Romance of the Guitar

Editor’s Note
This is one of the most interesting and comprehensive articles ever written on the Guitar and is of immense usefulness, whether the reader plays this instrument or not.

WHAT GREATER compliment could be paid a solo instrument with only six strings than for this great genius to compare it to an orchestra? And it is this instrument which filled with celestial sounds the temples of Solomon, which accompanied Homer as he sang the deeds of the heroes of Troy and which was used by the emperors and kings in their sumptuous entertainments and by the humble lover in serenading his mistress.

In eight words Beethoven has summed up all the merits of the guitar, for by these he means not only that it is capable of producing all the harmonic combinations of an orchestra but the effects and tone colors as well. Yet, as Berlioz said, the guitar has been treated as an orphan and has been misunderstood so often that the average person about to hear it for the first time is under the impression that the performance is to be such as we usually hear in vaudeville. This situation exists to some extent in Europe but much more so in this country – at least it did until Andrés Segovia, the great Spanish guitarist, made his debut in New York two years ago and was acclaimed by the critics not simply as a great guitarist but, indeed, as one of the greatest artists on the concert stage today.

Those who knew the guitar and its possibilities and had heard of the ovations which Segovia received in Europe were sure of witnessing another triumph. Many traveled miles to hear him. But Segovia’s audience did not consist entirely of lovers of the guitar and his art. There were many prompted by curiosity among whom may be included some of the music critics, for such was the confession of the critic on the “London Times” after Segovia had played there. “And so,” he says, “in the fulness of our ignorance we went, expecting we did not quite know what but hoping, since Señor Segovia’s reputation had preceded him and the name of J. S. Bach appeared on his program, that we would satisfy our curiosity about an instrument that has romantic associations without being outraged musically. We did not go to scoff but we certainly remained to hear the last possible note; for it was the most delightful surprise of the season.”

Segovia’s Early Training

Andrés Segovia was born in 1896 near Granada in Andalusia, Spain, and, in his own words, “opened the musical dynasty of his family.” From his childhood he was greatly interested in music and the guitar was his favorite instrument. The most amazing thing is that he was his own teacher, and, at the age of fifteen, was able to interpret the most difficult compositions with uncanny skill. From that time on he has appeared continuously on the concert stage, and his repertoire now embraces compositions of the sixteenth century to the moderns.

It is impossible to describe Señor Segovia’s playing; one must hear him to believe. With a transcendent technic and unimpeachable musical taste, with his deep insight into the works of the great masters combined with the most delicate nuances, perfection of phrasing and vital rhythm, Segovia is a miracle. The hundreds of music critics who heard his performances all vied with each other in praising him. Never before has there been an artist who has received wider acclaim than Segovia.

When asked how he began the study of his guitar, he replied: “I cannot remember just when I did so, as I was too young, but I knew that I had an insatiable desire to play and I heard as many guitarists as possible. Then I went home to find out new ways for myself….. Of course there are teachers of the guitar in Spain, but a great many Spanish boys need no further encouragement to begin than the instrument itself.”

Segovia being the greatest exponent of the guitar in the world at the present time and his being so thoroughly familiar with its history and literature naturally makes this interview of unusual interest.

Remote Ancestors of the Guitar

BEFORE proceeding with the history of the guitar, two points must be made clear: first, that the traditional lute differs from the guitar only in shape; second, that the cithara (Greek, kithara) which is frequently mentioned in the works of the ancient Greeks was not an instrument similar to the lyre as some historians claim but was in reality the predecessor of the guitar which today is called the kithara by the Greeks and chitarra by the Italians.

Dr. Burney who made a most thorough research in determining this fact quotes Father Monfaucon: ‘It is difficult to determine in what respects the lyre, cithara and other such instruments differed from each other.’ And in his reflections on the construction of ancient instruments we read: ‘The belly of the theorbo or archlute ( a lute with additional bass strings) is usually made in the shell form and the etymology of the word guitar seems naturally deducible from cithara.’ It is supposed that the Roman ‘C’ was hard like the modern ‘K’, and the Italian word chitarra (guitar) is manifestly derived from the Greek word kithara. In the Hymn to Mercury, ascribed to Homer, Mercury and Apollo are said ‘to play with the cithara under their arms…..’ This seems to infer a guitar rather than a harp.

Like all the ancient musical instruments the guitar and lute, as might be expected, had undergone considerable changes during the ages and were of various forms in different countries and in the same country at different periods. They also had various tunings some of which are still in use for special purposes. The Spanish tuning being the most practical was universally adopted – hence the name ‘Spanish Guitar.’

Cargo for the Ark

THE GUITAR is so closely associated with the history of man’s career throughout the ages, that we could almost believe it to have been part of the household of Adam and Eve. Padre J. B. Martini in his ‘Storia della Musica’ reasons very convincingly that Adam was instructed by his Creator in every art and science, the knowledge of music being, of course, included. A vivid imagination could picture Adam absorbed in his guitar beneath the apple tree while the wily serpent beguiled Eve with the prohibited fruit. One thing is certain, however, and that is that the guitar was invented before the deluge, perhaps by Jubal; and naturally some member of Noah’s family, if not Noah himself, was a performer on this instrument. Noah, it is believed, settled in Egypt after the deluge, and it is there that we find concrete evidence of the guitar’s antiquity in the form of an obelisk supposed to have been erected by Sesostris whom some historians identify with Noah. According to Dr. Burney, on this obelisk which is now in Rome there is a reproduction of an instrument similar to the lute.

Both the lute and guitar were venerated, and the performers were held in high esteem by the Egyptians and Hebrews. David played the lute and it is reasonable to suppose that he instructed Solomon. “And David and all the house of Israel played before the Lord on all manner of instruments made of firwood, even on harps, and on psalteries and on timbrels and on cornets and on cymbals.” 2 Sam. vi: 5. The same quotation in Syriac is given in part as follows: “…..with cithara, psaltery, cymbal and sistrum.”

It is probable that the guitar was introduced into Greece shortly after the Trojan war, about 1000 B.C., and was used by the rhapsodists. Homer sang the Odyssey and Iliad to the accompaniment of the lute, and references to the guitar abound in the Greek writings. Thamyris, a guitarist, was so skilled in his art that he challenged the muses, especially Clio, the patroness of stringed instruments, and the result is described thus by Homer:

Too daring bard, whose unsuccessful pride
The immortal muses in their art defied;
The avenging muses of the light of day
Deprived his eyes and snatched his voice away.
No more his tuneful voice was heard to sing,
His hand no more awaked the silver string.

The comic poet, Pherecrates, introduced music on the stage as a woman with dress and person torn and disfigured. This forlorn creature gives as the cause of her dishevelled appearance the treatment of several musicians amongst whom is Thamyris. ‘And next Thamyris took it into his head to abuse me by such divisions and flourishes as no one ever thought of before, twisting me a thousand ways in order to produce from four strings the twelve modes.’ Form four strings the twelve modes! This could have been done only upon an instrument with a neck which is proof positive of the existence of the guitar at this period. It also suggests that Thamyris was a modernist, judging from the manner in which his musical ideas were received.

Terpander whose name means ‘to delight men’ was born about 671 B.C., and was a celebrated guitarist and flutist. He taught and composed for the guitar and made some improvements in its construction.

Socrates Takes Lessons

TO PROVE that one is never too old to learn, Socrates studied the guitar in his late years under Damon, the teacher of Pericles. Who knows but that he was serenading the much-maligned Xanthippe when, after she had relieved her overwrought feelings by throwing a bucket of water over him, the great philosopher exclaimed, ‘After the thunder follows the storm.’

Pythagoras did not play the guitar. But, as a result of his scientific treatment of sound, he invented the monochord (single stringed) with a movable bridge or, rather, fret, which enabled future guitar makers to place frets on the fingerboard accurately.

During the Golden Era the guitar was held in high esteem by all Athenians, one of whom was none other than Themistocles, one of the greatest generals that ever lived. In the words of Plutarch, ‘He (Themistocles) entreated Episcles of Hermione, who had a good hand at the lute and was much sought after by the Athenians, to come and practice at home with him, being ambitious and having people inquire after his house and frequent his company.’ Plutarch writes that this was before Themistocles became famous.

(To be continued in May Etude)