Review: Modern Guitar

Reviewed Work(s): Paseo by Peter Racine Fricker and J. Bream; Impromptus by Richard
Rodney Bennett and J. Bream; In Memoriam Django Reinhardt by Carey Blyton and A.
Gilardino; Suite valenciana by Vicente Asencio and A. Gilardino; Araucaria by Angelo
Gilardino; Appaloosa by Angelo Gilardino; Tres apuntes by Leo Brouwer; Elogio de la danza
by Leo Brouwer; Etude diabolique by John W. Duarte and A. Gilardino; Fantasia and Fugue
on Torre Bermeja by John W. Duarte and A. Gilardino; Fantasy-Divisions by Stephen
Dodgson and J. Williams; Ballad by Bernard Stevens and A. Gilardino
Review by: Mary Criswick
Source: The Musical Times, Vol. 115, No. 1571 (Jan., 1974), p. 50
Published by: Musical Times Publications Ltd.
Stable URL: https://www.jstor.org/stable/957711
Accessed: 14-09-2019 16:06 UTC

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 Bennett's five short pieces show a very close
THE "ARION" COLLECTION collaboration with the guitarist, and the use of
(Send for free list of 80 titles) different timbres is most effective, with contrasting
of Madrigals, Chansons, Ballets, etc. Selected passages of pizzicato and sul ponticello providing a
demonic 'con fuoco'.
chiefly from the most celebrated composers
of the 16th and 17th Centuries. One of the most playable works to appear is
All foreign works have an English translation. Carey Blyton's In Memoriam Django Reinhardt.
Blyton makes no claim to imitate the Old Man
CLEMENS, Jacobus (1549) himself but only to evoke the era in which he lived,
17 La, La, Master Peter SATB 10p and this he does very successfully. Another evocative
COSTELEY, GUILLAUME (1570) work comes from Vicente Asencio, the Suite
79 Come Out My Love SATB 10p valenciana. Here the editor, Angelo Gilardino, has
77 He Who Feels the Winds of Spring provided practical alternatives above the stave to
SATB 10p those passages which are least easily managed by the
82 I Behold the left hand. It is interesting to see what sort of musicRu
Streamlet
DES PRES, Josquin (1545) Gilardino himself writes. Unlike most editors/
16 Sweet Cupid's Darts SSATBB 10p arrangers, he is not derivative but extremely original,
especially in Araucaria, a restless piece, without
HALLE, Adam De La (1260) bar lines but peppered with lengthy instructions in
83 Love Song SA 7p Italian, for which no glossary is provided. Appaloosa
JANNEQUIN, Clement is a(1529)
set of five pieces with trendy names (e.g. Peace-
48 In This Lovely Month SATB 10p Maker 45) but otherwise little unity.
47 To Yonder Lovely Grove SATB 10p Leo Brouwer is in the enviable position of being
46 When May Displays SATB 10p both an accomplished guitarist and composer, and
LICHFIELD, Henry (1613) his skill in both fields is well represented in the two
7 All Yee That Sleepe in Pleasure works Tres apuntes and Elogio de la danza. They are
playable without being facile and Tres apuntes in
SSATB 10p
particular seems calculated to be a concert hall
WEELKES, Thomas success. On the other (17th Century
hand, I can't imagine a
68 A Countrie Paire SSA 10p concert performance of John Duarte's Etude
52 David's Lamentation SSAATB 7p diabolique, but as a chromatic study with string
9 Lady Your Eie SSATB 10p crossovers it would make for pleasanter practice
20 Loe! Countrie Sports SATB 10p
hours than the same problems as tackled in Pujol's
BOSWORTH & CO LTD method, for instance. And it would take a brave
14/18 HEDDON ST, REGENT ST, LONDON performer to unravel the fugue in Duarte's Fantasia
SEND FOR LIST OF ORGAN AND PIANO MUSIC and Fugue on Torre Bermeja, one of his most
original works. The fantasia explores every aspect
of the theme, aided by the harmony slipping sideways
now and then, only to be pulled back firmly into
D minor for yet more treatment.
Modern guitar Dodgson's Fantasy-Divisions is equally difficult
and complex, and it is not easy to see how the later
PETER RACINE FRICKER Paseo, ed. J. Bream. Faber Music, Divisions relate to the Fantasy. The slower Divisions
?i
RICHARD RODNEY BENNETT Impromptus, ed. J. Bream. are beautiful, and it is a shame that John Williams,
Universal, 70p who fingered the work, was not always clear in
CAREY BLYTON In Memoriam Django Reinhardt, ed. notating the harmonics. (These can be completely
A. Gilardino. B~rben/Breitkopf, L1
VICENTE ASENCIO Suite valenciana, ed. A. Gilardino. unambiguous only when both the fret and the
Bdrben/Breitkopf, ?1.60 string number are given.)
ANGELO GILARDINO Araucaria. B&rben/Breitkopf, 50p
Finally, an attractive piece of programme music,
--Appaloosa. B~rben/Breitkopf, ?1
LEO BROUWER Tres apuntes. Schott, 90p Bernard Stevens's Ballad based on The Bramble
--Elogio de la danza. Schott, 90p Briar. Besides using the original folk melody
JOHN W. DUARTE Etude diabolique, ed. A. Gilardino. Stevens also narrates the story through the music,
B~rben/Breitkopf, 50p
which gives the work a coherent structure. With so
- Fantasia and Fugue on Torre Bermeja, ed. A. Gilardino.
Bbrben/Breitkopf, ?1t much new guitar music around, composed in such
STEPHEN DODGSON Fantasy-Divisions, ed. J. Williams. a variety of styles, there is no excuse for debut
B~rben/Breitkopf, ?1
BERNARD STEVENS Ballad, ed. A. Gilardino. Bbrben/ recitalists to feed their public on an unvaried diet
Breitkopf, ?1 of Carulli, Carcassi and others. MARY CRISWICK
Given Berlioz's dictum that it is nearly impossible
to write for the guitar unless one is a player, it is
interesting to see what a composer does when he
war ts to write for the instrument. Very likely he will
ask a guitarist friend to demonstrate the numerous Modern chamber
effects and colours. So much the better, one might
think, if that friend happens to be Julian Bream,
yet this has its disadvantage in that few guitarists A large group from Thames Publishing, all in the
can match his left-hand flexibility. Two works haveAnglian New Music Series. The pieces are mostly
appeared recently, both of which have been helped very simple in conception, form, and execution; in
along by Bream-the Impromptus by Richard Rod-fact some are rather naive. Let us deal with chamber
ney Bennett, and Paseolby!Peter Racine Fricker. Theworks first. A sonata for viola and piano left-
latter work is very intricate, beautifully structuredhand is an excellent idea, since it damps down the
and yet seems to have as one of its goals the use ofsonority of the piano, thus aiding problems of
every technical effect available, including a tambour. balance, and provides a neat two-part texture.
Full marks to Faber Music for the trilingual Michael Appleton's Sonata (80p) is in fact printed
explanation of signs and unambiguous harmonics. on two staves throughout, is very short (eight
50

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