ETUDE
June 1942
volume LX
number 6
page 425, 427

Personal Glimpses

By George C. Krick

GUITAR RECITALS have been rather scarce during the past two years, so it was with a great deal of anticipation that we journeyed to New York, on February 14, to listen to a recital by the young Cuban guitarist, Rey de la Torre. A fair-sized audience had gathered in Town Hall to greet the artist on his first appearance in New York, and the enthusiastic applause at the end of each group of solos left no doubt about the recital being a success. It is our firm conviction that Rey de la Torre is an outstanding personality among the younger generation of guitarists, and while his playing still shows a lack of dynamic contrasts and variety of tone, his technical equipment is more than adequate, and the rendition of the exacting program revealed a highly talented and serious minded musician.

The program opened with items by Louis Milan and Miguel de Fuenllana, sixteenth century Spanish lutenists followed by six short pieces by the seventeenth century French lutenist, Robert de Visee; next came a Pavane and a Folia by Gaspar Sanz; Courante, Bourree and Fugue by Bach; also a Minuet and a set of Variations by Sor. The rest of the list was devoted to modern works by de Falla, Torroba, Granados and Albeniz, Choros, No. 1 by Villa-Lobos and two excerpts from the ”Evocaciones Criollas” by Alfonso Broqua.

Rey de la Torre was born in Gibara, Cuba, December 9, 1917, and at nine years of age began the study of guitar with Severino Lopez, Cuban guitarist. In 1932, he traveled to Barcelona, Spain, to take advanced work on the guitar with Miguel Llobet, the great Spanish guitar virtuoso; and in the winter of 1934, he gave a recital at the Academia Granados.

After his return to Cuba, he was engaged to play a recital at the Sociedad Pro Arte Musical, the first guitarist ever to appear in the auditorium of this society. Since then de la Torre has filled many concert engagements in his native country, Porto Rico, and finally appeared in New York. A great future may safely be predicted for this promising young artist.

Julio Martinez Oyanguren, the Uruguayen guitar virtuoso, whose concert and radio performances have endeared him to all American guitarists, departed for his native country about a year ago hoping to be with us again this season. But this seems unlikely on account of the unsettled conditions; and since Oyanguren is a reserve officer in the Uruguayen navy, it is probable that his concert work will be interrupted for the duration.

From reliable sources we learn that Andres Segovia is still making his home in Montevideo and has been giving concerts in the important music centers of South America. Segovia once related to the writer an incident that happened in Buenos Aires and is worth repeating. About the time he was ready to step on the stage to begin his recital, an organ grinder stationed just below the windows of the auditorium began a doleful rendition of the Miserere from “Il Trovatore.” Segovia’s manager hurried outside and informed the gentleman that a great artist was about to give a concert and should not be disturbed. Pocketing a peso, the organ grinder moved on with the remark, “I am always willing to oblige a colleague.”

If the dance team, Veloz and Yolanda, is booked for an appearance in your city, do not miss it, as you will have an opportunity to hear the Spanish guitar virtuoso, Vicente Gomez, playing several of his compositions in his own individual style. This artist plays with a freedom and abandon that never fails to captivate his audience.

The banjo was brought to the attention of a large audience at a recent concert of the Cincinnati Symphony Orchestra under the direction of Eugene Goossens. On this occasion the program included the “Symphonic Variations and Finale on Melodies by Stephen Foster,” by Arcady Dubensky, member of the New York Philharmonic-Symphony Orchestra; and in this work the composer has made effective use of the banjo. These banjo parts were well done by Hank Karch, prominent banjoist and teacher of Cincinnati. One of the critics wrote: “Arcady Dubensky has taken some of Stephen Foster’s melodies and given them a brilliant and fascinating orchestra garb. After a cadenza played by Emil Heermann, the banjo suddenly broke forth with Oh Susannah, bringing a smile of delight to many faces and dispelling the feeling of gloom which haunts everyone in these sad times.”

If you are a lover of the fretted instruments; if you wish to absorb unbounded enthusiasm and inspiration; if you want to hear the guitar, mandolin and banjo at their best; if you want to meet personally the leading artists or get acquainted with the manufacturers and look over an exhibit of the finest fretted instruments made in this country; you should make preparations to visit the 1942 Guild Convention to be held at Springfield, Massachusetts, June 28, 29, 30 and July 1. There you will hear the guitar virtuoso Vicente Gomez, Eddie Alkire, Hawaiian guitar artist; Anthony Antone, banjoist; Carlo de Filippis and Thomas Kotsakis, mandolinists; and many other outstanding soloists, of which this is only a partial list. There will be the festival concert, where a large fretted instrument orchestra and other ensembles from all parts of the country will appear. Among the other prominent features of the convention announced so far, are the fretted instrument contests, including competitions of fretted instrument orchestras, soloists, duets and quartets, the soloists being divided into three classes, elementary, intermediate and advanced. All those interested should contact the Guild secretary, Joseph F. Pizzitola, 81 Suffolk Street, Holyoke, Massachusetts.

Here is a question received from one of the boys who recently joined the army and had the good sense to take his guitar with him. “Can a guitarist get by in a fairly good orchestra, just playing thirty-six chords, that is the twelve major, twelve minor and twelve dominant 7th chords, and could one harmonize properly with these chords for accompaniments and rhythms only?” In answer, we will say, that of course you have enough chord material to play accompaniments to most numbers, unless they contain more intricate harmony, as many of the modern pieces do. Why not get a good chord book and gradually learn the diminished and augmented chords also those of the 9th, 11th and 13th. By persistently adding four or five new chords to your musical vocabulary every week, you would soon be able to play everything, without having to substitute one chord for another.