ETUDE
July 1940
volume LVIII
number 7
page 495, 497, 499

World Artists on the Classic Guitar

By George C. Krick

IN RECENT COMMUNICATIONS several of our readers expressed their desire for information regarding present day guitarists of Spain, South America and other foreign countries. The phenomenal growth of interest in the guitar and its music during the past decade has stimulated the efforts of many young students; and undoubtedly there are quite a number of players who possess exceptional musical talent and extraordinary technical efficiency, but who have yet to win their spurs In competition with those whose names have become familiar to concert and radio audiences. The names we shall mention, are those of artists, who not only are well known in their own localities, but also have earned international reputations through their recitals in the world’s musical centers.

Without fear of contradiction we shall place at the head of the list, ANDRES SEGOVIA, born and educated in Spain, now residing in Montevideo. This artist has done perhaps more to endear the guitar to the general public than any one else;
and his concert tours have taken him all over the world. During the past season he has given a number of recitals in Porto Rico, Mexico, Cuba and South America.

JULIO MARTINEZ OYANGUREN, a native of Uruguay who is now making his headquarters in New York, is busily engaged with concert and radio performances. He is also a composer of great merit.

VINCETE GOMEZ, at present in New York, has toured Europe, Northern Africa and the Americas. While his repertoire includes many classics, he is considered one of the greatest exponents of the Flamenco style of guitar playing.

CARLOS MONTOYA, of Spanish nationality, is known for his extraordinary virtuosity in the Flamenco style and has been appearing in public with Argentinita, the celebrated Spanish dancer.

EMILE PUJOL, born in Spain, is a pupil of Tarrega and makes his home in Paris. He has given recitals in many European cities and his compositions and arrangements stamp him as an accomplished musician.

REGINO SAINS DE LA MAZA, Spanish, has traveled extensively in Europe
and visited this country in 1938, giving several recitals.

SEVERINO GARCIA FORTEA, Madrid, a great artist and well known through his transcriptions for guitar of the works of Albeniz, and by some original compositions.

LUISE WALKER, of Vienna, has been hailed as the greatest amongst the guitarists of central Europe. This artist began her musical career when fifteen years of age and since then has played in all the important musical centers of Europe. Also, she gave several recitals in New York City seven years ago.

HEINRICH ALBERT, Munich, is the most celebrated guitarist of Germany and a prolific composer of original music for his instrument. Since he retired from the concert stage, his fame as a master teacher of advanced guitar technic has spread beyond the confines of his own country.

LUIGI MOZZANI, Bologna, the most celebrated Italian guitar virtuoso and composer, has been, to a great extent, responsible for the revival of interest in the guitar throughout Europe.

BENVENUTO TERZI, of Milan, Italy, guitarist and composer, has given many recitals in European cities.

Turning now to South America, we find that for many years the city of Buenos Aires has been a favorite rendezvous for guitarists. It boasts of several large music schools devoted exclusively to the teaching of the classic guitar, and recitalists featuring this instrument are quite popular with its inhabitants.

Well known amongst these South American guitarists are: Maria Luise Anido, Domingo Prat, Pasquale Roch, Gimenez Manjon, Carlos Garcia Tolsa, Hilarion Leloup and M. Rodriguez Arenas.

In Japan and Russia the guitar has a host of admirers; but to the best of our knowledge these countries have yet to produce a virtuoso of the first rank.

The artists, whose names we have presented, not only are fine guitarists, but also are well versed in musical theory and are continually adding worth while compositions and arrangements to the existing guitar literature, something for the young American guitar students to think about.

Music Or Noise

Listening to a recent broadcast by one of America’s “famous” banjoists, the writer was quite disturbed by the terrible noise which was extracted from his instrument. True, in my mind’s eye I could see the nimble fingers of his left hand fairly fly over the finger board; but speed and noise do not produce music. After hearing a performance of that sort, it is no wonder that many persons with a sensitive ear are turned against the banjo. Some players of the plectrum guitar have, on occasion, displayed the same lack of appreciation of tone quality. Such things may be overlooked in a novice who, through sheer youthful exuberance, tries to impress his hearers by his speed and tone volume; but in an experienced player they are inexcusable. Players of the instruments strung with wire strings and played with a plectrum should realize that a good tone can be produced only up to a certain point; when the strings are “forced” beyond that, especially in a large auditorium, there is nothing left for the listener but noise. So it is up to the player to find out just where the good tone quality of his instrument ends and noise begins. For this reason it is advisable to avoid large assembly halls, unless an electrical amplifying unit is available. Do not force your instrument. Do not play too close to the bridge; for there the strings are stiff and the resultant tone is harsh. Do not overdo the tremolo of four string chords on the tenor banjo or plectrum guitar, as the result is anything but musically satisfying. It is far better to use the so-called “Duo Style”, sustaining the top or melody note with the tremolo and playing the accompanying chords staccato.

We now come to another important matter, much neglected by some players; this is the plectrum and its use. For solo work on the banjo or plectrum guitar, select a plectrum of medium size, rather stiff yet pliable; a soft plectrum will cause a click when attacking the strings and will prove quite annoying to the listener. When ready to strike a string do not begin the stroke with the plectrum two or three inches above the string but keep it close to the strings always. The tremolo should be executed more by rubbing the strings back and forth, rather than by a distinct down and up stroke.

While making these suggestions, we are taking it for granted that a good instrument is being used. One cannot get a good tone from a poorly constructed banjo or guitar, equipped with a cheap brand of strings. The vellum of the banjo should be kept tightened; if this is neglected the tone will lack brilliance. If, in pressing down a string on the guitar, there is a buzzing noise then, the frets may need adjusting, which should be done by an expert. The production of a beautiful, musical tone should be at all times the aim of every instrumentalist.