerkungenâ, in Gitarre & Laute VII/5
- Portion of an article published in CG (1986), IV/12. In German.
- 1986 July/Aug, âRomantische Gitarrenmusik: Kritische Anmerkungen Teil 2â, in Gitarre & Laute VIII/4
- pt. 2 of an article also published in CG V/1. In German.
- 1986 Jan, âĂber Kompetenz und Aufrichtigkeit in der Geschichtsforschungâ, in Nova Giulianiad II/8
- Uses discussion of de Fossaâs overture and Aguadoâs method for an overall essay on the necessity of scientific discrimination in the search for musicological fact, taking Wolf Moser to task. In German.
- 1986 July, âOn Primary Sourcesâ, in Classical Guitar IV/11
- While crediting Segovia with his achievements in furthering the guitar, cautions use of Segoviaâs statements as primary sources due to the inability to substantiate many of them. An answer to statements made by Graham Wade.
- 1987 Mar/Apr, âRomantische Gitarrenmusik: Kritische Anmerkungen Teil 3â, in Gitarre & Laute IX/2
- pt. 3 of an article also published in CG V/2. In German.
- 1987 July/Aug, âRomantische Gitarrenmusik: Kritische Anmerkungen Teil 4â, in Gitarre & Laute IX/4
- pt. 4 of an article also published in CG V/4. In German.
- 1987 Jan, âLa Chitarra in Russia: osservazioni dallâOccidenteâ, in Il Fronimo XV/58
- A brief discussion of players and compositions of and for the guitar in Russia. In Italian.
- 1987 Sept, âIn Response to the Offensiveâ, in Classical Guitar VI/1 Response to the exceptions taken by Messrs Eisenhardt, Stenstadvold, and Johnson regarding the series on 19th century performance. To be continued . . .
- 1987 Oct, âIn Response to the Offensive, part IIâ, in Classical Guitar VI/2
- Continues previous reply to exceptions taken to the series on 19th century performance.
- 1987-88 Winter, âThe Story of the Lyre-Guitarâ, in Soundboard XIV/4
- An article commissioned by Vladimir Bobri for the Guitar Review and arbitrarily rejected by its editors when he lost control of the magazine. Published in his memory. A version truncated by the editors of SB. Deals with the design and development of the lyre- guitar. PP. 235-36 transposed to behind p. 288.
- 1988 Mar/Apr, âHommage au Beau Sexeâ, in Gitarre & Laute X/2
- Full version of the above. In German.
- 1988 Jan/Feb, âDomingo Prats Diccionarioâ, in Gitarre & Laute X/1
- An article based on Opheeâs Introduction to the facsimile reprint of this book. Also in CG VIII/7. In German.
- 1988 Feb, âOn Meeting StepĂĄn Rakâ, in Classical Guitar VI/6
- Biography as well as general discussion of what music means to a composer
- 1988, Spring, âGuitar Chamber Music: Review of a Decadeâ, in American String Teacher Vol. XXXVIII, No. 2
- Argues for the usefulness of chamber music in helping guitarists to survive economically.
- 1988 Sept/Oct, âDie Bedeutung von Erstausgaben in der Editionspraxisâ, in Gitarre & Laute X/5
- Using Brian Jefferyâs edition of Giulianiâs Sonata Op. 15 as an example, questions the wisdom of bestowing authority on early editions of works.
- 1990 May/June, âMöchte der richtige Giuliani bitte aufstehen?!â in Gitarre & Laute XII/3
- Same as article in SB XVII/1. In German.
- 1990 March, âPratâs Diccionarioâ, in Classical Guitar VIII/7
- Introduction to and background on the Diccionario, including a breakdown into four major areas discussed within it. Taken from the Introduction to the Orphée reprint.
- 1990 Oct, âAntoine de LâHoyer (1768-?1836): autore dellâOp.83 di Giulianiâ, in Il Fronimo XVIII/73
- Discussion similar to that in SB XVII/3, focusing on the LâHoyer exercises vs. the Giuliani preludes. In Italian.
- 1990 Fall, âAntoine de lâHoyer (1768-1836?): A Detective Story and Check List of his Worksâ, in Soundboard XVII/3
- Establishes some facts about the obscure composer and gives a preliminary checklist of his works.
- 1991 Sept, âThe Importance of Transcriptionâ, in Classical Guitar X/1
- Discusses need to be able to provide evidence to support oneâs transcriptions.
- 1991 Aug, âOn the Provenance of the Ten Etudes by Giulio Regondiâ, in Classical Guitar IX/12
- Slight revision of Opheeâs introduction to the OrphĂ©e first edition of the etudes.
- 1991 Dec, âThe Musical Activity of Boris Perott in Russiaâ, in Classical Guitar X/4
- Translation and annotation of two reviews of Perottâs concerts in pre-Revolutionary Russia
- 1993 Nov/Dec, âDer Patriarch der russischen Gitarristen: Andrei Osipovich Sychraâ, in Gitarre & Laute XV/6
- Also appeared in CG XII 4 and 5. In German.
- 1993 Dec, âThe Patriarch of Russian GuitaristsâAndrei Osipovich Sychraâ, in Classical Guitar XII/4
- Part 1 of 2; discusses inherent difference in flavor of Russian vs. Western musical compositions; bio info on Sychra
- 1993, âSlavic Robin Hoods, or Hoodlums?â in The OrphĂ©e Catalogue.
- Discusses the pirating of music publications by many Soviet guitarists
- 1993 Sept/Oct, âSlawische Robin Hoodsâoder bloĂ gemeine RĂ€uber?â in Gitarre & Laute XV/5
- Questions of Soviet and Russian guitaristsâ ignorance, willful or otherwise, of international copyright. In German.
- 1993, âWho Needs Another Guitar Magazine?â in The OrphĂ©e Catalogue.
- Discusses the need to fill a void in current guitar publications and hopes that a future Orphée project might fill it, giving a mission statement in the process.
- 1993, âThe Story of Yobâ, in The OrphĂ©e Catalogue.
- Discusses Opheeâs own goal in guitar research, including âdestructionâ of misguided concepts about the guitar.
- 1993 Apr, âCarcassi Was a Leftyâ, in Classical Guitar XI/8
- The pitfalls of relying simply on pictorial evidence or on any evidence just because it has been published, particularly as regards the famous alleged portrait of Matteo Carcassi. A revised version of an article originally published in Japanese in Gendai Guitar. The references to Dr. Heck were here removed and the article altered to counter arguments expressed by David McConnell.
- 1994 Jan, âThe Patriarch of Russian GuitaristsâAndrei Osipovich Sychraâ, in Classical Guitar XII/5
- Part 2 of 2; an appraisal of some works by Sychra, including variations on âNot a Single Path in the Field,â and The Four Concert Etudes.
- 1994 Spring, âWittgenstein March Fantaisie by Marco Aurelio Zani de Ferrantiâ, in ComposerUSA, The Bulletin of the National Association of Composers, U.S.A., Series III, Vol.5/2.
- Full text of the preface to the edition of the piece first published in the 1993 Orphée Catalogue. Included a short blurb on Matanya Ophee written by ComposerUSA editor Charles Dvorak.
- 1994 July, âAndrei Osipovich Sychraâ, in Gendai Guitar XXVII/350
- Discusses concert etudes; includes edition for 6-string guitar of âNot a Single Path in the Fieldâ. In Japanese.
- 1994 July, âDomingo Prat y su Diccionario de Guitarristasâ, in El Encordado, NÂș 7/1994.
- The preface to the Orphée reprint of this book. In Spanish. (Translated by Concha Alborg.)
- 1994 Oct, âMusic Typesetting Systems for Guitaristsâ, in Classical Guitar XIII/2
- Provides a list of questions that composers should ask themselves before deciding on a system; particularly discusses the wonders of SCORE (without ignoring some of its problems).
- 1995 Jan, âThe Precise Intentions of Heitor Villa-Lobos for the ending of his Etude No. 2â, in Gendai Guitar XXIX/357
- In Japanese. Also in English in CG XIII/9.
- 1995 Feb, âThe Precise Intentions of Heitor Villa-Lobos for the ending of his Etude No. 2â, in Gendai Guitar XXIX/358 part 2.
- In Japanese.
- 1995 Mar/Apr, âWie endet sie? Anmerkungen zu Heitor Villa-Lobosâ Etude No. 2â, in Gitarre & Laute XVII/2
- In German. Also in English in CG XIII/9.
- 1995 May, âHow Does It End?â in Classical Guitar XIII/9
- Regarding the âprecise intentions of Heitor Villa-Lobos for the ending of his Etude No. 2.â Looks at various ways to determine this, including opinions of teachers, various recordings, and some fragments from various editions.
- 1995 Mar, âThe Premiere Performance of Heitor Villa-Lobosâ Preludesâ, in Gendai Guitar XXIX/359 see CG XIII/10.
- In Japanese.
- 1995 Mar, âDie UrauffĂŒrung der âPrĂ©ludesâ von Heitor Villa-Lobosâ, in Gitarre & Laute 3/1995. see CG XIII/10.
- In German.
- 1995 June, âThe Premiere Performance of Villa-Lobosâ Preludesâ Classical Guitar XIII/10
- Whether or not Carlevaro did premiere the Preludes, and whether it was all or few; why Segovia did not premiere them.
- 2002, âSor and the Russiansâ in: Estudios Sobre Fernando Sor/Sor Studies, Luis GĂĄsser, (ed.), MĂșsica Hispana, Publicaciones del Instituto Complutense de Ciencias Musicales, Madrid, 2002.
- Examines the available evidence on the relationship between Fernando Sor and Andrei Sychra, Mikhail Vysstotsky and Vladimir Morkov. Presents some hitherto unknown details about Sor’s public and private appearance in Russian venues during his sojourn there (1823-26/7).
- 2005, âA History of Transcriptions of Lute Tablature from 1679 to the Presentâ in: The Lute, Journal Of the Lute Society, Volume XLIII, 2003, Guilford, 2005.
Musical editions published in periodicals:
- 1981 Nov, Fantasy on âLes Folies dâEspagne,â Op.12; Soundboard VIII/4
- Annotation and edition of de Fossaâs piece
- 1982 Spring, âRondo Allegro,â by F. Molino; Soundboard IX/1
- Annotation and edition of the piece. Discusses the relationship of Molinoâs use of the theme of Das Klinget So Herrlich from Mozartâs Die Zauberflöte, to its use by Fernando Sor and others.
- 1982 Fall, âVariations of Carnival de Veniceâ by N. Makaroff; Soundboard IX/3
- Annotation and edition of the piece.
- 1982 Sept/Oct, Variationen uber âCarnaval de Veniceâ von Nikolai Petrovich Makaroff; Gitarre & Laute IV/5
- Annotation and edited facsimile of the piece. In German.
- 1982 Summer, âPiccolo Fantasia,â by Ivan Smertseevich Ovsianiko-Kulikovski; Soundboard IX/2
- As Shutka O. Yerundovski (a fictitious persona created jointly with George Warren). Annotation and âcritical editionâ of the piece.
- 1987 Fall, âLyrische Suiteâ by Rudolf SĂŒss; Soundboard XIV/3
- Annotation and edition of the piece.
- 1987-88 Winter, âAl atardecer en los jardines de Arlajaâ by Carlos Pedrell: Soundboard XIV/4
- Annotation and edition of the piece.
- 1988 Spring, âGrand Polonaise,â by Jan Nepomucen Bobrowicz; Soundboard XV/1
- Annotation and edition of the piece.
- 1988 Summer, Miscellany; Soundboard XV/2
- Annotations/editions of miscellany: Ohcawara: Prelude; Kårpåti: Ungarisches Lied; Mozzani: élans du coeur; Bischoff: Susani; Segovia: Vidalita.
- 1988 Fall, âNevicataâ and âImitando LâArpaâ by Benvenuto Terzi; Soundboard, XV/3
- Annotation and edition of the piece.
- 1988-89 Winter, âTroisieme Duoâ by DON*** Soundboard XV/4
- Annotation and edition of the piece.
- 1989 Spring, Soundboard Guitar Quiz; Soundboard XVI/1
- First ever (and also last…) Quiz, with readers asked to provide title, composer, all other relevant info. Readers cautioned that âthe apocryphal Ovsianiko-Kulikovskyâ is not the author.
- 1989 Summer, âZweite Lyrische Suiteâ by Rudolph SĂŒss; Soundboard XVI/2
- Annotation and edition of the piece.
- 1989-90 Winter, âToccata y Lamentoâ by Roberto Sierra; Soundboard XVI/4
- Annotation and edition of the piece; also Quiz results (âPartita im alten Stil fur die Lauteâ by Heinz Bischoff, identified by Jan Holmberg of Partille, Sweden)
- 1990 Spring, âWill the Real Mauro Giuliani Please Stand Up?â; Soundboard XVII/1
- Brief article discussing authorship of Giulianiâs Op. 83 by Antoine de lâHoyer. Includes Exercises 4 and 5 from lâHoyerâs Op. 27.
- 1990 Summer, âEtudeâ by Nikolai Alexandrov; Soundboard XVII/2
- Annotation/question and edition of the piece.
- 1990 Fall, âTarantellaâ by Alexandr Mikhailovich Ivanov-Kramskoi; Soundboard XVII/3
- Annotation and edition of the piece.
- 1991 Summer, âAirs et Variationsâ by AthĂ©naĂŻs Paulian; Soundboard XVIII/2
- Annotation and edition of the piece based upon themes popular in the early 19th century, including Das Klinget So Herrlich.
- 1991 Winter, âStĂ€ndchen fur 3 Gitarrenâ by Elsa Just; Soundboard XVIII/4
- Annotation and edition of the piece.
- 1991 Spring, âSvetlanaâs Lullabyâ by Tikhon Khrennikov; Soundboard XVIII/1
- Annotation and edition of the piece.
- 1991 Fall, âIn Defense of Luigi Rinaldo Legnaniâ; Soundboard XVIII/3
- Annotation and edition of Scherzo op. 10 by Legnani for one finger of the l.h. alone. Deals with the legend of the alleged Legnani/Paganini relationship.
- 1992 Winter, âThe Spinsterâ by Mikhail Timofeevich Vyssotsky; Soundboard XVIII/4
- Annotation and edition of the piece.
- 1992 Spring, âDesert Windsâ by John Gordon Armstrong; Soundboard XIX/1
- Annotation and edition of the piece, with composerâs comments on the work.
- 1992 Summer, âThe Postâ by Marek Sokolovski; Soundboard XIX/2
- Annotation, with biographical info on the composer, and edition of the piece, plus mea culpa re The Spinster.
Interviews:
- 1991, Sept. âZnakom’tes’: Matanya Ophee.â (Meet Matanya Ophee) in Muzykal’ny Zhurnal Gitary. NÂș 1.
- Interviewed by Irina Bel’skaia. In Russian. This short lived magazine never saw another issue. I wonder why . . .
- 1993 Jan/Feb, âDrei Romane von Agatha Christie und amerikanischer Rockân Rollâ, in Gitarre & Laute XV/1
- Interviewed by Peter PĂ€ffgen for G&L; discusses controversial writings, Segovia, Russian guitar music, recent publications. In German.
- 1994 July, âSpecial Interview with Matanya Opheeâ, in Gendai Guitar XXVII/350
- Interview by Jun Sugawara and Seiichi Nakazato. In Japanese. Includes a snazzy cover photo!
Prefaces and Introductions to musical editions:
- 1981, Eli Magen, Theme and Variations
- Brief description of Opheeâs relationship to Magen with biographical information on Magen.
- 1981, Beethoven-Matiegka, Serenade Op. 8.
- Discusses the provenance of the piece, Beethovenâs possible awareness of its existence. Describes the editorial methodology used in preparing the edition.
- 1983, Editorâs Preface Emilio Pujol, Guitar School
- Historical and biographical commentary on Pujol and on the guitar. Annotations to Pujolâs text.
- 1984, Introduction: François de Fossa, Trio Concertante, ed. Margarita Mazo
- Biographical and historical background on de Fossa and the trio.
- 1984, Introduction: Johann Padowetz, Concert Variations on The Carnival of Venice, ed. Castellani and Andriaccio.
- Biographical and historical background on Padowetz and the variations.
- 1984, Introduction: Leonhard Schulz, Recollection of Ireland.
- Biographical and historical background on Schulz and Irish tunes used as source material.
- 1984, Introduction: François de Fossa, Overture de Jeune Henri de Mehul , Historical notes on the piece.
- 1984, Introduction: Jan de Bobrowicz, Grandes Variations (Op.6), Biographical information on Bobrowicz and historical commentary on the piece.
- 1984, Introduction Jan de Bobrowicz, Distraction Rondeau (op. 17)
- Same bio as in op. 6; commentary on editorial methodology.
- 1986, Introduction: Domingo Prat, Diccionario de Guitarristas
- Discusses the idiosyncrasies of the dictionary and of Prat himself.
- 1986, Introduction, Historical Notes, and About This Edition: The Russian Collection, vol. 1
- General history of guitar in Russia, with info on scholars and composers/enthusiasts; editorial methodology; biographical info on the composers of the pieces in this volume and some commentary on the pieces themselves.
- 1989, From the Editor: Music by Soviet Composers (Russian Collection Volume V)
- Biographies of the composers and brief discussion of the edition
- 1990, About François de Fossa: Selected Works for Guitar Solo (Oevres Choisies pour Guitare Seule)
- Biographical info and brief commentary on each of the pieces in the edition. English and French texts.
- 1990, Editorâs Preface: The OrphĂ©e Database of Guitar Records
- Philosophy and editorial technique of the database.
- 1990, On the Provenance of the Ten Etudes by Giulio Regondi: Giulio Regondi, Ten Etudes for Guitar
- Historical background and evidence supporting Regondiâs authorship of the etudes.
- 1991, Editorâs Preface: The OrphĂ©e Database of Guitar Records, 1991 Supplement
- Editorial philosophy behind the database and its supplement.
- 1991, [Introduction] Edmund Jurkowski, Esztergomia
- Jurkowskiâs connection to Ophee, and his sudden death.
- 1992, Introduction, About this Edition: Andrei Sychra, Four Concert Etudes (Russian Collection Volume II)
- Biography of Sychra, historical commentary on the etudes, and performance discussion.
- 1992, A Word from the Publisher: Richard Pick, School of Guitar, vol.1
- Discusses psychological aspects of teaching, Pickâs own approach, and some editorial matters of the book.
- 1992, Editorâs Preface: Boris Asafiev, Music for Guitar Solo (Russian Collection Volume VI)
- Asafievâs relationship to the guitar and commentary on the manuscripts and editorial procedures.
- 1993, A Word from the Publisher: The Orphée Catalogue
- Describes purpose of including articles in the catalogue and future projects of Editions Orphée.
- 1993, Introduction to Nocturne by Vasilii Sarenko. The Orphée Catalogue
- Brief note on the arrangement for 6-string guitar, dedicated to Leif Christensen.
- 1993, Introduction to Wittgenstein March Fantaisie by Marco Aurelio Zani de Ferranti, The Orphée Catalogue
- Biographical information on Ferranti and historical information on the cultural life of St. Petersburg and on the piece.
- 1993, Same as above. Reproduced in American Composer, edited by Charles Dvorak.
- 1994, Introduction: Music by St. Petersburg Composers for Classical Guitar (Russia, Collection vol. 4)
- Detailed biographical info and commentary on the pieces, much of it on Asafiev, Prelude et Valse.
- 1994, Editorâs Preface: Sergei Rudnev, Russian Folk Songs for classical guitar (Russian Collection Volume III)
- Discusses the genesis of this edition and of the folk songs which it emulates.
- 1994, Introduction: Frédéric Chopin, Eight Mazurkas, arr. Bobrowicz/ed. de Kloe
- Brief discussion of Chopinâs version and historical commentary on the Bobrowicz arrangements.
- 1995, Editorâs Preface: Domingo Prat, Tangos de la Guardia Vieja
- Historical commentary on Prat and the tangos.
- 1995, On the provenance of the Ten Etudes by Giulio Regondi, II: Giulio Regondi, Ten Etudes for Guitar: A Critical Edition
- Commentary on the new edition, which is based upon the MS itself rather than the photocopy upon which the 1990 edition was based, with information on the several layers of writing on the MS. Identifies Ivan Klinger as the scribe who wrote it.
- 1996, Introduction: Fernando Sor, The Complete Studies for Guitar
- Fernando Sor . . . Historical background and critical commentary. In the Chanterelle edition of the Sor Etudes.
Festival Reviews:
- 1981, October, âEsztergom Festivalâ, in Guitar and Lute magazine No. 19
- Festival impressions, concert reviews, description of Cotsiolis playing the Red Queen guitar.
- 1984 December âGuitar â84â in Guitar International XIII/5
- The Toronto festival: overemphasis on Canadian guitarists, no invitations to those the festival claims to have âlaunched;â favorable review of performance by Sakellariou of Somers and Brouwer concerti but less favorable treatment of several other concerts.
- 1984 Sept, âThe Esztergom Guitar Festival 1983â, in Classical Guitar III/1
- Overall favorable, esp. about Szendrey-Karper and Wolfgang Lendle.
- 1984 Dec, âOn Hearing Yamashitaâ in Gendai Guitar XVIII/226
- Review of Yamashitaâs concert at the Toronto Festival in 1984.
- 1984 Jan/Feb, Gitarre & Laute VI/1 Review of the Esztergom festival.
- Discusses meeting with Soviet Guitarists. In Japanese.
- 1987 Fall, âToronto Reportâ, in Soundboard XIV/3
- Original title: Who is Afraid of Kazuhito Yamashita? (re-titled, somewhat truncated and modified by the editor.) Review of the Toronto Festival 1987; disappointment w/ John Williams.
- 1987 Spring, âThe Chivalrous Polesâ, in Soundboard XIV/1
- First International Guitar Festival and Competition in Tychy.
- 1987 Jan, âThe First American Classical Guitar Conferenceâ, in Classical Guitar V/5
- Highlights of the festival were the performance by Fisk and Karr of the Schubert Arpeggione Sonata and Starobinâs concert; on the whole found the festival to be lackluster in programming.
- 1987 Sept/Oct, âWho is afraid of Kazuhito Yamashita?â in Gitarre & Laute IX/5
- Review of Toronto 1987; discusses the various concerts, including those of Williams, and Victoria de Los Angeles with Ichiro Suzuki. Full version of the âToronto Reportâ in SB. In German.
- 1988 Spring, âEsztergom 1987â, in Soundboard XV/1
- Positive overall review of the festival, focusing on current Soviet guitar and on StepĂĄn Rak
- 1989-90 Winter, âCzeslawâs Dreamââa Polish Travelogueâ, in Soundboard XVI/4
- Report of the Fifth Krakow Festival, positive overall.
- 1991 Winter, âPoland: The Tychy Festivalâ, in Soundboard XVIII/4
- Highlights of the festival, especially performances by Alexei Zimakov of Siberia.
- 1991 July/Aug, âReisebericht aus dem Ostenâ, in Gitarre & Laute XIII/4
- Review of festivals in Moscow and KrakĂłw; also printed in SB XVIII/2. In German.
- 1991 Sept/Oct, âReisebericht aus dem Ostenâ, in Gitarre & Laute XIII/5
- Conclusion of article, including review of Gdansk festival; also printed in SB XVIII/2. In German.
- 1991 Summer, âAn Eastern Travelogueâ, in Soundboard XVIII/2
- Includes but is not limited to reviews of Krakow and Gdansk festivals.
- 1992 Winter, âG.B.I.S.S. august 10-18, 1991â, in Soundboard XVIII/4
- Overall positive review of the Garcia-Biberian summer courses, esp. of Jonathan Leathwoodâs concert.
Letters To The Editor:
- 1976 Nov, Soundboard III/4
- Re: Warren, âThe Devilâs Advocateâ; Segovia alleged authorship of the âGiga Melancholicaâ by Froberger.
- 1979 July, Guitar, VII/10
- re Robertsâ reply to MOâs last letter; questions of musical skill and of teaching
- 1979 Aug, Cripes, itâs Stinker Duarte again! Guitar, VIII/1
- Makes public a reply to a personal letter from Duarte. Continues prior debate. (Title of LTTE originated by the editor of the magazine, George Clinton.)
- 1979 May, Grateful, Guitar, VII/8
- re the Roberts/Duarte debate in the Opinion section; matters of music and of teaching.
- 1979 Aug, Soundboard VI/3
- re: Mertz arrangement of Schubert âStandchenâ.
- 1979 Mar, Lute Tunings, Guitar VII/8
- re Quineâs and questions of tuning and use of capo.
- 1981 Nov, Polemic, Soundboard VIII/4
- Debates the importance of seeking historical fact vs. expressing only favorable opinions of other scholarsâ work in guitar research as a means to be taken more seriously.
- 1981 Aug, Polemic, Soundboard VIII/3
- Reply to David Leisner re his scholarship.
- 1981 Aug, Soundboard VIII/3
- re: David Marriott, âThe Contemporary Guitarâ (Schönberg, planting, Spanische guitarre)
- 1981 Nov, Polemic, Soundboard VIII/4
- re: David Marriott and the Spanische guitarre, classical guitar nomenclature, etc.
- 1982 Fall, Soundboard IX/3
- re Provostâs edition of Bachâs Fourth Lute Suite.
- 1982 Fall, Soundboard IX/3
- (as F.A. Pollack) re the âYerundovskiâ edition of Ovsianiko-Kulikovski.
- 1982 Summer, Polemic, Soundboard IX/2
- re David Marriottâs review of Brian Jefferyâs Aguado edition (New Method), and Marriott on planting.
- 1982 July, Il Fronimo X/40
- a response to Gilardinoâs article in #38 on historical research in the guitar field.
- 1982 Mar/Apr, âWer schrieb âLa Sentinelle?â â Gitarre & Laute IV/2
- response to Meinolf Fritzen, who had been working on the same question; mentions necessity of looking at primary sources rather than relying on third-hand reference works.
- 1982 Sept/Oct, Classical Guitar I/1
- congrats on your new magazine.
- 1982 Summer, Polemic, Soundboard IX/2
- re David Leisnerâs performing editions vs. those preferred by what Ophee considers serious musicians
- 1982-83 Winter, Soundboard IX/4
- re the Christian-oriented seminar at the GFA convention in Denver.
- 1983 Dec, Guitar XII/5
- re Gerald Reboursâ reply to MOâs letter on re-entrant tuning; stands corrected as to the CarrĂ© book, but responds to other points in the article (Diderot, Lemoine, Sanz, Corbetta).
- 1983 July/Aug, Classical Guitar I/6
- re Leisnerâs comments on the review of Ziffrin.
- 1983 May/June, Classical Guitar I/5
- Comments on reviews of OrphĂ©eâs Boccherini, Bach Sinfonia, and Franck.
- 1983 Aug, Guitar XII/1
- re Leisnerâs editions of Mertz and the article in SB proving that the Fantasie Hongroise WAS not the prize winner at the Makaroff competition.
- 1983 Spring, Polemic Ophee to MarriottâFinal Round, Soundboard X/1
- In defense of Opheeâs âamateurâ status
- 1983 Aug, Guitar XII/1
- re Sarah Clarkeâs review of âThe Guitar before 1883;â debate over re-entrant tuning, and Bailesâ borrowing of MOâs article on apoyando in G&L.
- 1984 Apr, Guitar XII/9
- re Reboursâ recent letter calling for increased communication between scholars; more debate on re-entrant tuning.
- 1984 June, Research, Guitar XII/11
- Applauds JosĂ© Romanillosâ article on Aguado and makes point that Spanish researchers are in a better position than all others to explore the guitarâs Spanish heritage.
- 1984 Oct, Theodore Norman, Guitar International XIII/3
- Debunks Normanâs theories of fingering, and encourages the guitar world to learn to read music and not just fingerings.
- 1984 Oct, Monica Hall, Guitar International XIII/3
- response to Hallâs letter discussing re-entrant tuning, the bourdon, and Ruiz de Ribayaz.
- 1984 Nov, Murphyâs Law, Guitar International XIII/4 more discussion of tuning matters, including those of Corbettaâs discussion of strings, and response to Gammieâs letter.
- 1984 Dec, Toma(y)to Tomato, Grenada Granada, Guitar International XIII/5
- re Mary Criswickâs discussion of Simon Wynbergâs edition of the de Fossa trios for Chanterelle.
- 1985 Jan, Scientific evidence etc. Guitar International XIII/6 continues debate with Monica Hall over use of two bourdons on a baroque guitar, concluding that we simply do not have enough information to reach a definite conclusion.
- 1985 Feb, Classical Guitar III/6
- re Leisner, Mertz, and CGâs review by Steve Marsh.
- 1985 April, Classical Guitar III/8
- re Hambletonâs review of the Flint songs and the question of facsimile.
- 1985 May, Giuliani, Guitar International XIII/10
- responds to Victor Bougaardtâs letter accusing MO of âravingsâ by reminding him that the discussion of the Giuliani was meant to be a general discussion of facsimiles; describes the complete works as âan authentic reproduction of xerox copies.â:
- 1985 June, Matanyaâs Toronto Guitar International XIII/11
- response to those who were unhappy with his review of the Toronto Festival.
- 1985 July, Classical Guitar III/11
- re Steve Marshâs reply to his letter about documentation of Mertz and the Makaroff competition, incl. an example of the infamous Paganini-Legnani story.
- 1985 Oct, Il Fronimo XIII/53
- response to questions of authorship of some works of Giuliani, dealing specifically with the Serenade, Op.54bis, assumed by Bruno Tonazzi to be by Giuliani. Proves it is actually by Leonhard von Call. In Italian.
- 1985 Dec, Classical Guitar IV/4
- re Terry Spooner/ the supposed existence of a guitar concerto by Cyril Scott performed in 1918 by Segovia.
- 1985-86 Winter, More Mauro, Soundboard XII/4
- re Jefferyâs Complete Giuliani, the Schwarz-Reiflingen theory of Carulliâs paternity of the 12 Progressive Studies, etc.
- 1986 March, Ophee/Stenstadvold, Guitar International XIV/8
- response to Stenstadvoldâs assertion that âwe have not done our homework.â a truncated version of the LTTE now published in this on line magazine.
- 1986 May, Classical Guitar IV/9
- re Segovia, large concert halls, and the need for silence.
- 1986 July, Classical Guitar IV/11
- re J.A.D. Freemanâs letter on Sarenkoânumber of recordings, transliteration, etc.
- 1986 Oct, Nova Giulianiad III/9-10
- responds to Bei der Wieden and Moserâs criticisms of his article, again pointing out the need for clear scientific/scholarly thought. In German.
- 1986 Dec, Classical Guitar V/4
- re Duarteâs letter concerning Segovia and the âGiga Melancholiaâ of Froberger.
- 1986 Dec, Classical Guitar V/4
- re Kilvingtonâs review of Carulliâs âLa Giraffe ĂĄ Parisâ.
- 1987 Jan, Classical Guitar V/5 rebuttal to Wade; dissects one paragraph by Wade from his book to demonstrate the need to investigate sources considered to be âprimaryâ.
- 1987 March, Classical Guitar V/7
- Takes Rudolph Wangler to task for both his arrangement of and preface to Sorâs âlâEncouragementâ for flute and guitar.
- 1987 Nov/Dec, PS: Erwiderung auf einen Leserbrief, Gitarre & Laute IX/6
- response to Lex Eisenhardtâs comments on the Romantische Gitarrenmusik series. In German.
- 1987 June, Classical Guitar V/10
- Praises JosĂ© Romanillosâ article on the Jacquemart-AndrĂ© vihuela and suggests that Federico Cookâs and Wolf Moserâs articles on the same subject be translated and published, with commentary by Romanillos.
- 1987-88 Winter, Soundboard XIV/4
- re Duarte, âWhich Way Shall We Go?â
- 1988 Jan, Classical Guitar VI/5
- Agrees with Wade that neither may be pigeonholed as a âromanticâ or âacademicâ.
- 1988 Feb, Classical Guitar VI/6
- Rebukes Stenstadvold for his response to Opheeâs response to Stenstadvoldâs criticisms of Opheeâs articles on 19th century performance. (doesnât end there…)
- 1988 May/June, Gitarre & Laute X/3
- response to Horst Kleeâs comments on âWho is afraid of Kazuhito Yamashita?â; Klee misunderstood both the title and the article.
- 1988 Summer, Soundboard XV/2
- A truncated and edited version of an article titled âThe Force of Blandiloquenceâ, a defense of Yamashitaâs transcription of Pictures following George Clintonâs accusations of double-tracking on the recording.
- 1988 Summer, Soundboard XV/2
- re Duarteâs âCareersâ in IX/3âreporting of lower prizes than first; Koshkin and Farago split second in Esztergom.
- 1988 Sept/Oct, Gitarre & Laute X/5
- response to Maria Lord, who found his comments on Britten, Tippett and Bream in âWhoâs afraid . . .â to be âunsuitable;â remarks about questioning authorities.
- 1988 Fall, Soundboard XV/3
- re Duarteâs reply to Opheeâs letter in XV/2âuse of pseudonyms on music submitted for competition.
- 1988 Fall, Soundboard XV/3
- reply to Clintonâs letter in same issueâpoints out examples of Clintonâs problems with Yamashita as probably related to business matters.
- 1988 Fall, Soundboard XV/3
- re Robert Luseâs article on amplification.
- 1988 Nov/Dec, Gitarre & Laute X/6
- response to Eliot Fiskâs comments on MOâs remarks concerning Brittenâs Nocturnal and Julian Bream in the Toronto review. In German.
- 1989 Spring, Soundboard XVI/1
- corrections to misprinted text of letter in XV/3 re Luse.
- 1989 May, Classical Guitar VII/9
- re decision not to publish Vyssotskyâs âSpinsterâ due to Perottâs prior publication.
- 1989 Nov, Classical Guitar VIII/3
- re Kerstens discussion of the new Contreras resonator/it not truly being a new idea.
- 1990 July, Classical Guitar VIII/11 LTTE
- Discussion of Fiskâs use of imagery in performing Sorâs Fantasie ElĂ©giaque, with clarification as to who Charlotte Beslay was, when she died etc..
- 1990 Fall, Old Wine in New Bottles, Soundboard XVII/3
- Stenstadvoldâs presentation on Sorâs Op.9 (Mozart Variations), and general tendencies of guitar scholars to ignore secondary literature on topics.
- 1990 Aug, Classical Guitar VIII/12
- Providing additional clarification in the debate btwn. Freeman and Duarte as to Perottâs professional status in Russia.
- 1990 Sept, Classical Guitar IX/1
- re the Wulfin Lieske interview, involving his remarks on Sor and Giuliani.
- 1990 Fall, The Russian Cover, Soundboard XVII/3
- re the cover of XVII/2, which was by V.A. Tropinin and depicted a guitar by I. Ya. Krasnoshchekov.
- 1991 Spring, Reply to Stenstadvold, Soundboard XVIII/1
- Reply to his letter defending his presentation at GFA Pasadena.
- 1991 Apr, Il Fronimo XIX/75
- takes up issues raised by various responses to his article on lâHoyer. In Italian.
- 1991 May, Classical Guitar IX/9
- Defending pricing of editions and discussion of the problems faced by small independent publishers.
- 1991 July, Il Fronimo XIX/76
- more issues raised by responses to the LâHoyer article, including separately responses to Riboni, Gilardino, and DellâAra. In Italian.
- 1991 July, Classical Guitar IX/11
- Response to Wadeâs letter re the OrphĂ©e Database–it was never meant to be a historical document.
- 1991 Summer, Koshkin Insights, Soundboard XVIII/2
- re the Lemoine and OrphĂ©e editions of Koshkinâs âLes Elfesâ.
- 1991 Sept, Classical Guitar X/1
- re Mikulkaâs recordings from the OrphĂ©e catalogue.
- 1991 Oct, Classical Guitar X/2
- re more of Wadeâs defense of Segovia, in this case his flight from Spain and his 1947 recording.
- 1991 Nov, Classical Guitar X/3
- response to Wadeâs latest letter re the Database: takes him to task for his comments. â Used carâ comment.
- 1991 Nov/Dec, Gitarre & Laute XIII/6
- response to Thomas Vogtâs comments on the festival reviews regarding facial grimaces by Dale Kavanaugh. In German.
- 1991 Dec, Classical Guitar X/4
- re Wadeâs August article.
- 1992 Jan, Il Fronimo XX/78
- response to Riboniâs criticismâs of the Regondi etudes. In Italian.
- 1992 Winter, Soundboard XVIII/4
- re Garth Baxterâs review of the Beethoven-Matiegka Serenade, op. 8, in XVIII/2.
- 1992 Winter, Soundboard XVIII/4
- re Beverly Maherâs letter regarding boycott of concert presenters who do not present equal numbers of women guitarists.
- 1992 May, Classical Guitar X/9
- re March letter from Mr. Magil; heated disputes are a hallmark of musicological research.
- 1992 Nov/Dec, The High and the Mighty, Gitarre & Laute, XIV/6
- Responds to the accusation that he is a âJohn Wayne musicologistâ through use of the Regondi etudes. In German.
- 1993 Jan, Il Fronimo XXI/82
- response to Rizzaâs criticism of the LâHoyer article; refers to MO trip to the Glinka museum. In Italian.
- 1993 March, Classical Guitar XI/7
- re January editorial; problems of composers publishing their works, esp. with small companies that cannot provide as many resources for ads, etc.
- 1993 July, Classical Guitar XI/11
- re Paul Fowlesâ review of Loliâs recording of the Caprichos de Goya Op. 195 by Castelnuovo-Tedesco, which was actually recorded first by Yamashita.
- 1993 Oct, Classical Guitar XII/2
- re McConnellâs response to the article on Carcassi; explains to McConnell that the burden of proof now lies with him.
- 1993 Sept/Oct, Gitarre & Laute XV/5
- re interview with Oscar Ghiglia; Giga Melancholica. In German.
- 1993 Nov, Classical Guitar XII/3
- re Richard Handâs review of the Dodgson Sonata for Threeâclarification as to its origins.
- 1994 Apr, Classical Guitar XII/8
- re difficulties of authentication, between the work of the composer, engraver, and publisher.
- 1994 July, Classical Guitar XII/11
- re Zbigniew Dubiellaâs letter to CG which mentioned MOâs piece in SB on Sokolowsky; question of Sokolowsky being Polish or Jewish.
- 1995 Jan/Feb, Gitarre & Laute XVII/1
- response to Peter Pietersâ article âDas klinget so Herrlich;â includes text of letter to Ruggero Chiesa. Pietersâ work duplicated much of MO work re âLa Sentinelleâ and the lyre-guitar, without credit or acknowledgement. In German.
- 1995 June, Classical Guitar XIII/10
- re the Jonathan Richards recording of the Canzona by Vladimir Slavsky, actually a CanciĂłn y Danza no. 6 by Mompou.
- 1995 Sept/Oct, Gitarre & Laute XVII/5
- response to Leonhard Beck-Neuwirth; re the Villa-Lobos preludes and Raul Rodriguez Arias. In German.
- 1995 Sept/Oct, Gitarre & Laute XVII/5
- response to Pietersâ reply to the LTTE of XVII/1; believes Pieters to have committed scholarly misconduct. In German.
- 1996 Feb, Classical Guitar XIV/6
- re Fowlesâ review of Voronezh Festival and his discussion of Lendleâs Variationsâthey arenât just highly technical but are also âone of the funniest parodiesâ for guitar out there.
- 1996 May, Classical Guitar XIV/9
- re Robert Spencerâs review of the Johnson editionâclarification as to some matters and discussion of ornamentation.
- 1996 June, Classical Guitar XIV/10
- re Cooperâs review of the Carulli thematic catalogue, and demand of apology for omitting the name of its author, Dr. Mario Torta.
- 1996 November, Classical Guitar XV/3
- re Chris Kilvingtonâsd review of Ricardo Coboâs recording of our edition of the Koshkin Usher Waltz. Disputes CKâs claim that John Williams plays the piece faster than anybody else and points out that in a concert in Columbus, OH he dropped several bars from the piece.
- 1996 November, Classical Guitar XV/3
- re Arthur Nessâ letter in XV/2, sent in reaction to my clarifications to Spencerâs review in XIV/9. Sets the history of the Monuments of the Lutenist Art series.
Obituaries:
- 1989 Aug, Edmund Jurkowski, Classical Guitar VII/12
- Remembrance (with several by other authors in the same column)
- 1989 Summer, Edmund Jurkowski (1935-1989), Soundboard XVI/2
- Obituary of the composer.
Reviews:
- 1981 April, Johann Kaspar Mertz: Four Guitar pieces edited by David Leisner, Guitar and Lute magazine No. 17
- Caustic criticism of Leisnerâs editorial methodology.Â
- 1982 Spring, Andrés Segovia, by M.A. Vaisbord Soundboard IX/1
- Feels Vaisbord perhaps not objective enough about the subject matter but finds the book valuable for emphasizing the Segovia-Russia connection. Includes translation of text by Lunacharski about Segovia playing Bach, used by Graham Wade in his book on Bach, without credit.Â
- 1982-83 Winter, The Classical Guitar (Summerfield) and Classical Guitar Companion (McCreadie), Soundboard IX/4
- âDistortions of historyâ encountered in the two books; photos are good.Â
- 1983, Guitar Review 53
- Review of Summerfieldâs The Classical Guitar and McCreadieâs Classical Guitar Companionâboth rather unfavorably. Shorter version of the SB review.Â
- 1991 Mar/Apr, âNeues uber Caspar Joseph Mertzâ in Gitarre & Laute XIII/2
- Review of Astrid Stempnikâs biography of Mertz. In German. Also printed in SB XVIII/1.Â
- 1991 Spring, Stempnik on Mertz, Soundboard XVIII/1
- Lots of good new info but she could have been more careful with her material.Â
- 1992 Jan, La Tesi di Astrid Stempnik su Johann Kaspar Mertz, Il Fronimo XX/78
- Italian translation of SB XVIII/1.Â
- 1996 Sept, Jefferyâs Fernando Sor, Composer and Guitarist Revisited, Classical Guitar XV/1
- Lengthy criticism of Jefferyâs second edition, claiming it is no great improvement over the original scholarship. An excerpt from the full version in this on line magazine.Â
- 1997 March, âB. Jefferyâs Fernando Sor, A Critical View of the Second Edition.â Part 1, translated by Jun Sugawara. Gendai Guitar NÂș 385.Â
- 1997 April, âB. Jefferyâs Fernando Sor, A Critical View of the Second Edition.â Part 2, translated by Jun Sugawara. Gendai Guitar NÂș 386.Â
- 1997 May, âB. Jefferyâs Fernando Sor, A Critical View of the Second Edition.â Part 3, translated by Jun Sugawara. Gendai Guitar NÂș 387.Â
- 1997 June, âB. Jefferyâs Fernando Sor, A Critical View of the Second Edition.â Part 4, translated by Jun Sugawara. Gendai Guitar NÂș 388.
- Lengthy criticism of Jefferyâs second edition, claiming it is no great improvement over the original scholarship. Full text, In Japanese.
Liner notes to sound recordings:
- The Andriaccio-Castellani Duo. Perform music by Gallés, Scarlatti, Granados, Brouwer and Albeniz. ICARUS 1002. (LP)
- 1985. Leif Christensen. The Russian Guitar. Works by Vasilli Stepanovich Sarenko. PAULA records. P-40. (LP)
- 1996. Shin-Ichi Fukuda: Schubertiana. Denon COCO-78978. (CD)
- 1996. Kazuhito Yamashita: François de Fossa, Works for solo guitar. BMG Victor (RCA Red Seal) BVCC 719. (CD)
Copyright © 1996 by Editions Orphée, Inc., All Rights Reserved.
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