ETUDE
February 1939
volume LVII
number 2
page 136

The Guitar in Chamber Music

By George C. Krick

IF YOU SHOULD HAPPEN to visit the “rare book” room in the Congressional Library in Washington, do not fail to pause before the glass case containing some of the greatest musical treasures existing in this country. This case is the permanent home of five stringed instruments created by the most celebrated violin maker of all times, Antonio Stradivarius. The collection consists of three violins, one viola and one violoncello, together with a bow for each. These bows were made by the great François Tourte of Paris and are excellent examples of his work. All of this represents a gift to the nation by that public spirited lady, Mrs. Matthew John Whittall. In times past instruments of this nature were bequeathed to Museums, their voices stilled, never to be heard again; witness the priceless violin of Paganini resting in a glass case in a Genoa Museum for many years, from which it was never moved. A recent examination revealed that it had deteriorated to such an extent that it is almost useless.

To avoid such a calamity Mrs. Whittall provided a trust fund, the income from which is to be applied, through the Music Division of the Library, to the maintenance of the instruments, and to programs in which they will be used. Thus Mrs. Whittall’s generosity and foresight assure these precious instruments not merely security and proper physical attention, but also an active and continuing service to the cause of music and musical appreciation.

Antonio Stradivarius was horn in Cremona, Italy, in 1644 and died there in 1737 in his ninety-third year. According to reliable statistics he produced over eleven hundred instruments, mostly violins, violas and violoncellos; but he made as well some violas-de-gamba and a few guitars.

The five Stradivarius instruments in this collection were created during the master’s best period, and each one is a perfect specimen of his matchless work. The “Betts” violin, made in 1704, is generally conceded to be the most beautiful and perfect violin he ever made; and the “Ward,” dated 1700, is a close second; the “Castelbarco,” 1699, is a perfect specimen of the “long pattern” violin, while the “Cassavetti” viola, 1727, and the “Castelbarco” violoncello, 1697, are equally perfect from every point of view.

To give here a complete history of these instruments is beyond the scope of this article; they passed through many hands before finally coming into possession of Mrs. Whittall and, through her generosity, to the Music Division of the Library of Congress.

Provision tor Concerts

ONE OF THE STIPULATIONS in creating the trust fund was the inauguration of a series of annual concerts by some of the outstanding chamber music organizations, at which these instruments are to be used; and on December 2, 1938, in the Elizabeth Coolidge Auditorium of the Library of Congress, the public was privileged to be present at the first concert sponsored by the Gertrude Clarke Whittall Foundation and played by the Stradivarius Quartet of New York. This Quartet appeared again on December 4. The other organizations booked for this series, extending through December, January and February, are the Gordon Quartet, the Musical Art Quartet, and the Roth Quartet of Budapest. Tickets to these concerts are free to the public, but there is a service charge of twenty-five cents per ticket. Reservations for the February concerts are available on and after January 30. All the concerts are being broadcast in part; so it is advisable to consult your radio time table.

Of special interest to guitarists will be the two concerts scheduled for Thursday evening, February 23, and Saturday afternoon, February 25, when Andres Segovia will appear on the programs with the Roth Quartet. While no details of the numbers to be played are available at the time of this writing, it is probable that the Schubert “Quartet for Violin or Flute, Guitar, Viola and Violoncello” and some of the Boccherini quintettes for two violins, viola, guitar and violoncello will be heard. These two days, when the instruments of Stradivarius mingle their exquisite voices with that of the “Hauser” guitar in the hands of Segovia, should be marked down as “red letter” days for the guitar.

It is to be regretted that the guitar is not heard more frequently in chamber music, as its tone blends most beautifully with that of any other instrument. Duets for flute or violin and guitar; and trios and quartets in which the guitar takes a prominent part would appeal to any music lover. A great deal of chamber music with guitar was published in the early part of the nineteenth century, and many of these numbers are listed in some of the foreign catalogs.

Some Excellent Program Material

HEINRICH ALBERT, guitar virtuoso and composer, has done excellent work in revising a number of these compositions. Amongst them are trios for violin or flute with viola and guitar, by Molino, J. Kreutzer and DeCall; three quintettes for two violins, viola violoncello and guitar by L. Boccherini; “Grand Sonata for Violin and Guitar,” by Mauro Giuliani; three sonatas for violin and guitar by Gragnani; two quartets for four guitars by Albert and Op. 15 by Ferdinand Sor; and last, but not least, the Schubert “Quartet” discussed in detail in the October issue of THE ETUDE.

In the fretted instrument field we have three plectrum quartets by Carlo Munier, also one by Giangreco, that are full of beautiful effects of each instrument; and, while the original score calls for first and second mandolin, mandola and mandocello, there is also a guitar part for each one of them; and, since it almost duplicates the mandocello part it may well be used in place of it, as sometimes it is difficult to find a player for the latter instrument.

Frequently a good guitarist may not have all that it takes to become a top notch soloist, but he may prove a valuable player with a small chamber music organization.